Liontamer

http://project2612.org/download.php?id=56 - "SOR Super Mix" I hate to glib you, because I truly like the piece. But it's still a sonic upgrade, and that's basically all there is at a substantive level. Malcos broke it down already. You're still very much working very straightforward with the source, with little intepretation. The new drum stuff at 3:00 was awful. :'-( Hate to sound like an asshole, but not only doesn't it fit, it just doesn't sound very musical either. What's the point of this section? Too bad, because you transitioned from it back into the source at 3:41 very well. The glassy tones in the back that you retained at 3:41 also didn't fit well with the notes you were using on 'em. There's a lot to like here, Greg, but it's mostly the stuff that's sonically enhanced from the source tune. NO

Oof. Sounds pretty harsh from BGC. I agreed with his production criticisms though. The percussion moving all around the stereo field was really cool, but sounded too loud compared to everything else. Loved the bowed string work brought in at 1:07 to add to the texture of the piece. The dropoff at 3:00 was definitely abrupt though and should have been a smoother fadeout of the string instrument. I thought the song filled out the soundfield well enough most of the time. The backing percussion wasn't the most dense, but I thought it was well produced enough where it had actual meat on it and thereby didn't feel too empty. It's minimalist, but not entirely spartan. For whatever issues it has, I'm feeling this. The arrangement is pretty straightforward, but personalized well with the beatwork (which was integrated well regardless of the volume issues), and with the instrumentation changes and additional part-writing (beatwork, bowed strings, supporting plucked string instrument) beefing things up (the middle section especially). The arrangement had style and instrumental similarities to the originals but enhanced the originals well. As weed says, "count it." YES EDIT: Or not. Vote change. For pwnt, see below.

Over the filesize limit with the link I've given; zircon can provide a new encoding if this passes - LT SuperTux mirror Olá pessoal, I know I told zircon I wouldn’t submit this, but I was so moved by the massive release of VotL that I couldn’t control myself, so here it is! =D I almost called this song “Hojo is unavailable right now; please leave your message after the beep”. I mean, making port in a tropical resort after fighting a grotesque monster inside an evil organization ship is awesome in it’s own right, but meeting said organization’s own sick scientist chilling at the beach, surrounded by ladies and drinking cocktails (with little umbrellas on them) is actually the fondest memory I have from FF7. A memory which is probably distorted by the long time passed since I last played the game, but very dear to me nonetheless, so believe it not, this song goes for Hojo: even sick and disgusting evil geniuses need to take a break every now and then. Here is the link (I hope it’s not a problem if I just link the page of the project): http://ff7.ocremix.org/tracks/ It’s the first track from the third CD. ---------------------------------------------------------------- http://tzone.org/~llin/psf/packs2/FF7_psf.rar - 216 "Costa del Sol" The mallet percussion sounds cute/syrupy, but definitely strains for realism compared to a lot of the other organic-sounding instrumentation. Nice EP soloing at 1:51, as well as "The Girl from Ipanema" reference at 2:37. The arrangement plays it pretty straight most of the time, but has lots of new support writing and some subtle embellishments and variations especially in the latter half. Enough to put it over the line for me. And that's all she wrote. YES

Submission was withdrawn and resubmitted several days later on 11/4; current version is on the FTP - LT davidicus david maw davidamaw@gmail.com http://www.myspace.com/ae1exander userid = 21897 remix name: "The Wisdom of Gagazet" game: Final Fantasy X song: "People of the North Pole" Composer: Nobuo Uematsu platform: playstation 2 source link: http://www.rpgdreamer.com/music/ffx/ff1027.mid Ok I hope I don't ramble on, but there's some history behind this piece that I would like to mention. As Liontamer already knows, I had already submitted this song before becoming involved in the website at all. Some time passed and I had started making other remixes and posting them in the wips forum, when i realized that I had started making improvements; dramatic ones (by my standards). These improvements were due to the standards of this site, which I at first detested. I can't tell you guys, whether or not you say yes to this piece, how grateful I am for the steep learning curve I have experienced and hope to continue to undertake. (Ok not trying to win a f*ckin emotional Oscar or anything) But OCR deserves a big thank you from me. Heres a little song background from the wips forum: To me, this is not just any song, and requires a little bit of background explanation. When I first heard this song, I felt nothing but love for it. In fact, it burned itself into my memory quite permanently, to the point where I made up counter melodies to it in my head. It came to the point where I had to re-mix it. Originally, it began its crude existence as a drum & bass song a few years ago. However, it seemed like such a powerful song, that it needed to be more. Ive slaved over this song for a long long time, and its probably the best song I've ever written, or will write. Ok, this part you wont understand (well, maybe if you hear the song). It makes me feel one with the universe. It makes me feel connected to everything. Its almost like my piece of enlightenment. It makes me love this world and all in it. It makes me want to wish happiness for every person on this planet. It makes me want to pick up those who have fallen on the walk of life and carry them the rest of the way. To stand triumphant and awestruck together at the crest of the first horizon. I'm sure that sounds really fucking cheesy to some people but i don't care. I have infinite emotional attachment to this piece. Also, I can say that this song wouldn't nearly be what it is without the intuition and truthfulness of those kind enough to help me in the wips forum. I hope the Judge panel finds this piece enjoyable, and at least somewhat understands the intended meaning behind it. --------------------------------------------------------------- http://www.tzone.org/~llin/psf/packs2/FFX_psf2.rar - 405 "People of the Far North" Starting with the bad, poor job on that piano sample, first used at 1:07. It's jarringly bad, on account of the notes sounding so thin and the sequencing sounding so completely robotic and fake. Though production and positioning in the soundfield mitigated the issue for the 4:08-4:30 section, usually the piano was pretty poor-sounding, even in the last section at 5:07. The higher string work first used at 1:18 also sounds inhumanly performed and fake and should have been smoothed out for such a prominent role as well. Not terrible, but it sounded exposed the whole way. Otherwise though, the orchestration concepts are good and the arrangement's good. Though this is definitely an above average sub compared to what we normally receive, it could sound a bit cleaner, should be louder, and lacks a lot of polish in the execution. The arrangement almost keeps this one above water. Can't help but recognize the creative and very interpretive arrangement ideas, with lot of twists and turns here in terms of dynamic changes (undermined though by the relatively low volume). Now you just need to get the piano and strings sounding better with some additional post-production, and I agreed with the suggestion of adjusting the EQ, as Vigilante mentioned below, to achieve better separation of sounds. There's definitely a hollowness in the mid-range that makes the track feel a lot emptier than it should. Lots of compelling reasons why this needs some more work to get it into the very solid territory. I was almost gonna hang onto a borderline YES until the EQ issues from Vig finally pulled this down to NO. Overall good work, David. Pretty close as is, and I hope to hear more. NO (refine/resubmit)

The lyrics are a cover but got Finglished, which is awesome - LT Remixer: ilp0 Real name: Ilari Nieminen Game: Conker's Bad Fur Day Song: Sloprano Original can be heard in http://sloprano.ytmnd.com/ Lyrics might be a "bit off", I just don't understand half of it --------------------------------------------------------------- Never played Conker's Bad Fur Day, so hearing the source was surprising to say the least. Never knew they ever acknowledged the word "shit" in video game music. In an orchestral/opera piece no less. Man, that last audio drama-style part at the end, you can't help but think they were laughing all the way to the bank at how they were getting paid to make something that ridiculous. Wow. Conker's Bad Fur Day Soundtrack - (07) "Sloprano" Seems too cover-ish to start, but that concern was quickly erased. Pretty substantive of a genre adaptation with the vocals being the thing that ties it to the source, as most of the music itself seems to be original. Same type of deal as the previous Metal Gear Solid 3 submission, only more interpretive going this route; the structure is intact, the tempo and instrumentation are what got the overhaul. Obvious thing I noticed are that the lyrics are mixed in really poorly. I don't know if it's because the recording quality wasn't good in the first place, but whatever the reason, the mixing on them needs to be worked on. Right now, the vocals combined with the music are too loud and at too similar levels. The music should be pulled back to give the vocals more space. Vocal harmonization worked pretty well, making the delivery seem a lot more solid than the last sub. The lyrics were only quirkier given a few of the words being changed or mispronounced, and I loved 'em. "How about some scat, you little twat." That's great. Some production issues, but not enough to hold this back. A great example of how to do a cover with a lot of interpretation and personal flair. Nice job, Ilari! Good luck with the rest of the vote. Here's hoping you resubmit that Metal Gear Solid 3 collab with tiiiu as well. YES

Don't mind the filesize, just hop to it - LT Ahoy there, deary! I'd like to submit a little somethin' somethin' here. ReMixer name: Brandon Strader (It's also my real name.) Email: oinknessx@hotmail.com Website: http://www.livejournal.com/~boostrader UserID: 15151 Game: Final Fantasy VI Song: Terra's Theme I created this song about 6 months ago, or around there. I was continuing my piano lessons, which I had to quit after about a year because I entered college and really did not have time for them anymore. I produced a couple straight-up recreations of Aeris's Theme, and To Zanarkand, which I learned with sheet music. With Terra's Theme, however, I learned it by ear. It's not a piano song, so naturally, I sort of conformed what I heard into piano... with a twist! I was also quite into Donnie Darko at the time, by which I mean the movie. I love the spooky soundtrack to that movie, and it is mostly piano as well. So, I took some influence from that, and combined it with what I knew of the Terra's Theme song, and created the perfect combination between the two. I record with Adobe Audition 1.5. As far as the process goes, there's really not too much to say. I learned and practiced the song on the family's piano located in the living room, yet I used my own keyboard to record this song into my laptop. That's it - it's a dark piano performance that should send a chill down your bone. I personally enjoy listening to the atmosphere behind a performance... the slow smear of reverb contrasted by the bright tap of a note. About me: I'm a college student. I spend most of my time listening to music, doing homework, or watching TV. My birthday is on September 28th, also known as this coming Friday, and I will be 20 years old. I have a baby named Zut who loves me, and that's that. I play guitar (electric and acoustic), bass (electric), keyboards, lap harp, and I sing clean and heavy vocals. I'm interested in acquiring a flute this year. If you need any more information, feel free to contact me. I'm also on myspace, http://www.myspace.com/oinkness I'm interested in collaborations and guest appearances. Thanks! Brandon

Evahn fungshway@hotmail.com www.myspace.com/evahnder The Legend of Zelda Title Theme Koji Kondo After listening to and playing the Zelda theme for many years and in many different keys, I eventually stumbled upon the opening of this song as I was fiddling around on my guitar. I really had to slow down the tempo of the original theme to go along with it, so I was unsure of how it would turn out. Fortunately, it ended up sounding great, and the open acoustic chords really sound amazing with the theme. ------------------------------------------------------------ http://www.zophar.net/nsf/zelda.zip - Track 1 The multitracking sounds fairly good, but some of the melodic harmonies during the Zelda portion seemed odd, and I'm not sure why that was. Wish I could articulate the performance issues with the leads better, but one of the geetar-slingin' Js should be able to elaborate. Source didn't show up until 1:39. The backing rhythm during the Zelda portion starting feeling monotonous by the time you reached the end of the section, probably not helped by the sound balance, as the leads didn't really stand out in the foreground. The buzziness with the halting of the Zelda section at 2:59 didn't sound good at all. Moved back into the original writing from the beginning before integrating the source tune intro from 3:39-4:12. Even treating the end of the arrangement as 4:20 (rather than counting the extended fadeout of the last notes until 4:38), there wasn't enough usage of the Zelda material. This had about 1:53's worth of Zelda stuff in a 4:20-long arrangement, about 43.46% of the track. Like you said, the wholly original writing you added thematically pieces together very nicely with the Zelda title theme. But as far as my call goes, you need to make the Zelda material the dominant part of the equation and get it over 50% of the track. Anything less means the focus ultimately isn't on the video game music. This is nice, but the adjusting the sound balance of the leads vs. the rhythms would help, as well as tightening some of the performance, and bumping up the Zelda quotient a bit. Hope to see this one again, Evahn. NO (resubmit)

Use the project link below; the bitrate is too high, but we can get a new encoding if this passes - LT Thought I'd go ahead and submit the song on doom.ocremix.org and the ff7.ocremix.org song that are currently up. I know you guys only accept one at a time, but I've meant to submit these for a while and they're already in projects on the site. If you will only accept one at a time let me know, and I'll resubmit the other song when possible (not a problem ^^). If given the option, I'd rather have Infected Lab submitted before Sons of Chaos so they'll be submitted in the order that they were written. Thanks, Xaleph ----------------------------------------------------------------- http://www.doom2.net/~doomdepot/music/doom%201%20&%202%20midis.zip - Doom: E1M7 (Computer Station) As an arrangement, this felt underdeveloped. Not undeveloped, but definitely underdeveloped, as I felt interpretation could have been substantially improved and/or expanded with more variation, but that wasn't necessarily the goal here (which I stress is ok). Let's see what we've got. Well-produced on the whole. The intro until 1:01 seemed wholly original and unrelated to the source. Only a 2:39-long arrangement, so that definitely had me really, REALLY worried about how much of the track was going to actually be arranging the theme, as it was nearly halfway over. While I don't believe the section is anything from E1M7, I could be missing a reference to another source that I'm not familiar with, so I'd appreciate TO or someone else taking a look. Whatever it turns out to be, I can't argue that it pieced together very seamlessly into the bigger picture of the arrangement. 1:01-1:30 played it pretty straightforward with the melody, adapting it well to genre and using the synths in the background to support it and add another layer. 1:38-2:07 got more interpretive by rhythmically messing with the string part of the backing portion of the source (best heard from 1:22-1:35 of the source MIDI). Swanky changeup at 1:53; I was feeling that bassline. 2:07-2:36 covered the 4th part of the source, again playing it straightforward with the genre adaptation. It might be seen as entirely subjective, but when a source tune has a shortcoming, I don't think it shouldn't necessarily be carried over into an arrangement. In this case, it was the sudden ending with no real resolution. That's more of a nitpick. If the intro was indeed all original, then 1:27's worth of the 2:39-long track was arranging the source, just over 50%. A close call if I've ever seen one, but you get the job done on a prerequisite level. Aside from the intro, the arrangement holds pretty tight to the general structure of the source. Not in an entirely negative way mind you, but following the source with its melody #1/interlude/melody #2 sequence. Overall, I feel like the arrangement is good, but the melodic interpretation doesn't feel substantive enough. I really would have liked to have seen the theme taken further beyond the genre adaptation. I don't feel it's at that level yet. Likely can't get this worked on further, but in the event that that's possible, I know you could do something really strong with it with additional ideas. NO (resubmit)

Got pretty liberal in some ways, but the source was never far away here. Very creative arrangement. Some really impressive stuff, this was definitely one that caught me off guard with the project and really had me paying close attention. With the right subwoofers, those thumps would shake your house down. Excellent debut.

We usually have at least one story per day. Y'all better be readin'. Call me now for ya free readin'. Can someone link a brother up?

I'll corral that very soon. Did you ever have time to touch up the Equinox arrangement? It was sounding really good; would hate to not have it touched up and clicking on all cylinders. :'-(

I don't think it boils down to money as much as it boils down to being able to work within reasonable restrictions. In the same way as lack of time or personal expectations, money is one of those things that can cause pressure and impose deadlines, which merely fall under the umbrella of restrictions. And like anything, restrictions can inspire creativity in the right amount. But apply too many restrictions and you're handcuffed. Working for yourself may not make you the most productive in quantity OR quality. Neither does being creatively handcuffed. So basically a middle ground of what Dan and Derek are espousing. Middle ground, y'all.

Remixer name: Gorillamatic Real name: Maurice Taylor Email: always_into_action@yahoo.com Userid: Not sure Name of game remixed: Extreme-G Name of original song remixed: 06-acclaim-original-sound-track-2 Link to original: I enjoyed playing extreme-g a lot a long time ago. I always liked the soundtrack on there. I figured hey, why not remix it. So here it is. Hope it makes the cut. Its titled Extreme Velocity. Enjoy --------------------------------------------------------------- Check out the hosted source from the actual soundtrack promo, as it gets the meat of it quicker and is better sound quality than the USF. http://www.zophar.net/usf/xgusf.zip - Race 2 Extreme G Official Remixes - (06) Original Track Thanks for not naming the tracks, Acclaim! The source tune sounded a bit flimsy, but I can see how interesting it was. Good arrangement choice. The intro for this one definitely grabs you in. Once things kicked into the meat of the track, the beatwork felt relatively sparse and simplistic, leaving the overall texture not getting the job done, IMO. 1:33-2:13's section was another culprit on that level. Nothing wrong with keeping the source melody more in the background as an anchor for the rest of the piece; that was definitely an interesting approach and the melody was couched well within the rest of the music, something difficult for a lot of people to pull off correctly. Though some stuff like the claps patterns felt bland and could have been stronger, I'm not sure if this really needs much more in the way of processing; everything sounded fairly good on that level. There's just a fair amount of empty space that needs filling out, IMO. Some additional depth/complexity in the textures, through additional part writing, padding or percussion variation on the core patterns would put this one over the top. Man, you're my radar now, I'll tell you that. Definitely keep working on this one, Maurice. I wanna see this one go through the wringer, get spit polished and wind up on the front page. Good work so far. NO (refine/resubmit)

Hey Judges! Here is all of the pertinent info! ReMixer Name: siven7 Real Name: Kenley Kristofferson Email: kenleykristofferson@hotmail.com Website: http://www.intothescore.com Forum ID: http://www.ocremix.org/forums/member.php?u=16878 Name of Game ReMixed: Uncharted Waters: New Horizons Name of Individual Song: "Close to Home" Add. Info: The game was released in 1994 for the SNES console by Koei. The game is based in the 16th century and allows the player to assume six different roles where their destiny forces them to a life on the high seas of exploration and (often) piracy! The score is written by Yoko Kanno and is composed as though it were to be performed, having lots of effects (delay/reverb mostly) on instruments and scored in very playable ways (unlike an impossible mallet part from... say... "Main Theme" from FFIV... for example). I have a podcast called "Into the Score", which focuses on the academic study of video game music - studying Uematsu and Kondo like one would study Mahler and Beethoven! UW:NH is Episode 8 of the podcast, if you want to check it out! Right now there are some server issues, but I'm hoping that they get resolved in the next few days! Link to the OST: http://snesmusic.org/v2/profile.php?profile=set&selected=3146 Comments... This game is definitely a diamond in the rough... one of those soundtracks that has the best OST that you've never heard, you know? In which case, the ending theme of the game is a work called "Close to Home" and it is one of my favorite video game music tracks of all time. It was arranged for performers and recorded (as well as other UW:NH tracks) on a compilation called "Uncharted Waters: Special Edition," which is when the score hooked me. I submitted a remix of "Close to Home" earlier in the year called "Sunset on the Horizon" and it was for strings and woodwinds - it got 3 No's and 2 Resubmits. While different judges had different opinions about what was good and bad with it, I reflected on it some more and realized that it hadn't strayed far enough from the arrangement - I simply hadn't pushed the envelope far enough. With that, I re-imagined the potential of the work and started making something a bit darker with a stronger focus on ostinato and really filling out the texture, rather than having it really thin... almost like an impending storm. If was going to push myself compositionally, this was the time The first section establishes a foreboding and dark feel, setting a really strong groove right out of the gate (something my last arrangement was lacking) with cellos/double basses, acoustic bass and highhat. The groove is solidified with the marimba and congas setting the groove. The flute hints at the melody, as though trying to say a phrase in a crowd of talking people. The melody shows up in full with singing bowls and a santoor, in minor. There is a break in the darkness at 1:16 where harp and guitar are playing a repeating 3-note pattern (in major, which is also the first notes of the next section/the A section of the original melody), only to be discarded by the dark groove from before. The piece mounts in tension from 1:40-2:05 as though the clouds are dark and the storm is going to escalate to a hurricane, wanting to reach a climax. However, a ray of sun cuts through the clouds and the dark and endless stormy horizon is wounded at 2:05. The ray of sun is in the harp, repeating the 3-note pattern and setting up the B-section, which the flutes will start at 2:10. The key moves to the relative major with a melody in the flute and a new piano and string accompaniment. This section reaches its height at 2:35 with a modulation from F major to Ab major (I know, it's crazy) and a nice big open major chord. This section only gets bigger as it progresses, as thought the ray of sunshine is expanding and disbanding the intricate weaving of storm clouds. Again, the transition point is with that 3-note repeating pattern, this time in the harp and santoor. It sets up a return to the A section, but this time in a warm, major sound rather than a dark and ominous minor mode. This goes to show that the worst is over and the sky can reassure the land and the sea that everything is going to be okay... like a lullaby. The melody is in the flute (like the hopeful flute in the middle section) and the texture is full and rich until 2:38, where the instrumentation begins to thin out, allowing the work to have a natural feel of winding down. The work ends with a three-note motive, now seeming very comforting and supportive - the world will continue, the nightmare is over, and again... hope prevails. "Everything is always okay in the end; if it's not okay, then it's not the end." ============ Thank you for the consideration of my work! Most sincerely, Kenley Kristofferson, siven7 Kenley Kristofferson Into the Score http://www.intothescore.com ----------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=uw2 - "Close to Home" (uw2-24.spc) Arrangement-wise, you definitely did more to put your own spin on the source this time around. Why is this so quiet? I had to put on a litmus test track just to make sure the issue wasn't my fault. Nah, you gotta bump the overall levels up. You can't really hear the reverb on stuff like the mallet percussion without turning it way up. It looks like you didn't because the track may be peaking with some of the instrumentation, but other Js will be able to offer substantial analysis. Much like the previous sub of yours from this game, the samples aren't quite used to their best, perhaps less effectively here, though the low volume makes it sound worse than it is. Still, a lot of things sound pretty mechanical and exposed, most strikingly the higher bowed strings (worst offender 1:52-2:04), some of the woodwind attacks. The plucked strings at :52 probably could have been pushed up until 1:04 since nothing else was carrying the forefront briefly, but that could be more of a personal taste issue. I liked things such as the changeup in the percussion at 2:10. Was glad that core mallet percussion pattern at 2:52 finally changed, as it was getting annoying hearing the same thing from it every time it was in play. The dynamics are...subtle, but alright. The changes could probably be a little bit more defined. For example, 2:52 seems like the power should have been gradually increasing leading to a crescendo of sorts with 3:04's section, then making the dropoff at 3:28 more dramatic. I don't know if you feel that sounds cliche in practice, but it seemed like the writing implied that kind of structure but didn't actually follow through with it. More finesse with the sample usage is critical. Some of the more exposed areas of syntheticness hurt the piece significantly, IMO. If any other Js have their own observations on the dynamics here, that'd be appreciated. To me, everything feels like it's around 75% of the way there, but doesn't have the writing and production polish to put it over the top. Keep working on this one, Kenley, it's very promising so far. NO (refine/resubmit)

Hi. This is a slighlty dark, gothic mix of the Rainbow Road theme from Mario Kart 64, I realise there are quite a few mixes of this theme already, but, that doesnt matter What this mix offers is different from the submissions already on site, those submissions are calm... whereas this mix is compeltely the opposite, it starts with the actual theme, slighlty mixed, it then goes into an original melody, which then sneaks its way back into the theme. Its not perfect, but then nothing is, is it... I suppose the invention of soup... anyway yeah, enjoy Ps, I havent a clue what to write about it music wise, or what to name the song itself... I didnt put "OCreMix" at the end cause I didnt know if I should... But anyway yeah, please review and all that ---------------------------------------------------------------- http://www.zophar.net/usf/MarioKart64_usf.rar - 18 "Rainbow Road" Cool changes to the percussion to give it more of a breakbeat flavor, but that was about it in terms of effectively arranging the piece. I thought the original "dark, Gothic" section starting at :59 was completely out of place and didn't thematically connect with the "Rainbow Road" portion of the arrangement. Was it even in the same key? The stuff from 1:38 integrating SFX in the style of the original meshed better, but that was about it. Finally went back to the Rainbow Road stuff at 2:10. All of the usage of Rainbow Road kept the melody way too straight and uninterpretive. Melody dropped out, leaving the foundation of the original at 3:09, which, while a decent part of dynamic contrast, still sounds way too similar in structure and mood to the source tune. Would have been a perfect chance to integrate some original writing with the foundation of the source. So in short, the original sections don't piece together strongly enough, and the overall feel of the arrangement is the same as the source tune except different beats. Creatively, you need to make this a lot more unique and personalized. Decent first sub, and you seem to have the sound/production end of things going reasonably well. Keep at it. NO

Sounds great, but the string work seems so subtle, I just don't see how it would come out in an arena setting at all. That's more a byproduct of the arena setup than the composition, plus I'm sure you don't want the string section to be too prominent to the point of muddying up the soundscape, again keeping the arena sound system in mind. Hopefully it'll sound good. My blog post on it, already written, will go live tomorrow. Props, Greg. Congratulations!

I've already blogged about it. Y'all check it please. It's also got the trailer. Looks fun.

Hate to sound cliche, as it was the first stage, but I always thought Zone 0 was the best from that game. The game had some great music though. I'll have to fire up Zone J again and give it a listen, not that I make music.

Hmmmm. I dunno. I just don't see how Icecapella can go wrong.

God bless you Content Policy. Never have to type out an explanation on this again.

Does not compute...

Excellent. Great to see even more recognition for you. I'm definitely looking forward to the full album being completed with the original/new age material. Be sure to give the community a sample with a chill ReMix or we'll disown you!

Ha! Get out this thread, djp. You make it sound so mysterious. No, that was never on the site. To answer the original question, a friend referred me, so there wasn't one particular game. But prior to joining up, I was interested in the music from several games in the Street Fighter series. LET ME TELL YOU ALL ABOUT IT>

Also, he's the Kingfish.

2 BLACK, 2 STRONG 2 OLD?