R-Type -Irem Game Music-
 |
Album Title: R-Type -Irem Game Music- |
| Record Label: Alfa Records |
|
| Catalog No.: 28XA-199 (CD); ALC-22921 (Tape); ALR-22921 (Vinyl) |
|
| Release Date: January 25, 1998 |
|
| Purchase: Buy Used Copy |
Overview
Long-running arcade manufacturer Irem hit the jackpot in 1987 when they released the futuristic space shooter R-Type. More elaborate than their previous titles, its score was particularly experimental and commanded for its time. Irem’s first album release R-Type – Irem Game Music features the original music for this game. In addition, it features the much shorter scores for several other historically important arcade titles, including the Lode Runner series, Moon Patrol, and Kid Niki: Radical Ninja. All the scores are presented as original sound medleys, meaning the individual pieces are not separated into different tracks. However, the scores themselves are thankfully complete and free from interruptions with sound effects.
Body
Spanning some 13 minutes, the first track on the album is dedicated to R-Type by Masato Ishizaki (aka SCLAP). This soundtrack set the foundations for the series with its punchy techno anthem to represent the first stage and use of foreboding industrial soundscaping for subsequent segments. However, the majority of the tracks weren’t as creatively conceived or developed as those in subsequent instalments of the series, and pieces like the final stage theme are especially disappointing. Most segments on this score are respectable for what they achieved with limited technology, but only a few stage themes are particularly enjoyable to listen to all these years later. The clumsy medley-based presentation here forces consumers to listen to the entire score, but it is actually best digested in small chunks.
The album is otherwise dominated by Irem’s four arcade adaptations for the Lode Runner series, originally developed by Brøderbund for personal computers. Given these titles were created in the three years before R-Type, their scores are greatly inferior both musically and technically, each lasting only between one and three minutes. The compositions themselves tend to be generic happy-go-lucky chiptunes, rather than anything particularly individualised, and the melodies lack the charisma of platforming scores by Capcom and Nintendo released around the same time. The music for Lode Runner: Golden Labyrinth has a little more character and substance than the rest, but it’s still nothing worth paying money for. Still, these scores served their purpose in the game and deserve a place on this album for historical reasons.
The five remaining scores on the compilation are a mixed bag. The main background pieces for Kid Niki: Radical Ninja have a lively whistleable quality, but are too underdeveloped and monotonous to compare with OGR’s masterpieces on The Legend of Kage. Moving on, there’s little special about the theme and variations featured on Youjuden either, while the technical improvements of the two versions of Moon Patrol featured on the fourth track are hindered by yet more bland chiptunes. Thankfully, the music for the later-released puzzle game Kickle Cubele is quite charming despite its brevity and superficiality; there are several rather catchy melodies featured and the experimental synthesis is quite humorous at times, though the overall score barely exceeds the two minute mark.
Finally, the score for Mr. Heli (aka Battle Chopper) offers the best of the both worlds. There are catchy youthful chiptunes featured on the title and name entry screens, which are similar yet superior to the type of tracks featured on the Lode Runner series. In addition, there are more experimental and percussive pieces to represent the volcano stage and boss encounters, which are comparable to the music on R-Type. All the pieces are creative and compelling, so should easily appeal to most old-school soundtrack collectors. The only problem is that, with just four pieces, there isn’t enough of them to sustain the gameplay and produce a wholesome stand-alone experience. This score is a fine supplement on the album, but once again isn’t substantial enough to be worth seeing out.
Summary
As the game’s first billing implies, the score for R-Type is clearly the highlight of this compilation. Despite its weaknesses, the score was quite pioneering for its time and laid the foundations for even better scores in the series. The rest of the music is historically significant, but rarely satisfying on a stand-alone basis. It’s probably better to enjoy the R-Type score within the context of Team Entertainment’s compilation for the series, given its presentation here is not really adequate and the other scores aren’t worthwhile.
Do you agree with the review and score? Let us know in the comments below!
3
Posted on August 1, 2012 by Chris Greening. Last modified on August 1, 2012.
About the Author
Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello!
Related Posts
Final Fantasy VII Remake Acoustic Arrangements →
Fleeting Symphony →
Final Symphony II – music from Final Fantasy V, VIII, IX and XIII →
