The "Sonic The Hedgehog 3 & Knuckles" Quest for Music Composer Research

There's no way to know if MJ's estate truly got hip to the Sonic 3 thing, unless someone wants to ask John Branca somehow. But a lawsuit over the OST was apparently in progress a few years ago, so something's up. The thing is that I'm not sure if Brad was a part of that suit. Bobby Brooks got super defensive when asked about the OST, but Brad has talked about it pretty freely since MJ died, so I dunno.

Also, and this is just me spitballing, but there might even be rights issues with the beta music, and it wouldn't be the first time something done in house by Sega had licensing issues. Sonic CD's 2011 remake almost didn't get the US soundtrack because of hangups with Spencer Nielsen, I believe. It's either that, or they don't actually have the actual beta music anymore, other than what was programmed into the prototypes.

 

Such a shame that they didn't, by the way. Would have been quite interesting to have Nakamura-less releases of them, with alternate tracks from the "Sega Sound Team".

 

That means he learned something after being screwed for credit by MJ for Stranger In Moscow. It’s freaking ICZ. I mean, he probably thought that Hard Times would never see the light of day. There are so many unrealized songs by various artists. Some still sneak out or are redone. For example, Lady Gaga’s “Telephone” written for Britney Spears which leaked well after she rejected it and Gaga did it herself.

It’s a shame how they couldn’t foresee re-releases for future platforms. Back then, there were no such expectations.

 

While obsessively listening to obscure Sonic soundtracks I found a connection between the credits song in Sonic Labyrinth and the prototype version of Launch Base Act 1, where the arpeggio like part is similar to the ending of the loop in LBZ.

(0:31)
(1:01)

After some more comparisons, it's possible that some of these tracks were composed by Atsuko Iwanaga, who would compose the music for Labyrinth and who worked at SEGA at the time. This would also explain the simplicity of the bass line in the tracks, as the soundtracks to SEGA 8-bit games, which Atsuko Iwanaga mostly worked on didn't really have funky bass lines (or no bass lines at all - ) because of the hardware's octave limitations.

On a side note, I remember Miyoko Takaoka mentioning she made a bonus stage theme for the game that eventually went unused. Could it be what we presume is the Super Sonic theme? It feels to me like it fits Miyoko Takaoka's style and what a bonus stage could sound like.

 

I very much agree. it NEVER sounded like a super sonic theme. I hated those who used it as one.

 

I think that's more likely because it's from an unfinished version of the game. By 1993 Sega would have known how to make Mega Drive music.

 

I've seen this interpretation before, but I do think it's also important to check the differences between the beta and final versions of the tracks that did actually make it into the game. From what I remember, there were few, if not none situations where melodies were added after Nov 3.

 

Sega Smash Pack 2 on PC had Sonic 2 on it FYI.

 

Sega Smash Packs were just emulation, no? Sega doesn't seem to have a problem with rereleasing Sonic 1 and 2 as long as they're emulated. They either own the performance rights to the Genesis music or they have some sort of deal with Dreams Come True.

 

I dunno, the Sonic Labyrinth and Sonic 3 comparison seems like a stretch to me.

 

To me, proto/PC Launch Base is a failed attempt to create something epic sounding, like Wing Fortress. I don't know why it sounds straight off a 'Rocky' movie but the composition would sound fine orchestrated, with Timpanis and all.

 

You are right on the money. It sounds like it’s supposed to be a triumphant vibe that tells you you’ve made it close to the end of the game. It just doesn’t fit at all and is a weak composition as the intro sounds nothing like the rest of the song. Wing Fortress tied everything together, it even has a dramatic “evil will be overcome” feel to it. I like the final LBZ to be better. The proto act 2 isn’t bad but I think it needed better instrumentation.

 

In terms of plot development, isn't that fitting for Launch Base, considering it turns out the storys only halfway done? :v:

 

I always felt it was less "impending victory" and more "premature celebration". As if the game was saying "Congratulations! You won!" when I still have an entire level left.

 

I think proto Launch Base sounds fine in the Proto but only in the context of Sonic 3 pre-split.

In the context of the Sonic 3 storyline, Sonic is going to take down the Death Egg before it launches and succeeds.

It's not until Lava Reef that things go wrong and Death Egg Zone uses the music that's needed.

In the context of Sonic 3 alone, the final music is far more fitting.

It's also very possible that Launch Base may be recycled music, as Blue Sphere is.

 

Well, even for full original storyline, unless you've readed the manual before getting into the game, beating the crap out of that death star does feel like final fight, only to find out later that oh crap, that thing still works.

I still can't find how the final tracks for launch base can fit on anything tho.

 

Does that loop back around when Sonic 3 and S&K are locked on together?

 

I know this won't enhance our knowledge of the subject, but I found a fun quote from Jun Senoue about MJ's involvement. It's from the October 2010 issue of Nintendo Power.

This just adds more to the notion that Sega's got some stuff they don't want us to know about.

 

It's more like: If they admit to it. They would probably have to deal with a lot of unpaid royalties.

Not "oh, they can't know about this".

 

Yeah if it was some extra-shady stuff, Senoue wouldn't be allowed to coyly mention that he knows things. PR nightmare...