![]() In addition, there are a couple of rock jingles flanking the body of the album. Fortunately, it’s treated more as a bonus track so doesn’t negatively impact on the release. The last main contribution is “Crash & Burn”, which basically blends cookie-cutter hard rock work with sound effects and voice effects from the game. “Race to the Bass” is a drum ‘n bass track in the meantime, but a rather interesting one with its varied rhythms and moody layering. The former takes a electro-funk approach and, by blending upbeat trumpet leads and serene synth backing, gets the atmosphere just right for driving. Richard Jacques also makes fine contributions in the form of “Funk Fair” and “Race to the Bass”. It’s a very dynamic and punchy blend of jazz and rock features that, in my opinion, is far more interesting than the retro sound of Sega’s previous jazz fusion works. Kenichi Tokoi certainly doesn’t hold back in “The Noisy Roars of Wilderness”. The various contributors offer a number of original instrumental compositions too. A final treat is Senoue’s “Daytona USA Medley”, which assembles Mitsuyoshi’s various voice samples and chord progressions into one clever, varied, and fluid six minute rock remix. The once-secret “Pounding Pavement” returns too and blends the pounding Senoue rock treatment with a more retro organ melody. Tomonori Sawada gives a similarly styled interpretation of “Sky High” and emphasises the passionate melody. Again, the quality is top-notch and it should appeal to Western audiences. Meanwhile Richard Jacques gives an eccentric eurobeat flavour to “The Kings of Speed” with vocoders replacing Mitsuyoshi’s vocals, rapid electronic beats replacing the funk instrumentals. Jun Senoue really declares ‘this is my score now’ with his aggressive rock jam on “Let’s Go Away” and the effect is controversial yet spectacular. Each piece receives a full length remix for the main racing scenes and a short intense variation. The other major highlights of the album are the remixes of Takenobu Mitsuyoshi’s Daytona USA themes. There are also instrumental versions at the end of the soundtrack. The tracks might not be that original, but any fan of 80s rock will agree they’re very enjoyable and well done. The instrumental backing is a little more straightforward this time although Jun’s guitar work is as great as ever. The vocalist steps things up a notch in “Sons of Angels” with an especially rousing performance and even strong nods to Springsteen’s ‘Born in the USA’. It’s pretty amazing something as good as this could come from a Japanese game composer. Big’s Eric Martin, singing English lyrics such as “Winner takes all… it’s the American extensive guitar solos. The production values are still high with powerful vocals by Mr. The first is an 80s-influenced theme with an anthemic melodies similar to Bruce Springsteen and elaborate electric guitar work influenced by Van Halen. Whereas previous soundtracks in the series featured quirky or alternative vocal themes, Jun Senoue offers much more mainstream-oriented themes with “The American Dream” and “Sons of Angels”. Between them, they blend original vocal themes and new instrumental compositions with modern remixes of the Daytona USA stage themes. While he focuses more on a convincing hard rock sound, his co-composers Richard Jacques, Tomonori Sawada, and Kenichi Tokoi bring more electronically-oriented pieces. Instead Jun Senoue heads up a team to bring a more mainstream Westernised sound to the series. Given it was produced by a different development team at Sega, the popular original game composer Takenobu Mitsuyoshi does not return. The Daytona USA Circuit Edition Original Soundtrack is the score for the Saturn remake of the Arcade’s Daytona USA. Daytona USA -Circuit Edition- Original Soundtrack
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