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

Final Fantasy VII was really the game that inaugurated the 32-bit era. Spanning across three disks, it offered a massive storyline, nice cutscenes and many sidequests. But because the game was so early in the era, it was kind of underwhelming for graphics but also for music.

Don’t get me wrong: the soundtrack is a classic I would recommend it. However one has to point out that, in many ways, it is a set back from Final Fantasy VI, whose realistic-ish arrangements created so much hope for what a 32-bit console could do. Unfortunately, Uematsu was not able to fully exploit the Playstation’s sound capacities like, say, Final Fantasy VIII.

Character themes are a good example of the limitations. Tifa’s theme has the typical “artificial” arrangements I did not like about the soundtracks with “bells” and sad “violin/trumpet” combos that almost make Final Fantasy I sound like genuine instruments. Red XIII’s theme has annoying string arrangements in the background that sound like a balloon that will explode at one point; it also has the annoying bells that feel out of place for the descendant of a warrior. Descendant of Shinobi (Yuffie’s theme) doesn’t sound appropriate for a ninja at all. It sounds too cheerful and childish, unlike the “Eastern” flutes in Cyan’s theme. And you guess it: there are bells again. Cid’ theme does sound epic, considering he was going to be the first man in space, but the artificial arrangements spoil it completely – hell the trumpet for FF VI’s battle theme sounded more realistic.

Fortunately two themes are not a complete miss. The nightmare’s beginning (Vincent’s theme) has excellent guitar arrangements (that sound even better with a real guitar) that have the perfect tempo and mysterious mood for this hidden character. Aeris’ theme sounds great too, with the grandest arrangements Uematsu could “afford” for the time. But after listening to most “real” arrangements like https://www.youtube.com/watch?v=MLCYdJj3LYQ&index=19&list=PL2C02F739C215F346 (even on the piano), you will find it a little weak.

That weakness can also be found in the first overworld theme (Main Theme of Final Fantasy VII). You can hear hints of epicness, sometimes even better than Terra’s theme, but the synthesized violins and brass spoil it especially compared to the real version from the Reunion Tracks, https://www.youtube.com/watch?v=nwmh7Wu50mU&list=PL2C02F739C215F346&index=17. The apex in the original version sounds weak, and the low-tone strings were overdone.

But fortunately, Nobuo Uematsu composed this soundtrack so it can’t be a complete miss. In fact I would say that it has some of the best “situational” arrangements up to Final Fantasy X (i.e. that fit the moment). Who Are You is probably the best one of those; until late in the game Cloud seems to be struggling with his past, and the echoing, slow-tempoed piano is a perfect fit for this inner fight. No need for complex, fully-orchestrated arrangements! Similarly, Who am I carries this feeling of inner struggle too when Cloud actually confronts his demons. Synthesized arrangements are actually an excellent fit; they heighten the struggle.

Infiltrating Shinra Tower was also the perfect infiltration theme, quieter than and more mysterious than the one in FF VIII (when infiltrating the missile base). I loved how Uematsu built a three-stage loop, adding a new arrangement each time as to add a feeling of anguish of being caught. Lurking in the Darkness also had a mysterious feel to it, but since it’s a dungeon it had more of a jazzy feel to it with the drums in the background. Dungeons don’t have to all be so sad and serious.

Some of the tracks were also among the best of their kind ever composed. Wutai, short of Landscape in Breath of Fire IV, has to be the best “Eastern” theme ever composed for a video game. You can almost see pagodas and Buddhist temples around you as you listen to the track, with its excellent flute and drums. The best “magical” track is Chasing the Black-Caped Man. It is especially fitting when you enter the Forest of the Ancients after it “wakes up”; the introduction loop (played twice) makes good use of the bells and “choir”; the echo of the former even adds an additional touch of magic. The second part of the loop sounds more solemn with quieter arrangements and “real” bell ringing that are a perfect conclusion. And the best, most epic airship theme ever composed is The Highwind Takes to the Skies. Even with synthesized trumpets you can feel the epicness Uematsu has yet to recreate in another game. You feel like you are flying in an infinite sky over the blue planet, not caring that a meteor is about to strike

Finally, no review of the FF VII soundtrack would be complete without focusing on what made the game so great: the battle themes and the chocobo music.
The latter, probably the most addictive sidequest ever devised, has eight different tracks related to it. First there is the chocobo stable (Farm Boy), where you can breed and grow your birds. The “banjo” arrangements are perfect for this farm theme; it reminds me of the rural United States, especially in the South. The tempo is slow and mellow, and most people think what farm and rural life is. Electric de Chocobo, when you encounter one in the field, deserves its name thanks to the “electric guitar” you hear. It’s very upbeat, perfect to show the highly unpredictable mood of these wild birds. Cinco, when you actually ride one, is kind of mellow and strange. Previous and succeeding themes (short of the terrible one in FF VI) were more upbeat and enjoyable to show your smooth, er, land sailing. It is the complete opposite of Fiddle, when you race your chocobo against others. This is as close to reality as violins get in this game. They are VERY upbeat, perfect for such a high-speed race, have banjo to complement your rearing of the birds in the farm and even have a joyful “yahoo” screamed once per loop. A Great Success (when you win) is simply the classical victory fanfare played with the FF VII arrangements. They can get annoying but they do sound very joyful. Tango of Tears (when you lose) is also the victory fanfare but, as the title suggests, is played with a more Argentinian beat. The constant drum is perfect to show that your racing skills suck, as if they really wanted you to cry.
As for the former, they tend to suffer the lack of real arrangements. Fighting (the ordinary battle theme) departs from the previous six games’ arrangements and creates whole new ones. They sounds… too modern, especially with the synthetization – the piano version sounds MUCH better. Still More Fighting (the ordinary boss battle theme) is a little better with its electric guitar. However, like in FF VI Uematsu used an “organ” which spoils the track a little. JENOVA (the “major boss” battle theme), fortunately, sounds VERY epic, probably the most epic one since Dreadful Fight in Final Fantasy IV and before Challenge in Final Fantasy X. The tempo is very quick, the “violin” arrangements have the right touch of drama and the “trumpet” at the end of the loop is just perfect. Jenova Absolute (the last form of the beast) doesn’t quite have the same quick, however. The tempo is slower, it consists mostly of short bursts of trumpets and drums and the only epic part is the last 10-15 seconds of the loop.

The Birth of God (the first part of the last battle) has become strangely addictive to my ears when I rediscovered the track. It’s of course better than Jenova Absolute as it sounds more dramatic and upbeat thanks to excellent drum arrangements. Also, the very low piano keys in the background add the right touch of drama. The loop ends rather dryly, but it starts again right away so unlike the battle theme in Final Fantasy II you don’t feel like something is missing. Finally One-Winged Angel is the most elaborate final boss theme since Ooze in Phantasy Star IV - both have a one-minute intro, although the “realer” arrangements in FF VII make it more epic and a perfect fit for such a theme. There are even voice samples that can be heard clearly. Although they only seem to be random excerpts from Carl Off’s Carmina Burana, they add a touch no final boss themes had before, not even Dancing Mad.

In short Final Fantasy VII is a must to every video game music fan. Despite the limitations of the early PSX era, Uematsu still had produced some of the most memorable tracks of all time with this soundtrack.