https://www.youtube.com/watch?v=X6kAwpgW29M

September 9, 1999. While grown-ups were too busy panicking over the first “computercalypse” before Y2K (9/ 9 / 99), gamers like me were eager for Squaresoft’s next title: Final Fantasy VIII. To this day it is still my all-time favorite game. The contrast with Final Fantasy VII’s graphics was like comparing Snow White and the Seven Dwarfs with Finding Nemo. Equally contrasting was the music, which sounded very realistic. Here is my review of one of Uematsu’s finest compositions.

1- Liberi Fatali

What you hear when you first start a game. I am still in AWE with that track to this day. True, the Latin words are said more or less at random, but they sound much more life-like than One-winged Angel. And if you really want to take full advantage of the orchestration, watch the intro movie. The finale (when the male choir starts repeating “Fithos Vilosec, vicos finosec”) fits perfectly the two antagonists slashing each other’s face.

2- Balamb Garden

Your military academy, although it does NOT sound military at all. Nevertheless, it is a very nice and quiet theme, good for relaxation. The core of the loop is played by a very nice flute that shows that everything is good.

3- Blue Fields

The only overworld theme there is. It is frankly not the best one; it does not have the epicness usually associated with such themes. Instead, it has a quiet “tropical” beat to it with staccato violins in the background. But it is still enjoyable to listen to.

4- Don't be afraid

The main battle theme. It departs once again from the original 6 theme, but it is better than the FF VII one. The use of genuine instruments (violins and brass, with realistic drums in the background) makes all the difference. Plus it sounds less… dramatic?

5- The winner

The victory fanfare. It uses the same intro as the previous ones, and the rest of the loop is more elaborate than in FF VII. Nevertheless, I find it less interesting than the classic 6.

6- Find your way

One of the dungeon themes. Although the piano version captured the mystery feel better, the track is good nonetheless. I love the regular use of violins; it adds the right touch of mystery. The piano in the first part is played so it sounds a little echo, which is appropriate.

7- Seed

When you are briefed on you mission. The constant drum is highly appropriate to show your mission. However I found the “flute” to be a little strange; as if Uematsu wanted to tone down the military feel. Weird.

8- The Landing

When your boat lands near Dollet for your mission. It starts slowly, with your heartbeat in the background. It goes in a crescendo and then starts playing with loud strings and electronic beats. The tempo is just right for this mission – the end of the loop had loud brass.

9- Starting up

When the satellite dish gets deployed. It starts slowly with quiet violins, showing that something is about to happen. The track ends with violins and flutes, playing in a dramatic manner to show this strange occurrence.

10- Force your way

The boss battle theme. Like Final Fantasy VI it uses an “organ” to make most of the arrangements, which spoils the track. Nevertheless, it has the right dramatic tone for such a theme thanks to its upbeat tempo.

11- The loser

Death music. As is the game with most games I do not care for it, despite its fine realism. It is basically FF VII’s version played with more realistic arrangements.

12- Never look back

Appropriately named; it is played when you must hurry out of a critical situation. The “artificial” beat has the right tempo and volume, while the violins in the background add to the drama.

13- Dead End

When you are, indeed, at a dead end, be it nearly overrun by the mechanical spider or when you drive towards Edea at the end of disk 1. The violins have a very quick and dramatic tempo while the flute makes the track just right. It concludes with loud brass.

14- Breezy

The music inside Balamb City. It is a lone guitar that plays a very relaxing tune, perfect for a peaceful, coastal city. I prefer that to Costa Del Sol.

15- Shuffle or boogie

The Triple Triad theme. Since I loved the game so much I learned to love the track as well. The hand clapping is very peculiar but fits very well, while the bass in the background fits card playing for some reason. There is even electric guitar in the mix!

16- Waltz for the moon

When you dance at the SeeD ball. Although this is no Blue Danube, the waltz beat is perfect. And the track is even more enjoyable when you watch Squall’s clumsily steps until about the middle where he actually dances correctly, in perfect synch with the music.

17- Tell me

When Quistis announces she got fired. Although I never really cared for the track – the violin stretching and the arrangements annoyed me – I thought it had a “confidence” feel to it.

18- Fear

Inside Balamb’s training center. The beat is slow and plays a quiet drum in the background. I like the track as such, but not as the training center’s theme. It does not sound like there are live T-Rex around.

19- The man with the machine gun

Laguna’s battle theme. The arrangements are more “artificial” but are much more interesting than the regular battle theme. The tempo is very upbeat and also “joyful”, as if Laguna and his pals were invincible.

20- Julia

A quiet piano track in Squall’s dream. The nth rendition of Eyes on Me; I usually do not care for the “remixes” so I usually skip that one.

21- Roses and wine

I mostly remember this track for when Squall tries to catch Riona drifting in space. The beat is slow (played by a guitar), which feels perfect for weightlessness.

22- Junction

I can only remember this one for the Deep Sea Research center. While the arrangements are simple (a few harp notes and even fewer xylophone notes in the background) I rather enjoy this track. It sounds very relaxing and appropriate for going underwater.

23- Timber Owls

When you first enter the city from the train station. It is not my favorite track; the constant metronome in the background gets REALLY annoying. Otherwise, the staccato violin and the triangle save the track.

24- My mind

I can not exactly remember when this is played, but I love it. It is very relaxing and slow, perfect to alleviate stress.

25- The mission

When you hack the train to capture the President. Although the beat is appropriate (it uses “artificial” arrangements with loud violins in the background), it annoys my ears a lot. I usually skip it.

26- Martial Law

When you actually explore Timber. FF VI had it better for the “martial law” feel, but this track is still excellent. The metronome is integrated well, while the arrangements have a mystery feel I like (the bass in the background helps).

27- Cactus Jack

When Deling makes his speech. I never cared for that track since I was focusing on the dialogues. It feels military as it should, but you can skip it and will not miss much.

28- Only a plank between one and perdition

When fighting the Ultima Weapon, mostly. The track has an excellent dramatic beat with good violin arrangements. The cymbals in the background give the track the right tempo for the dramatic situation when Deling gets captured.

29- Succession of witches

A variation on Liberi Fatali. The female choir is perfect to sing the dark theme for Edea. The harpsichord is played in the high notes, which adds to the drama. The end of the loop is played with loud cellos, which adds even more drama.

30- Galbadia garden

Self-explanatory. After a long intro you hear the more serious tone of that garden. I like the contrast with Balamb, but I do not find them… interesting. When exploring it at the end of disk 2, I thought that the music was annoying. Just skip it.

31- Unrest

A dramatic track when Seifer gets sentenced to death for his attack on Deiling. While the tone is dramatic enough for the moment, I never cared for the track. So I just skip it.

32- Under her control

When exploring the capital. The arrangements have a kind of “I control you feeling” with the electric guitar (?) and bass in the background. The tempo is also appropriate for that.

33- The stage is set

When the “stage is set” for your attack. The strings used are played dramatically as they should, and the drum reminds us that it is a military operation, but I never got hooked to the track. Just skip it.

34- A sacrifice

When Edea move to the podium to speak. It is like track 29, but much slower and without voices. It reflects the sorceress’ evil character perfectly with the harpsichord, bells and stretched violin notes.

35- Fithos lusec wecos vinosec

The parade. Yes, again with the Latin chanting. However the arrangements are a perfect match with the dancers, who look like they are doing a tribal dance with the costumes they are wearing.

36- Intruders

When making your way through the sewers. In itself the track is good; it reminds me of the sewer theme in Chrono Trigger with the staccato violin. Here there is also bass and cymbals. However, there is a better “infiltration” theme later…

37- Premonition

The “major boss battle” theme. Although I prefer JENOVA this one is still quite good. It starts with a very dramatic and slow string intro, followed by more violins and drums in the background. The flute adds an interesting contrast to the otherwise dramatic arrangements.

38- Wounded

The final movie of disk 1. It is short and very dramatic, as it should be for being stabbed by ice spears. However I never cared for the track and preferred the organ for the final dungeon.

39- Fragments of memories

The introduction in disk 2. This is one of the best music box themes ever, sounding both relaxing and also sad. Little Ellone is a lonely girl…

40- Jailed

When rotting inside the jail. It does not have an “oppression” feeling as I would imagine a jail theme should be. However, its jazz tones (with the slow drums in the background) and the harp (?) are arranged in a good manner.

41- Rivals

When Seifer tortures Squall. Another theme I never cared about; besides you barely hear it the theme since the dialogues is rather short. Just skip it.

42- Ami

The “quiet” joy Squall feels when he sees his friends again. The “real” piano version had a more realistic tempo, but I guess that this version just sounds more joyful. Especially in the second part of the loop when violins and a flute kick in.

43- The spy

When infiltrating the missile base. The heavy base in the background is just perfect, and the muted trumpet is the perfect addition. In the last part of the loop, the violins add to the mystery of the track.

44- Retaliation

A short track of the missiles flying towards Balamb. It is upbeat as it should for missiles flying, but I found the track too… joyful for such a dramatic event.

45- Movin

When Balamb starts taking off the ground. It sounds too dramatic and militaristic for such a joyous event; it helped Balamb avoid the missiles. Just skip it.

46- Blue sky

When you see the beautiful scenery after the missiles are gone. The violins in the background have such a magical touch of grandeur. Hey, you are, er, floating around!

47- Drifting

However, when you hit the water you are at the mercy of the currents. The long string notes are perfect for this feeling of vastness from the ocean. A little like Final Fantasy III’s Boundless Ocean.

48- Heresy

When confronting the Garden Master. The organ is MUCH too loud and dramatic; this is NOT Ultemecia! Just skip it

49- Fisherman's Horizon

Self-explanatory. I never cared about this track, which sounds like it was taken from the 1980s. Oh, it sounds appropriate for this quiet fishing village, but the arrangements sound… cheap. Just skip it.

50- Odeka ke chocobo

I believe this was only available for the Pocket Station, which at the time was just available in Japan. It sounds like cheap, high-pitch 8-bit music, worse that the FF III theme. Just skip it.

51- Where I belong

Another rendition of Eyes on Me, played with a… broken piano? Even in the game I did not like it even though its sad tones are perfect to show Selphie’s ruined Garden. Just skip it.

52- The Oath

Judging by the title, it must be when Squall repeat his “oath” (the words you see in the intro movie). The arrangements sound impressive and grand with the violins and flute, but I never cared for the track. Just skip it.

53- Slide show part 1

When Laguna plays in a cheap 1920s movie. The piano sounds just like that era; you can even hear the old camera in the background. That was a very original track.

54- Slide show part 2

When Laguna fights the dragon. The piano still has that very upbeat ragtime beat I just love; you can almost see Charlie Chaplin walking nearby. The “real” piano one had a more realistic tempo, but it is excellent nonetheless.

55- Love grows

The nth version of Eyes on Me. Can we get the real thing soon? It almost sounds like a funeral with the muted trumpet and staccato harp and violins. Just skip it.

56- The salt flats

On your way to Esthar. The arrangements, like Drifting, have a feeling of vastness I like. The tempo is slow, there is a “choir” at time that sound sad, and the piano notes add the right finishing touch.

57- Trust me

When you are almost in Esthar. Since the track in-game is fairly short, I never cared for it. The beat is repetitive, and why the hell play an Aboriginal flute? Just skip it.

58- Silence and motion

The music inside Esthar. The beat is highly electronic, a perfect fit for this city of the future. The loop is a little long, so the background noises can get annoying, but it is overall good.

59- Dance with the balamb-fish

The first part of the ball (when you see the shooting star) but also the music at the space station (and Dollet, should you return there). The flute used is probably what gives the track its “space” feeling. The use of the accordion was unusual but it was good too. The second part of the loop (with the drum and loud trumpet) fitted the team’s arrival at the station perfectly.

60- Tears of the Moon

The Lunar Cry. The intro violins sound very dramatic, perfect for that equally dramatic event. Then low-tone winds kick in to heighten the drama, and a few drum rolls heighten it even more.

61- Residents

The paired monsters inside the space ship. Ugh, it sounds as ugly as Honey Bee Manor in FF VII. The synth in there is just too heavy to be enjoyable. Just skip it.

62- Eyes on me

Ah, finally, the real thing! It was one of the first games to incorporate a real song with a real singer, Faye Wong. Her voice is very beautiful, and she sings very slowly to heighten the romance of the moment. The instruments, especially the violins in her silences, complement the song very well. But that is not the best version of the song!

63- Mods de Chocobo

Probably the wackiest version of the theme that was ever composed. It sounds like it was taken directly from the 1960s; you can even hear a tambourine in the background. You can even hear a “choir” that adds to the “craziness” of the track. Definitely one of the best from the album.

64- Ride on

The airship music. The flute intro with the staccato violins is just the right level of epicness for an airship. The core of the loop, on its side, incorporates drums that are just at the right tempo.

65- Truth

You hear this track in the vicinity of the orphanage. I never cared about it; the harpsichord sounds too weird and too echo. And the other instruments do not make things better. Just skip it.

66- Lunatic Pandora

Self-explanatory. Yet another theme that profits from being highly synthesized, considering how high-tech the dungeon is. But what makes it even better is the incorporation of real instruments like drums (to give it a military feel) and piano played loud to heighten the drama.

67- Compression of Time

The music you hear outside of Ultemecia’s castle. The “voices” sound anguished as they should for this huge castle, but the main track has a weird muted “flute” sound. Plus there are hints of synth I think do not fit well. And since you rarely spent much time outside the castle, just skip it.

68- The Castle

The final dungeon. Wow, THAT is an excellent use for an organ. It is very loud and dramatic in the first part as all final dungeons should be. Then the second part is introduced by a harpsichord to add a medieval feel, but it is cut by more organ to remind us where we are. A fine track.

69- The Legendary Beast

The second part of the final fight, when Griever casts Shockwave Pulsar. The violin intro is absolutely wonderful and dramatic and it shows the strength of the spell very well. Then drums and a surprisingly quiet flute kick in, as to create an interesting contrast. The core of the loop still has flute, but dramatic violins also kick in.

 70- Maybe I'm a Lion

The third part of the final fight. It starts with an interesting use of drums, to then let heavy synth arrangements (and some bells) take the stage. There is even electric guitar before the rest of the loop becomes very upbeat thanks to the drums.

71- The Extreme

The last part of the last fight. After the usual Fithos Lusec, a guitar plays the Balamb theme backwards. Then a very nice and quiet piano is played, when Ultemecia talks about the end of times. Then the track explodes for the start of the fight, which consists of a mix of strings, piano and synth (and even tambourine!). I have to say, it is better than the last part of the fight against Kefka. However, the synth at the end of the loop was not done well.

72- The successor

When Ultemecia transfers her powers to Edea. The piano played has a lot of echo in the beginning, reflective of the immense time-travel you have just done. Despite that huge event, the track has a rather slow tempo, and is very good for relaxation. Oh, and there is no loop; it is the same track for nearly 4 minutes!

73- Ending Theme

Self-explanatory. It is divided in four main parts. The first part has dramatic violin arrangements, where you see Squall walking God knows where since he was lost in the time compression. The arrangements are perfect for this feeling of powerlessness. Then a sad flute kicks in, then some quiet piano, and suddenly the music becomes happier because Riona finally found Squall! You hear a more joyful version of Eyes on Me, still sung by Faye Wong. That version was much better; Wong seemed to express her emotions much better. Of course, the piano and violins helped to heighten the emotion. There are even some drums to make the song more romantic. After that performance, the “victory party” starts with the Final Fantasy theme. Ah, it sounds so beautiful when played with “real” instruments! The only thing I have against the theme is that the trumpets were too loud; it got noticed when it was played with a real orchestra. After that is simply the staff roll. I could never watch nor listen to it because the disk I had was too scratched to let me listen to it… However the arrangements are beautiful, with loud violins and trumpets that make it sound like this is the end of a great saga.

74- Overture

If you do not press start when you start the game. But since I always do I never really listened to this depressing, militaristic track. Just stop the disk.

Final diagnosis: this album is DEFINITELY worth your money. It has some of the best arrangements not only of the Final Fantasy series but of all time. I am still looking for an opening scene as epic as Liberi Fatali.