Thirdkoopa

The thing about it is that there is no answer to your question. 
On this website's database, the remixes of the theme are very conservative, not changing much from the original.  Although I have heard other arrangements in other genres, there aren't many.  Most of them are very conservative.
There are several reasons why it could work and not work in other genres.  For one, the rhythmic motives of the melody are pretty idiomatic to the commercial genres of music, rock, jazz and latin, so it works very well in those areas.  Metal is a wildcard genre, as literally anything that doesn't swing works well in a metal setting.  On the flip side of that, those rhythmic motives don't work well in many genres without sounding like a parody of that genre.  This deals with idiomatic writing to various genres, and is the reason that things seem to work or not work in many genres.  For example, take something from the swing era, particularly around 1940, and then arrange it in the style of Bach.  Suddenly you can't have the swing, so the music loses quite a bit of the drive.  You can't use a lot of the harmonic devices because they don't function in the same tonal aspect as they did during the common practice period. 
I was working on a smooth/acid jazz arrangement of the theme, but couldn't make it work.  Part of that reason was the form of the original tune doesn't lend itself well to other genres outside of its original habitat; that is to say that it doesn't follow an AABA, AB, ABA, or any other form that is widely common in the genres you would want to go to.  In order to make it work and sound idiomatic to the point that it could have been written in this new style just as well, there would be quite a bit of mangling of the form, and when you start doing things like that, the things that make Guile's theme what it is start to disappear. 
I have an argument that the joke that is Guile's Theme goes with everything is largely what it is because of the intro.  Most of the time when I see one of those videos, I don't listen very far into the melody, I heard the intro, saw the joke, it was funny, I move on with my life.  That intro is very distinct, and also falls into the pitfalls I mentioned above in regards to idiom.  The rhythmic motif is basically exclusively idiomatic to the commercial genres, and it is very widely used in jazz and Latin music.
When it comes to genre, there are expectations that are established when the genre becomes a definite entity.  When you listen to rock, you expect a 4/4 time signature with a strong beat on the 2nd and 4th beats, and syncopation is not a key feature.  Harmonic progressions are generally somewhat slow and not overly complicated, generally dealing with triads rather than extensions.  Jazz is similar, where it has the strong off beats, however there is more syncopation and the beats are generally pushed by a half count in a lot of places, to give that forward feeling motion.  Classical has none of these things, having emphasis on the down beats, generally little syncopation, and rhythmic figures that more evenly divide into subdivisions.
To flatten out the rhythm of the intro causes weird things to happen, and it loses that distinct character.  If you flatten out the rhythm of the whole tune, it loses the impact it has, and suddenly everything you do with it sounds like it isn't Guile's theme anymore.  Essentially, you either have to be really conservative with the arrangement, or you suddenly end up being really liberal with it.
When going from genre to genre, it is important to note that while a lot of things claim to be in a genre, the actually aren't.  It isn't really apparent in genres that people generally deal with, such as rock, metal or EDM, for several reasons.  For one, they have a strong familiarity with that genre because it's all they have ever dealt with for the most part, so it's kind of like speaking a native language.  And since a lot of video game music that does genre hopping starts in a genre that is similar and shares a lot of genetic similarity, the work transitions well.  For other things, like jazz or classical, there are many more stylistic nuances that aren't picked up by the arranger or performer, and although it "sounds" like that genre, an analysis of it ends up showing that it's basically gibberish, or more specifically like trying to write Japanese like this:
あいらいくとぷらえだじゃずあんづろくむじく
Ai raiku to purae da jazu andu roku mujiku.
It "sounds" and "looks" like Japanese, but for somebody familiar to that language it doesn't mean anything.
An example of this is the Godot theme from the Phoenix Wright series, everybody's like "AHH so jazzy so cool" but if you analyze it, it actually falls into a genre that is better described as anti-jazz.  But it sounds jazzy, so people think it's jazz.  Same thing when I see people do a "classical" remix of something where it ends up being an epic orchestral version.  Yes, it uses an orchestra and no electronics, but it is in no way classical because it doesn't follow the conventions of the mid to late 18th century.
In conclusion, while Guile's theme does go with everything for the reasons that have been mentioned above in regards to tempo, it does not go into every genre.  That is to say that the theme as we know it does not retain its character when put into different genres, sometimes to the point that it is no longer recognizable.  Unless there is a lot of work done to make the tune work in a new genre, it may end up sounding to somebody familiar with that genre like the Japanese comparison I made above.
In a new genre with just an attempt to make it "sound" like it works:
あいらいくとぷらえだじゃずあんづろくむじく
In a new genre with an attempt to follow the stylistic nuances, but still trying to make it "sound" like it works
愛雷くとぷらえだ邪案緑麦く
In a new genre following the conventions and nuances of the new style:
私はジャズやロックミュージックを好きです。
It may not sound like the original at the point, but at least it will be stylistically true.

put me down for instructor mooselini's rap
...
I have no shame.

A fire is lit within me, and I have decided to extend this series beyond five albums. Here are the names of the additional entries to the series:
Volume VI: You said it was going to be five Volume VII: This isn't even Final Fantasy, these are Guardian Legend ReMixes Volume VIII: Okay this one is just a picture of a potato salad? Volume IX: Wind Again, but with new artwork, and an audio forward from Darkesword Volume XI: Wait what happened to X? Volume XII: Volume X Volume XIII: More Final Fantasy V ReMixes because we actually do like that game Volume XIII-2 Lightning Returns: Volume XIII Now accepting sign ups for Lightning Returns: Volume XIII.

i'll be sending out update requests again fairly soon. still trucking along =)

hey I'm still going to submit you something cool gario and we'll see how it goes

:]

I'm down yo. Fantastic artists! Maybe I'll sign up to brush up my art skills...

Listened to them all... MANY times each ^^
@Etzaen -- Love the intro and outro as well as that "Mega Man Zero" vibe the whole track has. Still, I think you should try and mess around with the Pitch and Mod Wheels to try and make your leads more colorful (especially during the bridge section). The last part also feels like it's screaming for a bombastic solo (I can clearly see the distortion guitar you introduced in the bridge re-appear here for that purpose). I don't know if you want to go electronic or acoustic with the drums, but I feel like your track could benefit from a bit/lots more variations depending on your choice. Other than that, it's pretty awesome and I'm glad Star Fox 2 is having the recognition it deserves -- can't wait to listen to the final version
@Thirdkoopa -- With this one, I can clearly see myself in a bar in the 30s, enjoying a drink while the jazz band is jammin' in the background (I can almost tell what it smells like in there). It's a bit too repetitive for me to just sit down and focus on the listen, but it definitely serves its purpose as a ambient piece. I wish the drummer could add more variety in his performance (it's pretty boring there... especially for a jazzy stuff). I also think some instruments are played too loud a few time but it also adds to that "live performance" charm the piece has. Not being my favorite style of jazz, I can't really go deeper with my critique... but it clearly isn't bad at all.
@Siolfor the Jackal -- Now, THAT'S what I'm talking about! Some good ol' metal to wake you up and remind you that everything isn't all nice and easy in a Star Fox game  Aggressive rhythm guitars, a drummer who hates to be bored and synths for more sound variety -- a damn good recipe  I'd personally add a Pad/Synth Strings for the intro to play chords and give more of an Epic Progressive Rock feel to it before altering them a bit at 0:14 to make sure it evolves along with the track. I'd probably be nice to re-introduce the Pad at the 1:50 part (or a portion of it) for coherence but maybe it'll be too much synths at the same time -- since we also have a Synth Lead here too. Then comes the bridge -- LOVE it! Yet another track I look forward to listen to when complete!
In the end, I really like how -- with these three tracks -- we keep getting an idea of how much variety the album is gonna have. Keep up the great work, guys!

i think at this rate i'm going to have a finished product in the summer

we're going faster than i expected

EDIT: Please don't say "Move somewhere else."  I can't do that for another year at the earliest.

I live in a small town outside of Amarillo, Texas called Canyon.  For reference, Amarillo has about 200,000 people, canyon has about 30,000, so it's not that big compared to say Houston, LA, New York or any other large city like that, but it is big enough to have 4 high schools, a professional symphony orchestra and choir, a 4-year state university, and other things like that.  However, the music scene is also the size you would expect from a city this size.  Due to being in Texas, country, Tejano, and pop music are king, meaning that even if the quality isn't that good, people will eat it up just because it's the music they are used to hearing.  There is a slightly smaller rock scene, which is still very popular, but jazz, which is my area of performance is very small.
Because of this, there are a few small jazz ensembles that play around the area for private parties and bars, I'm in one of them, and the other is pretty well established in the area.  I am thinking of leaving the group I'm in, but am hesitant.
This group is virtually the only performance opportunity I get currently.  The gigs I get with this group are nice and can pay one or two bills, but I am worried about staying with this group.  For one, the leader is, let's say in a different place than he used to be, and has a history that has yet to follow him here, and if it does follow him I'm worried that the association will kill my professional reputation.  For another, the group is very disorganized.  The biggest part is that we aren't a specific type of band.  In one 4 hour gig, we will play some Frank Sinatra, some 1950s Jamaican pop music, some American pop music from the 2010s and later, some 1940s swing, some Beatles, etc.  The problem with this is that although we are a jazz instrumentation (piano, bass, guitar, drums, 4 wind instruments, and a singer), we play all these different styles on the same set, and most of it doesn't work because we aren't a rock band playing music in rock style, or a world music band playing music from around the world, we're a jazz band modeled after the swing bands of the 1940s trying to play all those styles in their original forms with no arrangement (basically trying to take these genres and literally shove them into a shape that they don't fit).  We don't generally have rehearsals, just show up at the gigs and play, using chord sheets which just have the chords of the music.  No words, no melody, no nothing.  Which, despite the fact that the 2 "leader" wind players (myself and a saxophone) are adept jazz musicians and the other two are less experienced (one is a community college student and the other is a Mariachi player who can somewhat do jazz), it ends up that we have 4 people just noodling and playing random stuff that sounds too busy.  Any attempts at using written out arrangements have failed due to the singer changing them enough that they can't be used anymore during performance, so most of the time it's like...okay we know what key we're in, but other than that it's a complete wildcard what will actually happen in performance.  This has led to many performances that to somebody who knows anything about music sound horrible and are an embarrassment, but since we play to crowds of people who literally don't know anything about music, they're like..."wow this sounds amazing."  Ex members of this band, including one of the founding members actually can't get hired on their own at the venues we've played in because of the reputation they've gotten from the group, which is bad because for some of them, music is one of their main sources of income and their market is shrinking.
I have tried to start my own group, doing a more specialized kind of thing, where we do something like Postmodern Jukebox, but I can't get good musicians without paying them, and I can't get hired to play anywhere because the places have never heard the band perform, and because of that it's a cycle that is really hard to break.  As I am now I can't afford to pay them without a place hiring the group and paying the group, which is how a lot of things work around here to begin with.  For the most part, people think they want jazz, but then when actual jazz is playing, they ignore it or are annoyed by it (which is a consistent thing with the band I'm in now), but when we do pop stuff from today, even if it sounds bad, suddenly people are like..."wow this band is really good and I want to dance to this."  Which is great.  They like that kind of music.  I am not the kind of musician that does that.  I'm not a guitar player, and don't have time to learn guitar well enough to produce a quality performance on it due to going to school and having a job full time.
I also feel like I'm not being pushed at all.  I'm not getting any kind of challenge, nor do I have to think to play these gigs.  There's very little musical reward because the performances aren't good, there is no arrangement value, and most of the time I can literally play whatever I want and nobody will notice.
The OCRemix community is about as big as the town of Canyon where I currently live.  What do you think I should do?  Should I leave the group and try to form my own group again, basically biding my time until I move away from this area in a year?  Or should I just power through it and just deal with any reputation problems that come from association with the group leader and name?  I'm a little hesitant because although the performance experience is not rewarding, challenging, or otherwise worth it at all, I'm scared to go a whole year without any performance opportunities.

Thank you for reading this.
 

A musician once told me that 'the only problem I have with working with other musicians is working with other musicians.'
From my own experience, I have found that like dating, finding musicians of like mind and drive is like looking for a soul mate - it's not something that you can just go out and get, it just sort of happens, usually due to opportunity and circumstance. Being in a smaller town certainly doesn't help either; less musicians means less opportunity to meet new musicians. That being said, if you are determined to make this happen in the live scene in this town, then you're probably going to have to put up with some of the ... shall we say idiosyncrasies of other musicians in your area.
IMO, starting your own band/group sounds like the way to go, but would you consider being a little less specific with your genre? This is probably why your other band was all over the place musically; everyone wanting to play different things leading to chaos on the set list and no one motivated to fix mistakes on songs they don't care about. As leader, at least you control the message of the band overall; you may find yourself playing boring, easy stuff for some of your mates, but you might find more people willing to 'play ball' that way. Plus, if you are playing to the audience, then it has to be music the audience wants to hear. If they don't like what they are hearing, start looking for what they ARE listening to - perhaps you can find some sort of compromise.
You also strike me as someone who takes their musical skill and performance very seriously. In my experience in the local scene, most musicians go on stage to have fun, not improve performance; that's what practice is for. If you aren't feeling challenged by what's on the sheet music, why not focus on your improv/soloing skill? Or perhaps some more elaboration on the fills? I've had some of the most fun ever on stage just jamming to some random four-chord progression and everyone getting a turn noodling over top of it. Amazing some of the music that comes from it too! Or, you could try writing some of your own music, or changing your parts a bit to give you a bit more of a challenge or...
Long and short (TL;DR version): If you're gonna stay in the town, you gotta work with what you got. OCR has taught me to embrace the diversity of musicians, no matter where they are at - maybe the folks in your area are just looking for the right pitch (also no pun intended).
I hope this has helped in some way. Good luck, @JohnStacy - if all else fails, there's always collabs on OCR!

Battle to the Grave: This is full of seriously clashing notes.  Timing seems out of sync in a lot of places, too--part of this is due to a lead with a really slow attack, which is really obvious with some of the quick notes that never get the chance to fully form.  I'm having a hard time picking out Mercury's theme, but that's not surprising given that what I can hear of Spectre Knight's theme is greatly distorted. The Siege of Venus: Pretty slick concept here to start off with.  The jazz works better than after Wandering Travelers starts, though--it tries to be big band, but it's a small band.  Panning is also unbalanced--it makes sense to have instruments have a "place" in the audio space, but that can become an issue when all the instruments playing at a particular time at a particular frequency range are on one side.  The arrangement was just Venus->Wandering Travelers, no integration between them, and even the genre changed. Four Against One, Sounds like Fun: Interesting take on Wandering Travelers, focusing on the late part of the song.  Arrangement is pretty good, mostly the usual production issues here--balance, overcompression--which are secondary concerns for this compo and can always be fixed given time.

Oh man, all of them were really good. Age & Alchemist sounds really funky (particularly because of the medley stuff, but really, needed mixing work), For Hope and Shovelry just sounded really good, The Wanderer... Man Gario, I'd love to see you finish this sometime. And Boulders Wreck Rapiers was fantastic.

hope you don't forget me for dragon god cause i'll have a WIP that doesn't sound badly sampled/short sometime this week

Another quick update... "Into the Thick of It" has been claimed by @Thirdkoopa, who sent us a 5 minute long WIP in the blink of an eye. Welcome aboard!

Since Super Mario Galaxy was originally released on November 1st 2007, perhaps we should aim for November 1st 2017 as the release date?
I've added the next deadline as March 1st 2017, hopefully everyone should have at least a basic WIP by then.
If anyone has any suggestions/questions, feel free to say!

We have a logo.

Sigs are coming soon. They'll be customized down to the squad, not the remixer.

Folks, here's some advice related to combining two sources together that I wrote in a different thread.
 

I've got tenor/alto saxophones, clarinet, trumpet, Native American flutes/ocarinas, electric bass, electric and acoustic guitar, mandolin, tin whistle, harmonicas, a trombone, a french horn, banjo, keyboards, etc... Lots of stuff at varying levels of skill on my part. Could get creative and make something weird or isolate a few instruments I'm proficient at (sax/guitars/tin whistle/mandolin) and make something a little more comprehensive. Just let me know if you want any!

which ones? and awesome!

Definitely! Depending on who's interested and can give me good quality, I could make this arrangement much larger in an ez. Sheet music is how I typically get things done for games, lol.

Hey, sorry. Stuff is busy on my end. I think we're going to get this started in January after MAGFest.

Thanks, Thirdkoopa! Anyone else need some horn from @JohnStacy for their tracks?
----
@Starphoenix has given me an update of Cyber Attack using the feedback he got. Sounding better all the time!
@Thirdkoopa has given me permission to post his WIP, Contemplating the End (working title). This is a very interesting slow jazz take on Area 6 ... brimming with performer potential!
@classic_gamer_76 and @TheChargingRhino have sent me another WIP of Records 1 including some work by @Pichu's Dad. Sounds great, love the variety of instrument leads here!
Check them out, let us know what you think!
 

Area 6. I don't know how nobody has taken that yet.

Area 6. I don't know how nobody has taken that yet.