ReMix: Super Street Fighter II Turbo 'New Mexican Thunderbird'
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- Game: Super Street Fighter II Turbo (Capcom, 1994, ARC)
- ReMixer(s): Vurez
- Composer(s): Alph Lyla, Yoko Shimomura
- Song(s): T. Hawk Stage
- Posted: 2006-05-29, evaluated by djpretzel
Shael Riley, Malcos, and a posse of potent performers are proud to bring you Blood on the Asphalt: A Super Street Fighter 2 Turbo ReMix Collaboration, jam-packed with arrangements of every character's stage music and several additional tracks as well. You can find out more at the website, http://sf2.ocremix.org/, designed by Richter, or just get on with it and download the torrent post-haste, as I think you'll be feeling it. Even if you have no tactile sense whatsoever. Shael writes:
"Blood on the Asphalt is a tribute album to the music of Super Street Fighter 2 Turbo, its contents comprised of new arrangements of old, familiar songs from the original game soundtrack, created by various artists, unified along the lines of genre and tone. The arrangements contained herein have been designed to be evocative of dark, pseudo-romanticized urban imagery: abandoned playgrounds and crowded street markets; back-alley block parties and hole-in-the-wall bar dives, scenes that are, I hope, befitting of a tribute to one of the most iconic games in arcade history."
It's worth noting that this is essentially a Street Fighter 2 project, a Super Street Fighter 2 project, AND a Super Street Fighter 2 Turbo project, and probably other incarnations as well, since the score was essentially shared by each iteration, so Shael's "iconic" label is primarily targeted at the original SF2. It's also worth noting that this debut track from Vurez is probably the least dark and urbanized piece on the playlist, but it's also a kickin' jam and goes where no OC ReMixer has gone before in covering T. Hawk's stage music. Ahh, T. Hawk... you have to at least applaud Capcom for trying. They certainly had national and ethnic diversity as an action item when they left their pre-planning meetings and prepared their TPS reports. Whether those of Native American descent felt at all represented by this large man with tight jeans who insisted on jumping far higher than he should have been able to and swooping down like a bird, we'll never know. I personally felt some peyote-oriented attacks, maybe something where he bludgeoned his opponents with a peace pipe, wouldn't have crossed the line of acceptable political correctness, but no dice. Regardless, he did have some catchy musics to accompany his Southwestern antics, and Vurez has taken said song and turned it into an A-grade spaghetti western soundtrack that Morricone himself would be proud of. You've got low tremolo electric guitar, hand claps, various brass (with various articulations), violin, requisite acoustic guitar solo, the 'whistle' sound from The Good, The Bad, and the Ugly, and even some chanting and singing. Not sure if that last bit is sampled, recorded, or a mix, but it integrates very contextually. This arrangement is a match made in heaven for Vurez, who is particularly adept at believably putting together large ensembles of instruments that are all appropriate to a given genre and both sequencing and mixing them with cohesion. It doesn't hurt that he has a seemingly endless smorgasbord of stellar samples in his arsenal, but samples are not guarantors of success, especially for an arrangement like this, that so relies on articulations, timing, and a knack for knowing what goes where. It pays dual homage to T.Hawk's composers and to Ennio Morricone and other spaghetti western composers that put together scores of cheesy but very musical theme music for Clint and others. Vurez continues to impress with his versatility, and I think you'll find that the overall project follows suit and is brimming over with creativity that pays musical respect to one of the most important games of all time.
Discussion: Latest 15 comments/reviews; view the Great work and I'm glad that this is in SSFIIHDR. :nicework:
- 42 on January 17, 2009
- Marmiduke on January 14, 2009
Kizyr;448985 wrote: Even though this sort of broke with the urban theme of the rest of the SF2 album, it was really, <i>really</i> good. Just perfect for T-Hawk's stage. Vurez is great at evoking a certain atmosphere with his remixes, and all the extra effects and arrangement choices he made here worked out to accomplish just that. KF
If you read Shael's post in the beginning of the thread, this mix did not break the urban theme. Shael said he realized through this mix that the concept of "urban" was even broader than he realized.
Shael Riley;115327 wrote: Though it did raise some initial concern about keeping the album consisitant in its urban tone, it ultimately won me and other concerned parties over. It ended up being the reason for me going into my write-up and adding into the examples of images that songs from this project were intended to be evokative of "crowded street markets," and I don't mean to say that this track brought to the project's theme any compromise. Rather, it expanded it in a way that included a tone which, while remaining consistant with the project's theme, I'd overlooked previously. A number of tracks did that, and they ended up being some of my favorite tracks on the album.
- Liontamer on September 8, 2008
- Kizyr on September 8, 2008
- yakitate304 on September 8, 2008
- Arwen on August 30, 2008
The vocals and brass are phenominal, as is the percussion. I really like this one; it has a distinctive sound that sounds very authentic.
I encourage everyone to check this one out; super high quality stuff.
- OA on May 17, 2007
I'm also a fan of Ennio Morricone and Spaghetti Western music (like Once Upon a Time in the West) - and thought this track captured the essence of the genre.
The vocals really took the track to a new level - well done!
One of the best I've heard,
Prizm
- Prizm4 on July 1, 2006
- GregCaldwell on June 6, 2006
- your the man now dog on May 30, 2006
I recommend this to anyone who loves Super Street Fighter 2 Turbo, and to everyone and anyone who loves music.
- Dyne on May 29, 2006
DJ Pretzel wrote: Not sure if the [the chanting and singing is] sampled, recorded, or a mix, but it integrates very contextually.
Funny story behind that:
One of my only criticisms of Vurez's steller first WIP about a year ago was his use of some vocal samples that didn't quite mesh with the rest of his production. Exited about the track, and something of an egoist, I offered to replace the pre-fab vocal samples with my own chantnig and singing. Vurez declined, saying he intended to record the vocals himself, and then promptly recorded vocals that exceed by an immeasurable sum the quality of my snot-nosed, post-alt-rock crooning (which is, coincindentally, featured in a later track on the album).
The end product is evertything Dave praises it for being in his write-up; that is to say it's an excellent track and stands out in the album for a number of reasons. Though it did raise some initial concern about keeping the album consisitant in its urban tone, it ultimately won me and other concerned parties over. It ended up being the reason for me going into my write-up and adding into the examples of images that songs from this project were intended to be evokative of "crowded street markets," and I don't mean to say that this track brought to the project's theme any compromise. Rather, it expanded it in a way that included a tone which, while remaining consistant with the project's theme, I'd overlooked previously. A number of tracks did that, and they ended up being some of my favorite tracks on the album.
- Shael Riley on May 29, 2006
GrayLightning wrote: I'm a little confused on how this mix from a genre perspective was found acceptable, but txai's was not - irrespective to the difference of quality between the two
Well, it's got a beat structure. :lol: But yeah, this mix is jiggy, fly, and awesome. Nice work, Don!
- Liontamer on May 29, 2006
But I do not see how this falls into the vision that Shael initially stated that this should be urban, electronic, beat oriented. In the SF2 site it says "The arrangements contained herein have been designed to be evocative of dark, pseudo-romanticized urban imagery: abandoned playgrounds and crowded street markets; back-alley block parties and hole-in-the-wall bar dives, scenes that are, I hope, befitting of a tribute to one of the most iconic games in arcade history."
I'm a little confused on how this mix from a genre perspective was found acceptable, but txai's was not - irrespective to the difference of quality between the two.
I listened to pretty much all the mixes of the project yesterday though and thought Shael and Malcos did an otherwise great job with the project. The Malcos and RTF collabs in particular were delicious.
Congrats to those involved.
- GrayLightning on May 29, 2006
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