I miss the Metal Gear Solid theme.
More specifically, the old Metal Gear Solid theme.
That’s not to say the new theme music is bad, (it’s not) I just feel the old theme was a whole helluva’ lot better.
The composition was more interesting, the tune catchier, and the overall “feel” of the track seemed to fit the series like a glove.
For those that are unaware, the original Metal Gear Solid theme, used in all of the games up until the PSP exclusive Portable Ops; was removed from the series due to implications that the track had been plagiarized from an existing composition.
Composed by Tappi Iwase AKA TAPPY, the theme made it’s debut as the background music of the promotional trailers for Metal Gear Solid, and was also featured as an alternate ending theme:
The original version of the Metal Gear Solid theme was entirely synthesized, and had a very electronic and, unfortunately; “cheap” sound to it despite it’s instrumentation being intentionally implemented for the purpose of simulating an orchestral feel.
Despite it’s somewhat primitive sound, (at least by today’s standards) the theme possessed a rare combination of energy and catchiness that make it synonymous with the series to this day.
While I honestly wasn’t too keen on either of those games, (still aren’t) I remember playing a lot of co-op Beatmania specifically to hear the remix of the Metal Gear theme:
That, was my introduction to the Metal Gear Solid theme.
As a remix, it’s actually kind of shitty; however the core sound of the theme manages to give the track a lot of strength and memorability.
Gotta’ love that English dude yelling random shit in the background though…
*Ahem!* Moving on, I think the last time we got to hear the Metal Gear Solid theme music, was in the sequel; Sons of Liberty.
Combining TAPPY’s previous motif with Hollywood film composer Harry “I do military themes that sound like Hans Zimmer’s early 90’s work” Gregson-William’s, this iteration of the theme represents my favorite version of it:
Essentially split into 2 halves, the first portion of the composition is essentially an orchestral and synthesized re-imagining of TAPPY’s original motif, while the second half is a decidedly more somber military march-esque tune composed primarily by Gregson-Williams.
The end result is a powerful and exhilarating theme that I had hoped would endure for years to come.
Sadly, this was not the case.
As mentioned earlier, facts surfaced regarding the composition of TAPPY’s portion of the theme that heavily implied that the tune was stolen from Russian composer Georgy Sviridov’s “The Winter Road”:
Most likely fearing a possible lawsuit, Konami pulled the tune from all subsequent Metal Gear Solid related productions, including Super Smash Bros. Brawl.
With the “old” theme gone, Konami ended up using Gregson-Williams’ half of the composition as the official theme of the series from that point forward.
As I said earlier, I really don’t have a problem with the “new” Metal Gear Solid theme, truth be told it’s rather good as far as themes go; it’s just that it simply doesn’t fit as well as it’s predecessor.
It’s like John William’s Superman theme:
You can make new movies, and you can reboot the series all you want, but the day you stop using Johnny’s theme music; is the day I stop believing a man can fly.
The original theme bore an energy and sense of urgency that really sucked you in.
If you closed your eyes listening to the Metal Gear Solid 2 version of it, I swear you could see Solid Snake running around chokin’ bitches in your head.
The “new” theme, which bears more than a few of Gregson-Williams’ somewhat one-dimensional compositional touches; feels a little slow and overblown if you ask me.
That being said, the Snake Eater version of Gregson-Williams’ theme was actually quite good:
Essentially a medley of most the major themes used in the game, the full length version of the Snake Eater theme was an intense and far more organic sounding track than previous compositions in the series.
Let it be known, the heavy percussive segment towards the end of this track is one of my favorite action cues in the entire series.
The instrumentation of the track did well to keep in line with the game’s dated Cold War setting and decidedly more somber tone by making use of a richer sounding orchestra, as well as a particularly effective acoustic guitar towards the end.
To date, the acoustic guitar version of the “new” theme remains my favorite version of it.
The Metal Gear Solid theme variant used in Metal Gear Solid 4, renamed “The Metal Gear Saga,” left me with a bittersweet taste in my mouth:
While the core theme was retained, and the acoustic guitar element reused with the addition of a bugle for effect; the bulk of the track felt excessively busy and scattered.
The synthesized elements in particular stand out as being particularly noisy and extraneous, such that the track actually weakens the intensity of the sequence it plays over.
The Metal Gear Saga was used in a fight scene towards the end of the game, and I remember feeling genuinely disappointed upon hearing it.
Make no mistake, that scene was amazing; but the music that played over it, wasn’t the one I had been humming to myself while I was playing the game…
While I knew ahead of time about the lawsuit regarding the Metal Gear Solid theme music, I played through Metal Gear Solid 4 hoping against hope that Konami would sneak it in there in some capacity.
The “new” theme is passable, but suffers from fairly generic composition, largely brought on by Harry Gregson-Williams’ tendency to recycle his music… A LOT.
In my book, the “old” theme is the one true Metal Gear Solid theme music.
It’s what I hear in my head whenever I think of the series, and it’s what I scour the net for remixes of whenever I’m in the mood for good background music to write to.