https://www.youtube.com/watch?v=sLpjPht5mvg

Note: this IS Final Fantasy VI. If you are looking for the real Final Fantasy III (NES) please go here https://www.vizzed.com/boards/thread.php?id=90462

Final Fantasy VI was one of the last grand RPGs for the 16-bit consoles (the last one, in my opinion, being Chrono Trigger). The game had some of the best graphics of the time, one of the most complex (not complicated, though) scenario and, of course, one of the best soundtracks. Definitely more at ease with the technology, Nobuo Uematsu pushed the SNES sound chip to its limit with some of the most complex arrangements of the time – at a higher degree than Yasunori Mitsuda for CT. Here is my review of this masterpiece. (Note that it came on three disks)

1- Opening Theme

What you hear when you turn on the console. The organ intro – taken from the last part of Dancing Mad, the Final boss battle – it quite a dramatic entry. It is followed by a quick-tempoed piano and then by a more epic rendition of the Empire’s Theme; you also hear Terra’s Theme (the peaceful overworld theme). While it sounds good, I never really paid attention to it since I always pressed start as soon as the stormy clouds appeared.

2- The Mines of Narshe

Narshe, the very first city you enter in. This is a most unusual theme for a city, with a woman exhaling very loudly through the first part of the loop. However it represents the city (neutral, far away in snowy mountains) very well. The violin track in the background is loud and playing very long notes, creating a very intriguing atmosphere. The second part of the loop has quicker piano notes going on top of the violins. And through the loop you can hear a strange clapping sound that fits very well.

3- Awakening

When Terra finally wakes up after meeting that Esper. The music fits the title perfectly; it starts with a loud flute intro, followed by a few harp notes and piano. You really feel like you just woke up after being asleep /out of your body for so long. The violin track really helps that feeling.

4- Locke

The “treasure hunter” theme. The track has a kind of “quiet heroism” feel I have; I mean he is an integral part of the story, but as if he were only playing in the shadows rather than be in the spotlight like Terra. The theme is played almost exclusively with strings in that “quiet heroism” manner; the drum in the background makes the track more heroic than not.

5- Battle Theme

The best rendition of the classical battle theme. EVER! The intro is very upbeat, and the main trumpet simply carries that “upbeatness” through the first part of the loop. The quick tempo is maintained by upbeat drums while an instrument I can not pinpoint (which makes for the intro). The second part of the loop has loud strings kicking in, which had to the excellence of the theme.

6- Fanfare

The best victory fanfare up to Final Fantasy X. The trumpets are very joyous (and realistic) and the notes they play are very clear. The drum (and bass) in the background are played slower than previous fanfares, making the theme much better.

7- Edgar and Mash

The theme inside Figaro Castle (Mash is Sabin, by the way). The theme sounds very regal, there is no doubt about it. The loop starts with very loud brass (and drums and cymbals in the background), and the second back has loud strings instead. However, I always found the theme to be annoying because the brass are much too loud to be enjoyable.

8- Cefca

The megalomaniac Empire messenger who ultimately becomes THE bad guy. You would not guess it from the theme. But you do feel that he has no good intentions. The track starts with a mix of flute and staccato violin; loud drums and cymbals kick in at the second part of the loop, while the last one starts a little more quitter and ends in a louder crescendo. Uematsu did much better for Kuja’s and Seymour’s Theme for representing evil characters in later games.

9- Mt Koltz

The mountain theme. This is the best mountain theme up to that point; the arrangements translate the feel of going up high better than in Final Fantasy IV and V. After the intro of the unnamed instrument from the battle theme, violins go into a crescendo before playing to core of the loop. The drum beat helps reminding us about the constant battles we face, and the few harp notes are a nice addition. The second part of the loop has low-tone brass that help introduce a synth track that sounds pretty good.

10- Returners

The Rebels’ Theme. Another fine track; the constant drum make for a great heroic military theme, while the low-tone brass that play the core of the theme have a kind of hopeful tone that fit a rebellion well. These brass are always followed by trumpet that are incorporated well.

11- Shadow

The mysterious ninja’s theme. He is also an integral part of the game, but comes and goes as he wishes. His theme sounds like one of a renegade with its Wild West feel played with guitar and high-pitch flute, like the one we hear in all good Westerns.

12- Troops March On

The Imperial Soldiers’ theme. The core of the loop has very high-pitch trumpets (that exchange with low-tone brass) and constant drum beat that make it very militaristic. The second part of the loop relies more on strings that do as good a job as the trumpet. However, I have to admit that I think less of this theme after hearing the orchestrated version, which was much slower and more dramatic.

13- Cayanne

Cyan’s theme, the hero of Domu. His is also a “quiet hero” theme I like. The main flute has an oriental feel that sounds wonderful – he attacks with samurai swords and has very strict discipline. The violin and drum in the background show his inner ghosts, which he will fight during a sidequest later in the game. The second part of the loop has loud strings making the theme very heroic.

14- The Unforgiven

A dramatic theme usually involving Kefka doing something evil. It sounds very highly dramatic and is very good! The constant quick drum and cymbal in the background help setting the tone right while the strings help increasing the drama and show the gravity of the actions committed.

15- The Phantom Forest

A much quieter theme, perfect for a haunted forest. It starts with synth voice, then a few guitar notes introduce the core of the theme, magically played by a flute. The violins in the background help creating a feeling of magic I love. This is an excellent track to relax to.

16- Phantom Train

The train that brings people “to the other side.” You can hear the train rolling on the tracks all through the track (!), and even hear it stop at the end. After a quiet, mysterious introduction the core of the loop is played by loud brass and a constant drum beat. It makes the theme more dramatic than haunted, but it is appropriate considering who the main passengers on the train are…

17- Wild West

The theme in the Veldt, whatever the state of the planet. It DOES sound like the Wild West; there are heavy drums through the track and low-tone strings that make the theme sound like there is untamed wild life that will attack you if you are note careful.

18- Gau

The theme, played with heavy cellos and sad guitar in the background, does show how this boy was cowardly abandoned by his father and he only survived on his own by becoming an animal basically. However I never really cared for the theme, since it plays only once or twice. It is beautiful, but I usually skip it.

19- The Serpent Trench

This is what underwater traveling should sound like! In my experience this is the best such theme ever composed. The loop start with very quick-tempoed violins that remain all through the track while the core has other violins that give the track the perfect underwaterness. The second part of the loop also features a low-tone flute (?) that fits perfectly.

20- Kids Run Through the City

The perfect peaceful village theme. The main flute is very relaxing, and the relaxation gets even better when the violins enter. The few guitar notes we can hear are the “running” part of the title. It sounds very peaceful…

21- Under Martial Law

… unlike this one. It is a sharp contrast and you can feel the oppression of the occupation. The loop starts with violins (and a few harp notes in the background) that stretch their notes, while the core of the loop uses winds that sounds much sadder than Kids Run Through the City. The constant cymbal beat in the background helps creating a military feeling to the theme.

22- Celes

The traitor to the Empire. Her theme is based on Aria De Mezzo Carattere, albeit sounding much sadder. I honestly never cared about her theme; she is not my favorite character of the cast (nor in regular gameplay, as her Runic skill becomes quite useless towards the end). The intro is much too loud, and I preferred Aria. Just skip it.

23- Save Them

A highly appropriate track for the situation, where you must protect someone from enemy forces at all cost (or you die!). It is very upbeat to create the sense of urgency and the drum and cymbals in the background make you want to hurry and kill the boss ASAP. The core of the loop changes between brass and strings and an equally dramatic and upbeat fashion.

24- The Decisive Battle

The boss battle. The track as such is good; the intro and the core of the theme have an interesting use of an organ, while the quick drum tempo create good drama. However, it does not sound dramatic enough for a boss battle compared to FF IV, V and even VII.

25- Metamorphosis

When the Espers come out raging of their hiding, destroying everything in sight. The title is strange, but the track is highly appropriate for the situation. The strings used sound very highly dramatic, while the drum in the background (played relatively slowly) builds on the havoc the Espers create.

26- Terra’s Theme

This is the overworld theme when the world is at peace. I am still in awe before it; the flute in the first part of the loop is simply majestic, showing both the fragile equilibrium of the world and of Terra’s persona. The second part of the loop uses muted brass, while the violins help keeping the theme grand as it should be. The relatively slow drum beat help building the epicness of the theme.

27- Coin Song

Another track I never really cared about. I believe it is related to Sabin and Edgar, when the latter tosses a coin to know whether Sabin should leave Figaro or not. The track is in fact a sad version of Edgar and Mash; its tone reminds me of the “One year later” at the end of FF V. Just skip it.

28- Techno de Chocobo

Man, you is UGLY!! This is by far the worst track of the album, and possibly of all chocobo themes ever. Uematsu abused the SNES sound chip by creating this… collage of random noise and trying to make it a chocobo theme. Even Cinco de Chocobo (FF VII) was far superior to this piece of garbage.

29- Forever Rachel

Locke and his beloved Rachel… Another track I never cared about as I think that their romance was not developed enough to be appreciated. The flute making the core of the loop is too loud and annoying. Just skip it.

30- Slam Shuffle

The theme inside the city of Zozo. Fun fact: you can hear the rain falling all through the track! The theme as such is good, as if composed for a Halloween City. However, there is not much of a feeling of horror in Zozo (notwithstanding a few ghosts here and there) so it feels a little out of place.

31- Spinach Rag

The music inside the Opera House. The piano, although its genuineness is limited by the SNES sound chip, does sound like it is playing a ragtime beat – the kind you would hear in a mute movie of the 1920s. There exist version with real piano that render the track much better.

32- Overture

The opening act of FF VI’s opera. I have absolutely no knowledge about opera. Nevertheless, the arrangements are done very well; they even include the “voice” samples from the game! A reminder that this game was released in 1994, so at the time it was quite a feat in technology. And the sound actually matched the lyrics (on-screen) fairly well.

33- Aria De Mezzo Carattere

Celes’ entry into the act. The music fits the emotion of the scene, where she is thinking about her hero who might be lost forever, very well. After a harp intro (which continues with Celes’ “voice), the violins kick in to add to her romantic serenade. The “voice” matched the lyrics even better here than in the Overture.

34- The Wedding

The third act of the opera. It starts with a waltz, where Celes’s character (Maria) gets married to the “other prince.” The arrangements are lightyears ahead of the waltz in FF V. It then stops suddenly when Maria’s love (Draco) suddenly appears. After more “singing” the music then gets very upbeat to show their fights. It was also the signal (in the game) for you to stop Ultros from dropping a boulder on the stage within 3 minutes. In short the music was a perfect match for both; you can even hear the boulder fall on the stage at the end of the track.

35- Grand Finale

Your battle with Ultros, basically. It does not really sound like a battle, but it does sound epic enough for a “Grand Finale”, very upbeat drums and trumpets to show the drama of the Final scene. Orchestrated versions of the opera made it even better.

36- Setzer

The pilot of the airship (you also hear the theme inside the airship in the World of Ruins). I think this is my favorite character theme. It sounds very epic, with the triumphant trumpets in the first part of the loop and the rhythmic violins that conclude the loop.

37- Johnny C. Bad

For those of you not familiar with US music from the 1950s: this is a pun with a very popular hit from that time, Johnny B. Good (what Michael J Fox plays in the Back to the Future I). Anyway the title is very appropriate as it sounds just like swing music with piano and even “walking bass”. The high tempo of the drum make the theme even more interesting. Oh, you can hear that theme inside the Coliseum in the World of Ruins.

38- The Empire Gestahl

The official theme from the Empire. It is much slower and solemn than Troops March On, perfect to reflect the intrinsic evil of the Empire. I prefer this theme to Troops because of its slower beat; it gives it a much more dramatic effect.

39- Devil’s Lab

The theme inside the Magitek Plant. You can hear constant (and highly regular) metal clinging through the track, perfect for this high-tech plant of magical robots. The core of the loop has excellent trumpet arrangements and even bass (?) in the background. One of my favorite tracks.

40- Blackjack

The airship theme in the World of Balance. This is the best airship theme up to FF VI. The main trumpet track in the first part of the loop is high-pitched and very triumphant and the violins in the background actually give it good support. In the second part, the violins and trumpets play an equal epic role. You really feel you are floating in the air.

41- ???

A theme that is like “What” in FF V. However, THAT latter one was fitted better for the title; this one sounds like (with the “barking”) you discovered a chocobo den.

42- Mog

Kupo, it is the Moggles’ theme! It is a much slower (and better) version of the FF V theme. The main flute is perfect for these white, fluffy little creatures, while the trumpet in the second part of the loop shows their more playful nature.

43- Stragus

The theme inside the blue mage village. The theme has an intriguing beat to it the way the flute is played (and with the finger snapping and unknown instrument) that is perfect for this village where people seem to avoid talking about magic at first.

44- Relm

Stragus’ granddaughter (and her father will be revealed if you are patient). I never really cared for that track, but it is nevertheless beautiful. The main track is annoying, but the violin help showing her delicate nature and her carelessness.

45- Another World Of Beasts

The theme of the cave leading to the world of Espers. The harp intro is very intriguing, while the main flute sounds very sad. This is perfect for a cave leading to a forbidden world that engaged in a war that nearly destroyed everything. The flute arrangements at the end of the loop add a good touch of drama.

46- New Continent

The theme of the continent that rises with the 3 goddesses. The theme is very highly epic and dramatic and appropriate for the situation. It starts with an upbeat intro of harp, followed by a synth sound that almost surprises you when you hear it. The core of the loop is played by loud strings that add to the drama. The end of the loop features more of that synth sound that adds to the dramatic ambiance.

47- Catastrophe

The scene where Kefka starts messing with the statues. I remember when I first played and watched that scene. I was like, “He’s not going to move the statues?!” It is another remix of the empire theme with a quicker tempo and an even more dramatic feel to it with its dramatic flute intro and loud string arrangements.

48- The Fierce Battle

The “major boss battle” against the Weapons and the Goddesses later in the game. The arrangements are perfect for the situation. The string intro is highly dramatic, while the flute and other strange instrument in the core of the loop keep that drama alive. The loop concludes with a high-pitch trumpet that adds to the drama.

49- Rest In Peace

The death music. Now I DID get to hear this one a few times, especially in the timed lapse to escape the falling continent. The flute sounds very dramatic while the violins add to the sorrow of death.

50- Dark World

The overworld theme for the World of Ruins. Not only can you hear the wind howling on this wasted world, but the organ used adds as much drama as the Fugue in D Minor. There are also a few piano notes played, along with occasion bell sounds. The end of the loop has the organ sound so sad it could almost make you want to cry.

51- The Day After

The music inside a ruined village. It is such a contrast with Kids; it sound very sad, and yet with a touch of hope too. The loop starts with a mix of flute and harp, while the core has the sad flute playing with lute (?) in the background. The flute gets more “hopeful” towards the end of the loop.

52- Searching For Friends

The overworld theme after you have discovered the Falcon (even when riding it). The theme was almost perfect. After a violin intro, the flute that plays translated the hope that you would be able to reunite with your friends so well. But why, WHY, was there this annoying drum beat in the background? It spoils EVERYTHING!

53- Gogo

An optional character you may find in this wasted world. The theme sounds extremely silly, which is very fitting for that clown that mimics your actions. The flute and trumpet are played in a light-hearted manner perfect for this strange character.

54- Epitaph

I honestly can not remember when this track was played. Was it when Setzer went into Darryl’s tomb to dig the Falcon? When Gau met his father? Anyway I never cared for it.

55- The Magic House

Uematsu’s unreleased dungeon music from Final Fantasy II was finally put to use! The loop is greatly prolonged, and the track is highly fitting for such a title. It starts with an intro of mysterious strings, which is followed by nice flute arrangements and a bass in the background. The “prolonged loop” consists of flutes playing the string beat from the intro.

56- Umaro

The Yeti’s theme. While very fitting for this brutish ape (especially with the violins in the background), I never cared for that theme, so I simply skip it.

57- Fanatics

The theme of the Kekfa fanatics’ tower. I have never been found of it, but it is very appropriate for these mindless bozos, with a background instrument you can associate with cults walking around in the street. The loop is introduced by heavy organ, while the core has male “voice” sampling that reminds me of cult followers who completely lost their minds.

58- Last Dungeon

Self-explanatory. To me THIS is the most epic Final dungeon EVER! After the intro with the unnamed instrument from the battle theme, a very epic trumpet starts playing with slow, constant drums. The second part has violins kick in before the trumpet comes back for the best part of the loop. That part sounds more heroic, showing the heroes’ determination to save what is left of the world.

59- Dancing Mad

This track includes every single tunes you hear while fighting the Final boss. All 4 of them. That was quite an accomplishment for the time; only the epilogue in FF IV was about as long. The first part is introduced by bells and a dramatic organ track, followed by anguished “voices” that make for a good drama. The core of that loop has the organ going into a much quicker tempo, in-synch with the battery.

The second part has much more dramatic organ playing (as if a giant monster were marching towards you), also with anguished voices. The drum roll in the background makes the track even more dramatic. The last part of that loop has the organ play a few louder notes to add to the drama.

The third part starts with an organ intro played in a quick tempo, followed by a few bell ring and then an echoed organ that creates the best dramatic atmosphere of the whole fight. That whole part is wholly played by organ, in the main track and in the background.

The fourth and Final part is introduced in the same manner as the introduction theme (with the organ). It then has the appropriate beat for you to fight the ultimate evil in the game; Kefka (although there are better Final boss arrangements). Once again there is very upbeat drums in the background, while the organ takes on the main track. There seems to be quick-tempoed bass in the background, creating a great atmosphere. The loop always ends (on the CD) with the most memorable sound of the 16-bit era: Kefka’s laughter.

60- Ending Theme

Yet another reason why the original album has 3 disks: this track lasts over 20 minutes! Although this is another track I never cared about (I was focusing more on what was happening on-screen), it does has its merits. After an upbeat harp intro, you hear a remix of every characters’ themes as they escape Kefka’s tower (in the game, you see an enumeration of the characters). Since this is the end, it sounds much more heroic, especially Edgar and Mash (that theme is actually enjoyable now).

The second part, where all the magicites start disintegrating, starts with a very upbeat drum and violins. This is perfect for the situation, where Terra uses the last bit of energy from her Esper half to guide the people away from the crumbling tower. The theme becomes more hopeful as she tells Katarine (in the village where she ended up) to hang on as she is pregnant. The theme becomes very joyful with trumpets as Terra is seen, alive and well. Then the end-credits start, sounding as epic as they could for 16-bit.

Final diagnosis: This game is an absolute must for RPG lovers, and even more for video game music lovers. This soundtrack has some of the best arrangements of the 16-bit era and, despite a few awful tracks, is one of the best ever composed.