Donkey Kong Country 3: Double the Trouble! (full track titles)
~ Release by OverClocked ReMix (see all versions of this release, 1 available)
Annotation
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Donkey Kong Country 3: Double the Trouble!
••••• http://dkc3.ocremix.org •••••
Directors
• Wes McDonald (Emunator)
• Cody Wedel - co-director
Producer
• Mike Birch (Flexstyle)
Artwork
• Adam Aubin (The Maverickk) - album art, dioramas
• Wes McDonald (Emunator) - sprite banners
• Cody Wedel - sprite banners
Website
• Stevo Bortz (Level 99)
• Wes McDonald (Emunator) - background image edits
• Caleb Winters (Calebyte) - original design
• David Lloyd (djpretzel) - code revision
Trailer
• José E. Felix (José the Bronx Rican) - co-direction, animation
• Adam Aubin (The Maverickk) - co-direction
• Wes McDonald (Emunator) - co-direction
• Cody Wedel - co-direction
Executive Producers
• David W. Lloyd (djpretzel)
• Larry Oji (Liontamer)
This album is freely available online and is not being distributed for profit.
It features seventy-seven tracks from sixty-nine artists, arranging from the soundtracks of the original Donkey Kong Country 3: Dixie Kong's Double Trouble! for the SNES and the Game Boy Advance remake Donkey Kong Country 3. It was made by fans, for fans, and is not affiliated with or endorsed by Nintendo or Rare; all original compositions are copyright their respective owners.
This album was produced to help promote video game music, David Wise and Eveline Novakovic's amazing compositions, and the talented artists that contributed to this project.
This torrent includes the complete album, in both high quality MP3 and lossless FLAC formats. Lossless versions were not available for "FrosTronix (Original Mix)" and "Dive."
You can play the FLAC files using the provided Windows installer or go to http://flac.sourceforge.net/ to download the latest version for multiple platforms.
Please enjoy this album and share it with others.
For more on Donkey Kong Country, visit:
http://donkeykong.nintendo.com
To download more great, FREE video game ReMixes, visit:
Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans.
• For assistance with our forums or other areas of the site, please contact us at admin@ocremix.org.
• For media inquiries (interviews, articles, conventions), please contact us at press@ocremix.org.
• For soundtrack development by OverClocked ReMix, professional game companies should contact site creator David "djpretzel" Lloyd at djpretzel@ocremix.org.
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OC ReMix Albums:
http://ocremix.org/albums/
• OCRA-0036 - Donkey Kong Country 3: Double the Trouble!
• OCRA-0035 - Final Fantasy: Random Encounter
• OCRA-0034 - Pilotwings: Take Flight
• OCRA-0033 - Mega Man X: Maverick Rising
• OCRA-0032 - Unsung Heroes
• OCRA-0031 - Wild Arms: ARMed and DANGerous
• OCRA-0030 - BadAss: Boss Themes
• OCRA-0029 - 25YEARLEGEND: A Legend of Zelda Indie Game Composer Tribute
• OCRA-0028 - Super Dodge Ball: Around the World
• OCRA-0027 - Mega Man 9: Back in Blue
• OCRA-0026 - NiGHTS: Lucid Dreaming
• OCRA-0025 - Sonic the Hedgehog: The Sound of Speed
• OCRA-0024 - Mega Man: The Robot Museum
• OCRA-0023 - Pokémon: The Missingno Tracks
• OCRA-0022 - Heroes vs. Villains
• OCRA-0021 - Armored Core: THE ANSWER
• OCRA-0020 - Legend of Zelda: Link's Awakening: Threshold of a Dream
• OCRA-0019 - Teen Agent: The Root of All Evil
• OCRA-0018 - Final Fantasy V: The Fabled Warriors ~I. WIND~
• OCRA-0017 - Donkey Kong Country 2: Serious Monkey Business
• OCRA-0016 - Castlevania: Sonata of the Damned
• OCRA-0015 - Xenogears: Humans + Gears
• OCRA-0014 - Final Fantasy IV: Echoes of Betrayal, Light of Redemption
• OCRA-0013 - Tales: Summoning of Spirits
• OCRA-0012 - OC ReMix: Super Street Fighter II Turbo HD Remix Official Soundtrack
• OCRA-0011 - Doom II: Delta-Q-Delta
• OCRA-0010 - Radical Dreamers: Thieves of Fate
• OCRA-0009 - Final Fantasy VII: Voices of the Lifestream
• OCRA-0008 - Sonic 3 & Knuckles: Project Chaos
• OCRA-0007 - Super Street Fighter II Turbo: Blood on the Asphalt
• OCRA-0006 - Chrono Trigger: Chrono Symphonic
• OCRA-0005 - Doom: The Dark Side of Phobos
• OCRA-0004 - Kirby's Adventure: Rise of the Star
• OCRA-0003 - Sonic the Hedgehog 2: Hedgehog Heaven
• OCRA-0002 - Donkey Kong Country: Kong in Concert
• OCRA-0001 - Super Metroid: Relics of the Chozo
Directors' and Artists' comments
Donkey Kong Country 3: Double the Trouble!
Comments from album director Wes McDonald (Emunator), co-director Cody Wedel, producer Mike Birch (Flexstyle), and ReMixers
Album freely available at http://dkc3.ocremix.org
The Donkey Kong Country series has always held a special place in my heart. Ever since I first picked up the controller at the age of 3, I found myself in love with everything about the games… the innovative level design, the gorgeous graphics, and especially the music. I would find myself pausing the game mid-level and listening to my favorite songs for hours on end. So, as you can imagine, when I first discovered OverClocked ReMix back in 2004, when Kong in Concert was first released, I was hooked.
Fast forward 6 years… as the release of Serious Monkey Business drew closer, I knew that a DKC3 album was inevitable, and I felt like I could make it happen. At the time, I was merely a lurker on the site, and had no musical talent of my own. Nevertheless, I had the vision and a limitless amount of free time at my disposal, so I took the plunge and started recruiting. After 3 years of tireless work, I couldn't be happier with that choice.
Given the stellar reputation of the previous two albums, I knew that this album had to be something special. This 5-disc album contains remixes of every source from both the GBA and SNES versions of the DKC3 soundtrack. Clocking in at 77 songs and nearly 5 and a half hours of music, this is OCR's largest album to date, featuring arrangements and collaborations by the legendary David Wise himself. Words can't properly capture the scope of this album and the efforts of the artists that made it happen, so I'll let the music speak for itself.
I would like to thank Cody Wedel for being the most dedicated co-director I could have ever hoped for. When I began looking for a co-director for the album, I was essentially a no-name on the forums, so it might have made sense to choose a well-established member of the site with more clout in the community. However, after meeting Cody and seeing just how enthusiastic he was about the music of DKC3, I knew there could be no choice. Your motivation and passion for this project from day one has helped push me to make the album as good as it can be. I like to think that our work here proves that, if you have dedication and the right mindset, you don't need to be an OCR veteran to pull off a successful album project.
My sincerest thanks to David Wise and Eveline Novakovic for creating such an amazing set of soundtracks that have inspired us all, and for supporting this project and the video game arrangement community in general. I'd also like to thank Mike "Flexstyle" Birch and Jason "Theophany" Gallaty for going so far above and beyond the call of duty with their contributions to the project, and for their constant encouragement along the way. Thanks to Adam Aubin and José Felix for putting together such a killer visual component for the project, and to Stevo Bortz and the rest of OCR staff for putting up with my neurotic demands and making this release possible. And lastly, to every artist who contributed to the project, I'm so proud of what you've created, and I'm honored to have had the opportunity to get to know each and every one of you. Thank you for helping make this the biggest and (hopefully) the best OC ReMix project to date!
Enjoy!
- Wes McDonald (Emunator)
I somehow stumbled upon the DKC3 project thread on the OC ReMix forums the night it was revealed. I read the intro post and saw that the album was tackling both the SNES *and* GBA soundtracks! I loved the SNES soundtrack, and DKC3 GBA was definitely my favorite game soundtrack ever, so you could only imagine how happy I was. Little did I know the album would have a predominant influence throughout the next 3 years of my life.
I emailed Wes on a whim about remixing one of the SNES tracks. Having provided a 30-second WIP as well as some insight on how I intended to develop the track stylistically, I ended up getting the claim (which made me very happy)! He contacted me on AIM a short while later just to say hi & to share some of the project WIPs/finished tracks. We got to talking -- not just about DKC3, but about everything and anything. Our conversations escalated from once a week, to a few times a week, to pretty much every day. After I got a bit more involved in the project (in terms of its developmental direction), Wes asked if I wanted to co-direct the album. Needless to say, I accepted that offer with open arms.
As co-director, I didn't directly talk to many of the remixers involved with the project. I instead focused mainly on the backend: that is, the tracklist, promotional media, and directional feedback. Wes would oftentimes integrate my feedback into his regarding the development of a particular track. In any case, I certainly got valuable insight on how the whole album process works, and seeing/helping the album come together over such a long length of time was simply a magical experience.
My deepest gratitude goes to Wes for not only starting the project, but allowing me to be such a huge part of its success. When I first discovered OC ReMix in 2003, I never would've imagined I'd be part of it at all and here I am 9 years later co-directing the biggest project in the organization's entire history. It goes to show how little we really know, how we can't possibly know what is out there beyond the tomorrows and beyond the stars.
I can only hope you enjoy Double the Trouble! as much as I enjoyed seeing the album blossom from a little seed into a huge, beautiful, colorful flower which is (in my honest opinion) larger than life!
- Cody Wedel
This all started so innocently -- Emunator asked me if I'd take on a single track for the project, since he'd heard a previous ReMix of mine and thought I'd fit in well. Little did either of us realize just how involved I'd get. We discovered that we lived decently close together, so we got to meet each other in person over Fuddruckers burgers.
Turns out, we'd spend a lot of time eating at Fuddruckers together. Burgers are tasty, man.
Wes was already a good six months into the project by the time we met, but the next couple years would see me take on another five songs on the project, plus two extra bonus songs, and also tackle the task of mastering and gapless-playback-ing the entire album. Not only that, but I ended up being one of the main quality control voices as well. Talk about a cool responsibility!
By the time we finished, we'd consumed loads of burgers, stayed up all night working on the project at my house several times, and spent countless hours tweaking the songs, the mastering, and the playback to perfection. I'd say the moment I knew this album was solid gold was when I got to listen to the entire thing through, with no interruptions, during a six-hour drive from Mission Viejo, CA, to Glendale, AZ, where I live. Didn't skip a single song. That's how good this thing is, and I'm picky.
This album is Wes's baby, and it really is a labor of love. However, I'd like to think that I could call myself the doctor who helped deliver it. I hope that you, the listener, can enjoy hearing this album at least half as much as we've enjoyed putting it together. Every artist, every person behind the scenes, and the OverClocked ReMix staff have poured their heart and soul into this amazingly huge mass of quality, and I hope that shines through.
- Mike Birch (Flexstyle)
1-01. Cody Wedel, Flexstyle, Emunator, Brandon Wedel - "Road to Double Trouble"
Source: "Fanfare"
Cody Wedel: "Road to Double Trouble" starts out with the pleasant naturalistic sound of rain: it's early morning in late 2012, and heroes Dixie and Kiddy excitedly anticipate their obligated exploration of the Northern Kremisphere, a land they thoroughly journeyed through nearly two decades ago. As the track ascends in its mood and soundscape, the Kongs feel a serendipitous spread of unnatural warmth fill the area as they unfold underneath a steadily rising sun. And naturally, you'll feel that warmth as well. Because, no matter how dreadful the storm, everything will be alright if you have sunshine in your heart. The fact that this album took 3 years to release is proof of that! :D
Anywho, I'd like to give a BIG thanks to Michael Birch (Flexstyle), Wes McDonald (Emunator) & my brother Brandon Wedel for their contributions! Looking back a year and a half after its completion, I feel "Road to Double Trouble" is quite the impactful album opener and I really couldn't be more content with the end result.
1-02. Brandon Strader feat. Usa - "Let It Beat"
Source: "Dixie Beat"
Brandon Strader: "Let It Beat" went through several stages of production. An early version dubbed "Beating Our Dix" was recorded with live drums and a very old, ratty sound that had a ton of personality. It was about 1/3 the length of the final song. The song was then remade and expanded in Cubase 5. After failing to find an adequate sound with a drum sim, Daniel Lippert (Usa) was introduced to play real drums for the song. His performance really made the song shine, especially the sweet intro from the original "Dixie Beat," and outro solo drum bits. He sent me the drum tracks and I mixed the song, then sent him the unmastered WAV which he ran through some mastering hardware to bring it up to industry standards. The rest is history.
1-03. 8 Bit Instrumental - "Joe Elm"
Source: "Crazy Calypso"
Rodrigo Nepomuceno: So in this track, I thought about the rainforest and also I got some ideas from a Brazilian group called Uakit. The name "Joe Elm," it's a joke involving a corny Brazilian group called Calypso because the lead singer's name is "Joelma."
1-04. Brandon Strader - "Unbearable"
Source: "Brothers Bear"
I liked the bluesy rock sound of "Brothers Bear," so I stayed very true to that with the remix. The remix does have a huge rendition of "Brothers Bear's" classic pieces in there, but there are also a couple nice little breakdowns as well. "Unbearable" is dedicated to the highly annoying Emunator, whom I severely love with all of my heart and wish nothing but unending joy and prosperity for. The song displays a love for live instrumentation and blues solos! It was a departure from anything I had tried at the time, but I can very fluidly work blues scales into my solos now. Thank you for that, song!
1-05. zylance - "The Submap Emissary"
Source: "Sub-Map Shuffle"
Emunator: Truthfully, when I recruited zylance for this project I didn't really know what I was getting into. At the time, I had only heard two remixes from him; a solo piano Zelda remix, and his fun (albeit straightforward) techno arrangement on "Disco Train" featured on Serious Monkey Business.
Nothing could have prepared me for what John would contribute to this album. He took "Sub-Map Shuffle," one of the most basic and straightforward sources on the entire OST, and transformed it into a lush, cinematic-rock opus that is completely brilliant and different from anything I've ever heard on OC ReMix before. Admittedly, this is one of the more liberal remixes on the project, but zylance's method of adapting the source to a cinematic context fits the album concept extremely well nonetheless, and does justice to the story of DKC3 as a whole. It may seem strange that one of the grandest remixes on the entire album comes within the first 5 tracks, but I couldn't imagine a more fitting prelude to the journey that is about to unfold.
zylance: When Wes first asked me to be part of this project, it had been a while since I had last played DKC3, so I chose the first track I remembered, "Sub-Map Shuffle." I envisioned my remix as an opening, a grand entrance to a grand Kong adventure, so I threw as many drum samples at the mix as my computer could handle, then added guitar. Done. No monkey samples this time, I promise!
1-06. WillRock - "Purewater Pressure"
Source: "Stilt Village"
Had to beg Emu to let me take this one and he still wasn't convinced. He kept it tho, after I did a style he wanted. Ended up pretty cool, it's kinda a rock/ethnic/jazz fusion which turned out to work quite well. One of my more unique remixes.
1-07. WillRock, Level 99 - "Bash the Bastards!"
Source: "Bonus Time!"
WillRock: Oh, God, this track. I've made a hell of a lot of remixes in my spare time and the grand total hits over 80 remixes now (yeah, I got a LOT) and, by far, this remix is the hardest and biggest pain in the ass I've ever had the misfortune of making. The reason for this is because I ended up using Reaper as my DAW, which I'm not very good with, so I could use NI's Kontakt, and I just hit problem after problem, including but not limited to: Reaper going inexplicably out of time, tracks not playing sometimes, instruments not playing at certain points, instruments playing MIDI data I hadn't keyed in (I swear it's true) and the big issues - I lost the project file some time through making this, had to remake it again, as well as Reaper opening up one day without any Kontakt instances loaded for no reason, I had to reload everything. However, despite it being a pain for me, Stevo put in some AMAZING vocal parts, as well as recorded guitar, which really boosted this remix to AWESOME status. As good as this remix is and the effort put in from everyone involved, this track has been my nightmare, and hopefully you'll appreciate the blood that was spilled in the making of this remix.
Level 99: WillRock shot me an instant message one day (I was shirtless at the time, though that has no relevance to this story except to make you think of me shirtless) praising me for my high-pitched voiceworks and acoustic guitar on tracks like "Twin Seeds Flyby." He asked me if I'd be interested in helping him with his bonus mix for DKC3 by adding some of my flavor to the track. I loved how different this track was from the normal WillRock stuff, and it grabbed hold of me so much that I added a LOT of voices on top the acoustic guitar. The lyrics in the track aren't any language that exists, but I was inspired by a number of African and Middle Eastern artists. I hate the song's title, though. One day, I will bash WillRock. That bastard.
1-08. Brandon Strader - "Funky's Joint"
Source: "Hangin' at Funky's"
I errr... Hey, man, thanks for calling, but I'm a bit busy right now. (Hold on, man, it's just some douche.) Yeah, unless you know the password, I'll have to let you go -- wait, you know it? Oh sure, man. Hey, drop by any time and we'll let you try out Funky's Joint.™ It's made from fully organic bananas we've found locally. It gets its name from the only place in the world where you can find it. Rock on, bro. *hangs up*
1-09. Matt Drouin - "Unfinished Business"
Source: "Swanky's Sideshow"
When Emunator grabbed me up for this project, I hadn't played DKC3 specifically, but I was a definitely a fan of the original, so I used that as my target to try to sculpt the vibe. This was my first time really playing around with scratching, but I had a ball with it. I really liked the way it matched with the bassline to really bring out that game show/minigame/"I must collect all of the gyrating fruit immediately" kinda feel. I had a good time with this one. I hope everyone has fun listening! =)
1-10. Flexstyle - "Thrill of the Chase"
Source: "Hot Pursuit"
This is where it all started -- Wes asked me to do this track after a few other attempts by other artists had bombed. Little did either of us know that this would be the first of many tracks I did for this project, let alone all the other work I did! Turns out, we live about an hour away from each other, so not only was this song the start of my (heavily hands-on) involvement with the project, it was also the beginning of a beautiful friendship. *tears*
Erhem. *manly cough* I'd call this an intelligent, lowered-tempo dance track that (hopefully) conveys the sense of urgency apparent in the original source. It's not what I'd call trance, or house, or any other popular genre, really, so call it what you may.
1-11. Sole Signal - "Epic Bananas"
Source: "Treetop Tumble"
Emunator: What's always struck me about this remix is how well it captures the feelings I got while playing through the treetop levels in the game, particularly Ripsaw Rage. This is one of those rare instances where I feel like the remix is even more true to the game than the source—Eveline's original composition was fantastic and extremely moody in its own way, but when I think of frantically climbing up a hollowed-out tree while being mercilessly chased by a reanimated saw blade, THIS is more what I had in mind!
That feeling of constant tension and energy is a perfect fit for Sole Signal's signature style, which typically marries inspiration from multiple genres into a very progressive, danceable remix where the source melodies are always constantly present. This track does exactly that, and if you're familiar with Greg's past musical endeavors, you probably know what's coming, and shouldn't need any convincing whatsoever to give this a listen!
Sole Signal: I had always loved this source from the heavily underrated third game in the DKC series, with a just as underrated soundtrack. It's a fun dance/breaks take on the theme, with a big electro/orchestral section in the middle. Props to Nutritious for the song title.
When creating remixes, I rarely stick with one distinct genre all the way through. The melody leads itself very well to an electronic style, but I had to explore it in an orchestral sense as well. You don't often hear such contrasting styles mixed together, but it's something that I think is very fun to listen to. I was unhappy initially with the orchestral section, but, after several months of off-and-on development, I finally was able to build it to a point that I was happy with releasing. Hopefully, it's enjoyed as much as it was being created.
1-12. Flexstyle - "Don't Drink the Water"
Source: "Enchanted Riverbank"
The name comes from advice given to me by various people at raves -- don't drink the water, it might be spiked (or "enchanted," if you will). As far as the mix goes, this is essentially the reaction to two years of wasted effort trying to coordinate several people in creating a mix that didn't happen. I got sick of waiting for stuff to happen and made something fun and cheesy instead, just to speed the project along. I don't think it sounds that bad. Best enjoyed with a big grin on your face!
1-13. Jason Covenant feat. AkumajoBelmont - "Banana Revolution (Live in Kongcert)"
Source: "Cranky's Showdown"
Emunator: This track practically materialized out of nowhere. I initially recruited Jason to participate in this project based on his amazing performance in the One-Hour Compo competition hosted on ThaSauce, only really familiar with his one remix featured on Kong in Concert that had been produced over 7 years prior. I wasn't really sure what to expect from him based on that when he expressed interest in remixing this track, but, after he sent a polished work in-progress for this song, I was completely awestruck. Jason nailed that stadium pop-rock sound with some very delicate production magic that, when coupled with Robbie's anthemic vocal track, really feels larger than life.
1-14. Draconiator, Flexstyle - "Permafrost"
Source: "Frosty Frolics"
Draconiator: Before I even sent this to Wes, it was an original (which I lost the FLP file for). I sent said original to Wes, and he suggested that I redo it into a remix for the album, which seemed like a good idea to me, so that is what I did. However, the first finished version of it, according to Wes, was still bonus mix quality, so sometime later he proposed that I work with Mike to get it up to album quality. I couldn't be happier with my decision.
Flexstyle: When Draconiator first handed his mix to Wes, who then handed it to me, I knew there was a lot of work to be done on it -- but it definitely had promise. I asked if Drac would be okay with a collab, just to throw a couple coats of polish on his track and possibly get him in as an actual mixer, instead of just a bonus mixer. He agreed, and we got to work. To be honest, most of the arrangement is his work. I did some editing, such as adding the reversed piano bits and chopping up the arrangement to make it more listener-friendly, and I did some serious tweaking of synth patches and tempo and whatnot, but a lot more of this is Draconiator than me, musically. Where he fell short in mixing and general "remix sense," if that makes sense, I was able to step up. The result is this deep trance track, which both of us are very happy with.
1-15. halc, Mattias Häggström Gerdt - "Kingfisher's Stream"
Source: "Cascade Capers"
Emunator: When I started this project, I went into it with a couple of "dream-team" collaborations in mind which I hoped to make a reality before the album was finished. Another Soundscape (who has since rebranded under his much-more-badass real name) and halc was at the top of my list. So when Mattias told me he was struggling to complete his arrangement of "Cascade Capers" due to time constraints, I took the opportunity to play matchmaker and asked if he would be willing to collab with halc, and vice versa.
Long story short, they both came through and the end result is a surprisingly smooth fusion of both artists' classic styles. Since this remix was completed, both of their musical styles have evolved dramatically, so for listeners who are unfamiliar with the halc and Mattias of old, this may sound somewhat simple or maybe even a little dated. However, to me, this is everything I could have ever hoped for from a collaboration between two of my favorite artists, and on one of my favorite sources no less!
halc: This was a fun track to make... a while back, Emu proposed the idea of a collab with Mattias on the SNES "Cascade Capers" theme. Obviously, I was obliged to take on this epic request and whipped up a short intro (which went untouched for months :P). Mattias finally sent me a slick little update about a week before the final deadline, which I expanded on and used as a basis for the rest of the track. I was happy to take the lead with this mix, but I must give uber-props to anosou for some killer additions and arrangement ideas -- I couldn't have pulled this track off without him (A++, would collab again, etc.)! We're both very proud of this mix, and we hope you all enjoy it! :3
This mix was lovingly conceived in Reason 5 and FL Studio 9 (The Best of Both Worlds!™)
Mattias: Drew's a bag of sex. A bag of sex capable of doing some pretty amazing music. It was a pleasure and an honor to work with him!
P.S. Did you get the title pun yet?
1-16. Theophany - "Deep Sea Lights"
Source: "Water World"
The initial concept for "Deep Sea Lights" in 2009 was to fuse the delicate sound of piano with a ferocious, Nero-inspired dubstep bass. Dubstep was new to me at the time, and I had never heard it on OCR or blended with intimate piano. Considering how far the genre has advanced since 2009, I may regret not going back to overhaul more dated aspects of the production -- especially the bass sound and strings -- but so it goes. If you can make it to 2:30, you may end up liking this for the arrangement, but, if not, I've created a more trip-hop inspired version of this track as a bonus mix. Regardless of how people feel about this track, I do hope "Water World" gets some more attention. It's an excellent tune that is vastly overshadowed by "Aquatic Ambiance."
1-17 Monobrow - "Exploration C"
Source: "Cavern Caprice"
Monobrow: Flutes provided by bustatunez (Will Roget, II). This song was inspired by "Cry of the Chasmal Critter Chain" by my friend Liz, which is one of my favorite ReMixes ever.
This ReMix is a take on "Cavern Caprice." It's one of my favorite songs from the original game. I always liked it because it had such a moody feel, a calming mania to it. Many thanks to Eveline (Fischer) Novakovic for the original composition of this, and all the other songs she made for DKC3.
Also special thanks to Protricity (Ari Asulin) for much appreciated feedback throughout the process of creating this.
1-18. Archangel - "Shenanigans Bananigans"
Source: "Jungle Jitter"
This song was quite a challenge for me, since I've never written a cartoon-chase song before (or done a cartoon-chase remix, for that matter). The "Jungle Jitter" track was the only one still available when I checked the project thread. I suppose you could say that it was taunting me, so I claimed it.
The simplistic character of the source track allowed me to experiment and improvise quite a lot. I usually don't use much xylophone and marimba in my work (since they sound a little too wacky for my usual soundtrack-ish sound), so this was a chance to go wild with instruments I rarely use. That's always a plus.
Anyway, I've had a lot of fun remixing this track and I'm honored to be a part of the project team.
1-19. Ergosonic - "Cliffside Clamber"
Source: "Rockface Rumble"
Emunator: "Rockface Rumble" is the one track on the SNES soundtrack that everybody seemed to want to tackle when this project launched. Initially, the track was supposed to be a powerhouse collab between McVaffe and Sixto that, unfortunately, never panned out. I stumbled upon Dwelling of Duels artist Ergosonic in my search for a replacement. After a few emails, I learned that him, zylance, and I all had gone to the same high school and still lived in the same city. Small world!
After meeting up in person and playing DKC3 all the way through in one night, Ergosonic agreed to claim the track and seemed confident that he could meet the high expectations that had been set for the remix. It took a while, but he delivered in a BIG way. The remix shows a great deal of respect for the original composition and for the DKC series in general (the DKC1 cameo section in this mix is unreal!) while still demonstrating the artist's amazing instrumental talent with some extended solo sections and original writing. Of all the remixes on the album, I feel like this one does the best job of capturing the adventurous spirit found within the DKC trilogy, and would feel right at home in Donkey Kong Country Returns.
Ergosonic: OK, so Wes recruited me to do this song, and I had never played DKC3 before, so I made him hang out with me and I finally got to play it! He wanted me to stylistically stay close to the source, and honestly, I think that's the best way I could have gone about doing this. I basically took the song and based my mix on how I felt a "modern" reinterpretation of the song might be, with my little spin on it, of course. I also have been listening to a lot of Latin music, hence it influencing my track. :)
1-20. prophetik - "mojo gogo"
Source: "Jangle Bells"
a while back, wes invited me to take part in this project. i said that i'd be happy to fill in whatever tracks people weren't interested in taking, but pointed out that since i hadn't played the game i didn't want to take a track someone else had their heart set on doing. he contacted me again recently and asked me to take a look at "Jangle Bells." i listened to it once, sat on it for two months, and then carved a few hours out on a day off to do my take on it.
he specifically requested some "saxy goodness" on the track, so i knew i had to approach it from a jazzy standpoint. i didn't want to approach it from the standard jazz approach that i've recently been taking to tracks, though, so i sat there for a bit trying to decide what direction to take the track. i eventually settled on a goofy 60s style mixed with some big band elements. i used a ton of elastik, as well as some trilian, liquidinstrument's horn section library, and my trusty old salvation army tenor sax.
2-01. halc - "K'ReMispheric Pressure"
Source: "Northern Kremisphere," "Krematoa Koncerto"
I had the very first choice when it came to track selection for the project and immediately went for the map theme, which has always struck me as one of the more memorable themes from the game. The limited melodic content in these two tracks (which also share the same melody in different keys) provided for some interesting variations and was a lot of fun to remix. I hope you all enjoy it!
2-02. mv - "Wonderfall"
Source: "Cascade Capers"
I'm not too familiar with Donkey Kong Country, it's one of those rare huge franchises that I somehow missed as a child, thus making this an interesting challenge, as I usually remix music I have a nostalgic connection with.
While listening to the soundtrack, I was immediately hooked with this track that had the perfect elements to make for a very fresh ambient/world remix, leaving much room for interpretation and additions. This is pretty much a classic "mv" remix, focusing on mood and setting with some sound design thrown in.
I am very glad to be back in action in the OC ReMix community after a mysterious 6-year-long hiatus. Hopefully, this will be a landmark for much more action on my end. This was a very rewarding experience and I'd like to thank Wes for inviting me, as well as the people who have commented on the WIP versions.
2-03. GSlicer - "Winter"
Source: "Frosty Frolics"
winter is the season having the shortest days and the lowest in the nation the ensuing controversy focused international.
2-04. The Vagrance - "Low Life"
Source: "Treetop Tumble"
Given that dubstep is kinda blowing up in my area, I've been experimenting with it, and it seemed like the most logical choice given the source's percussion-heavy melodically-like characteristics.
So I took the source, made it womp, and found an excuse to sample Mos Def, so, on that basis alone, I consider it a success.
2-05. tefnek, zircon - "Blast Beatdown"
Source: "Nuts and Bolts"
zircon: Working with tefnek is just a huge treat. Nobody makes synths as brutal or drums as loud. For this source tune, I knew that a massive, dirty style would fit like a glove, and tefnek was just the man to put it into overdrive. Our collaboration was a simple back-and-forth; I started it off, then sent the project file to tefnek, who worked on it more and then sent it back. Though I laid the basic groundwork for the arrangement, breaks and production, tefnek really injected the whole thing with battery acid and 50ccs of raw adrenaline, handling basically the entire last third of the mix among other things. Prepare to be punched in the face by an 8000 pound gorilla.
tefnek: Working on this remix was really exciting because of the moments where I would get the track back from zircon and go, "Wow! I would have never thought of that." This was a great song to work on because of the different directions the source would go, giving us a lot of freedom to do different things. My favorite part of the remix is what zircon did with the first drop, where the lower frequencies fade out and come back in full force. So intense!
2-06. Radiowar - "Intoxica"
Source: "Pokey Pipes"
Emunator: Radiowar is one of my favorite "unsung heroes" of OC ReMix. Each of his remixes has been very moody and deliberate, with rock-solid production values, and this one is no exception. Admittedly, this is probably the most straightforward remix in the mixflood, sticking to a pretty traditional trip-hop structure without deviating too far from the kinds of sounds you'd expect from the genre.
But, really, that's the beauty of it. Eveline Novakovic's compositions for the SNES soundtrack display a level of restraint and humility that is very hard to find in video game soundtracks, especially in the NES and SNES era. They aren't too flashy and never demand your attention. Instead, they rely on understated melodies, emotive harmonies, and above all, atmosphere to make the song memorable. I love this remix for all the same reasons that I loved the original soundtrack—which, in my mind, is a sign that the remixer is doing something very, very right.
Radiowar: This is a remix of "Pokey Pipes." It is called "Intoxica," which I don't think is a word. Yes, I cribbed the strings from Moby. ):
The pipe levels were always some of the more interesting ones, each with some gas or substance that altered the gameplay in some way. "Pokey Pipes" had this really sort of disorienting, hazy quality to it that appealed to me. I tried to maintain that quality, while at the same time creating a really grimey and resonant sound. I wanted it to sound like the inside of a sewer.
2-07. GSlicer, The Scarborough Joker - "Water Warped"
Source: "Water World"
GSlicer: I like how the synth sounds like you're stabbing a little kitten slowly in the neck.
2-08. HoboKa, Flexstyle - "Can't Boss Us Around (Robot Anarchists from Hell Mix)"
Source: "Boss Boogie"
HoboKa: Okay, so this is what... the 3 millionth revision of my remix of "Boss Boogie," this time with Flexstyle. The style is a hybrid of orchestral (original, I know) and Nine Inch Nails-ish electronica. I must say I'm sort of tired of the source tune and hope to the flaming Gods I don't have to touch it again.
Anyways, I'm pretty proud of the fact that I managed to survive the entire remixing process (and proud of Flexstyle's devotion too) and I hope that you guys enjoy it as much as I used to.
Flexstyle: This was one of two remixes on this project that I was given to "repair," as it were. When I started on it, HoboKa seemed to be in a bit of despair, as his previous attempts at both remixing and collaboration on this track hadn't turned out as well as he wanted. That in mind, I set about the task with a devil-may-care sort of attitude; I specifically remember telling him at one point, "Meh, who cares what the judges think?" I then went and gave this a very gritty, rather Doom/Nine Inch Nails-esque reboot, which at least kept my interest. I cut down on some of the unnecessary length, and changed up several sounds, as well as adding that crushed beat. Well, turns out that this version had enough going for it to eventually pass the panel, and here we are! Looking back on the project, this is actually one of my favorite tracks now, simply because of its brutal outside-the-box-ness. Hopefully you can enjoy it as well!
2-09. Mattias Häggström Gerdt - "Krematoa Inferno"
Source: "Mill Fever"
"Mill Fever" was always a terrific track; extremely catchy. After struggling with ways to tackle the music, I decided to create a scenario and try to narrate it musically. "During the volcanic eruption of Krematoa, Dixie and Kiddy find themselves trapped in an inferno at the mill." If that's not a good base for a chaotic dubstep track, I don't know what is! All made in Reason+Record and was pretty damn fun to put together. I hope you enjoy following Dixie and Kiddy's escape from the flames.
2-10. Doc Nano - "Wrinkly's Nightcap"
Source: "Wrinkly 64"
For this mix, Wes asked me to write a sort of respite piece with the mood of a "good night's sleep while you save your game." I replaced some chords of the source tune with ones that are a little more romantic, changed the time signature and ended up with a Chopin-esque nocturne. You could think of this as the backdrop to the evening reminiscences of an old lady, er, gorilla, as she drifts off to sleep.
2-11. Jason Covenant - "The Mighty Junglol"
Source: "Chase"
Emunator: Perhaps the strangest track on the entire album, Jason does a complete 180 on the source and recontextualizes it as a psychedelic ethnic-dance track that will definitely throw you for a loop. Jason wrote and recorded the intro spoken word part (and apparently improvised the monkey noises heard throughout the track), but then disappeared for months without ever submitting a completed WIP. I had originally scrapped this track from the tracklist entirely when out of nowhere, Jason came back with a finished arrangement that fit perfectly in with the adjacent psychedelic remixes I'd received from Ross Kmet and Theophany for "Crystal Chasm" and "Mama Bird." Jason's contribution ended up being a great transitional piece that fits surprisingly well with the album, despite being pretty far "out there" in terms of concept.
2-12. Ross Kmet - "X-Y-X-X, B-A-B-Y"
Source: "Crystal Chasm"
This song wrote itself. I blacked out, and when I came to, this song was written. The source was so short, I think the shock of having to remix one 6/4 measure and two chords caused my brain to temporarily lose all control. You'll love it!
2-13. Theophany - "Breaking the Crystal Key"
Source: "Mama Bird"
This was the first track I finished for DKC3, and my first real foray into breaks. I originally had no intention of doing anything breakcore, but I felt the ambient style of the intro couldn't maintain interest for the entire track. At the time, I had been watching breakcore tutorials on YouTube, listening to Venetian Snares and Squarepusher. I'm usually interested in fusing sounds and genres, so ferocious breaks seemed like the thing people would least expect after the more ethereal introduction. Feel free to check out the alternate mix of this track on the bonus disc. It's still experimental, but more chilled out and 2-step.
2-14. Sole Signal - "Afterburn"
Source: "Rocket Run"
This track almost didn't get fully completed when I made the move to my new workstation, but I eventually got everything transferred over. The source is somewhat minimal and left a lot of room for interpretation. I went with a dnb/orchestral style that fit well with the tempo and the original's staccato synth throughout. Hope everyone enjoys.
2-15. Blue Magic - "Bring the Noise"
Source: "Big Boss Blues"
This mix has been in the works for almost three years and it's finally finished! I must have redone this one about ten times. Now, I finally have something that I feel is true to the source tune and just as fun to listen to as it was making it. This mix was heavily influenced by PrototypeRaptor's work. I really dig his style and I thought it might work well in this mix.
2-16. Vampire Hunter Dan - "Friendships Through Dark and Light"
Sources: "Crazy Calypso," "Crystal Chasm"
Of all the DKC games, this one held a special place in my being, so having just finished it about a month prior to being "hired," I couldn't possibly refuse. "Crystal Chasm" provided great balance, as it's atypical for me to arrange anything even remotely happy or major key-ish. "Crazy Calypso" took a great deal of work to bring to its finishing point, but I was eventually pleased with the results, and hope all listeners will be, as well.
2-17. Josh Whelchel - "Return to Kong, Bye-Bye Baddies!"
Sources: "Baddies on Parade," "Crazy Calypso," "Pokey Pipes"
I was approached and asked to provide an "upbeat" rendition of the credits theme to this wonderful installment of DKC - a task that would prove fairly difficult. The two big tasks were tackling a relatively simple and repetitive (read: not bad) source material and then presenting it in a way that was both upbeat but also captured the nostalgia and conclusion of a credits theme.
I approached this arrangement as if I were scoring an older man looking back in a photo album of all the enemies and locations in his favorite game, which, in this case, is DKC3. As he turns the pages, he begins to get a clearer memory and he starts to remember some of his favorite things, like the menu theme song ("C. Calypso"), some various background themes ("P. Pipes"), and things eventually pick up and he's entirely happy with what he remembers. It's not much unlike having a monochromatic photo sitting in front of you of someone you love, and slowly, as you remember them, color is added by the scents, melodies, and other senses that you captured with them. And that's it!
2-18. DCT - "'Til We Meet Again"
Source: "Game Over"
As soon as I heard the "Game Over" tune, I instantly dug it. Since it was only 15 seconds long, I tried to be creative with it while still maintaining the feel that drew me to the original song to begin with. I had a lot of fun putting this together, and I hope everyone enjoys listening to it.
3-01. Theophany - "Knautilus"
Source: "Title Theme" (GBA)
During my time in Toronto, I spent a lot of snowy nights listening to UK dubstep producer Burial. Most of my inspiration for this track comes from him. I added my own spin and tried some different techniques with the vocals, but it's hard not to hear the influence of Untrue and Distant Lights when you listen to this tune. I feel like that's a good thing. After re-listening to Vig's stunning take of "Aquatic Ambiance," I wanted a totally different sound to capture the melody again for one last DKC album. Mixing Burial up with some violin and piano felt like the right approach. I've always wanted to experiment with his style, and it may be the closest I ever get to hearing him remix a video game track. But hopefully not. :) The opening vocals were sampled from "Katy," a sound pack on freesound.org, and used with permission from digifishmusic. Vocal samples in the second half were taken from Rudi Arapahoe's album Echoes from One to Another. The Korean language samples were taken from the films Old Boy and A Tale of Two Sisters. The title comes from the opening cut-scene from GBA version of the game.
3-02. Level 99 - "Treehouse Campfire"
Sources: "Treetop Tumble" (GBA), "Bonus Room Blitz" (DKC1), "Cranky's Theme" (DKC1)
I actually didn't plan on being on this project at all when it got started, and somehow I ended up on it three times. It just goes to show how persuasive a good project director can be (it goes without saying that I owed him a favor or two as well). Wes asked me to take on "Treetop Tumble" in a pinch due to looming deadlines, so I did what I normally do in a pinch: break out the acoustic guitar! This song is meant to convey a kind of retrospective evening around the campfire, playing songs and reminiscing about times now passed. Crickets and a crackling bonfire set the ambiance, while guitars, a cello, and assorted hand percussion make up the song. A number of melodies taken from throughout the DKC series are integrated into the second half of the song, ending with a rendition of Cranky's theme. Also, it ends with fireworks. Pretty colors...
3-03. Hylian Lemon - "Piña Kremlada"
Source: "Northern Kremisphere" (GBA)
Wes asked me to do this track 50 years ago when he thought the project was nearing completion, and I'm not one to turn down a fun, cheesy, tropical kind of tune. These things are practically made for chiptune elements. For anyone interested, "kremlada" is Spanish for "strained through the teeth of a live crocodile." Try it at home.
3-04. Flexstyle - "Thump Brothers"
Source: "Brothers Bear" (GBA)
Emunator: Flexstyle is one of the most happy-go-lucky people I know. Throughout the course of the album's development, I've gotten to spend a lot of time with him, both online and in person. This track is the absolute embodiment of Michael Birch—bombastic, fun, and unabashedly larger-than-life. It's rare that you'll see an individual's personality come through in a remix more than you will here.
If you can listen to this track and NOT have a huge smile on your face by the time it's over, we'll give you your money back. Guaranteed.
Flexstyle: Well, as many people know, this particular tune was originally gonna be a super-awesome rap collab by Diggi Dis and other various folks, but that whole deal kinda fell through toward the end of the project. When that didn't pan out, I quickly swooped in and had LOADS of fun taking a bluesy source and warping it into a jubilant, phat, bouncy electro-dance track (insert obligatory "and this is also how I like my women" joke). I'm kinda-sorta-totally ripping off an older original track of my own called "Chain Reaction," which had the exact same kind of feel -- driving beat, quirky bassline, and stabby synths which stab things. Oh, and I sampled the original song's harmonica too (all 1.5 seconds of it), because it just seemed like the right thing to do. It was kinda what defined the song, hope that's kosher. And yes, I did the beatboxing m'self. Enjoy!
3-05. PROTO·DOME - "Accident! A Mountain Rescue By Skies! Glory!"
Source: "Frosty Frolics" (GBA)
This is a song about believing in your dreams and realising that you can achieve anything you put your mind too. So put down that trashy novel, get out there, and find Mr. Right.
3-06. OA, DragonAvenger - "Party's Over There"
Source: "Bonus Time" (GBA)
OA: This was a track that I wasn't really sure what to do with at first, but took it as a challenge. I went for a sort of mid-late 70's pop-funk arrangement with a slightly modern twist, maybe something Chicago or Tower of Power would do, and things seemed to click pretty well. I recorded keys, guitar, and saxophone, and the lovely and talented DragonAvenger recorded her trumpet, we both did some solos, and ended up with a cheerful track. Like the Party Posse, it's real funky, but not threatening.
3-07. ilp0 - "Ripsaw Boogie"
Source: "Treetop Tumble" (GBA)
This is probably the most guitar-based video game music remix that I've made up to date. The source tune is very happy and light and I tried to make the remix as happy and careless as I could (even though the level is about avoiding a lethal rip saw). I discarded the African/Caribbean feel of the source tune and went for a loose and groovy guitar jam, taking influences mostly from classic rock of the 70's.
3-08. Diggi Dis - "The Paper Chase"
Source: "Chase" (GBA)
While browsing through the tracks that were still free to pick, my ears fell on this one. Since it's a quite known track throughout the DKC series (at least I think I've heard it on previous releases of DKC before), the tune was easily transcribed for use in my project. I wasn't sure which genre I was gonna do beforehand, but the track kind of progressed on its own.
Since it's pretty much a constant loop of a small tune, I also went for the "loop" approach which serves the genre I went for nicely, I hope.
3-09. Malcos - "Funky's Tricks"
Source: "Funky's Game" (GBA)
This was a really fun tune to remix, which Wes invited me to do. I listened to the main melody of the original and came up with an alternative chord progression that would fit. After taking the congo element of the original and combining it with the chords, I knew it had to be a jazz remix! The Motif XS8 provided most of the sounds, with some free VSTIs thrown in.
I added a contemporary edge with some synths and arpeggiations, to emphasise the playfulness of the track. The rest just came together, with some helpful suggestions based on the WIPs I posted.
3-10. zykO - "All Mixxed Up"
Source: "Hot Pursuit" (GBA)
This high(er) energy tune is the product of half a day's worth of jamming. Sat down, listened to the source a few times, lit the cherry and ran with it until dusk. The music itself was the easy part, honestly... a groovy electro blues track with a roomy, driving beat and a couple guitars locked in a tango; in something of a hot pursuit, if you will. Honestly, I had a harder time naming the freakin' thing. I was all mixed up. XD
Warning: I can't guarantee that rolling through your local hilly estates while listening to this with the top down and a healthy breeze won't permanently change your perspective on everything.
3-11. Flexstyle feat. Paul Capps - "Arichnophobia"
Source: "Arich Boss" (GBA)
Flexstyle: This was an easy choice for me. When I heard this track and saw that it was still available, I knew I'd have to plaster it all over a guitar-laced DnB mix. Major props to my buddy Paul for the stellar guitar work! This is one track I especially recommend if you're looking for something to completely go bonkers to in an empty house at 110 dB of volume.
3-12. GSlicer - "Vext"
Source: "Pokey Pipes" (GBA)
vext is the new future promise followed by a complete annotated discography mcfarland amp.
3-13. Harjawaldar - "Post-Apocalyptic Society"
Source: "Boss Boogie" (GBA)
I've actually never played DKC3 on GBA, but, when I heard the source, saw huge potential right away. This boss theme had metal written all over it; heavy rhythms and delicious dissonance! So what to do with it? I thought about really primitive black metal to emphasize the dissonance, but the pentatonic melody didn't fit. I went for some technical industrial metal since the source already has, what sounds like, an industrial element. Much more could have been done to industrialize the sound, but I fell in love with an organ VST at the time and this song suffered the consequences. No regrets!
Funny thing about making this remix is that I told Wes that "we DoD guys do stuff fast; it'll be done within a month!" And yet, he had to ride my ass about it for half a year!
3-14. zykO - "Nutz in the Head"
Source: "Nuts and Bolts" (GBA)
Yeah, it's weird, but in all honesty, it reflects the circumstances surrounding its conception like pocket aces fit your best hand. At the time, I wrecked my car and, temporarily, my life, I couldn't get a grip on anything; things would either break, go wrong, die, fall apart, or fail. It was as if the nuts and bolts that held the machine together had come loose and gone rattling around in my head.
This piece came into being very suddenly, but it emerged so raw, hard, and dirty that it really wasn't very listenable at first and clipped more than blake frickin griffin. I got my paws on my buddy's KAOSS pad, plugged my guitar into it, ran some grimy groove jams over some mono-tastic skittish distorted drumz and rambled for some six, seven minutes. Unsurprisingly, the track gave me fits getting it to be less abrasive which took nearly half a year (something I am really not accustomed to), but I was too burned out on the track to even sit in front of it.
I stuck with it and this is what I finally decided was cleaned up enough to where the original feral energy was still there. Hope you dig it.
3-15. Mazedude - "Tangerine Fever"
Source: "Mill Fever" (GBA)
Emunator: Mazedude has been nothing short of a force of nature throughout OC ReMix's history. Chris has been churning out high-quality material in superhuman quantities for nearly 12 years now, making him perhaps the most prolific remixer in OCR history. Even still, I have no qualms with saying that this is one of Mazedude's best remixes to date.
First off, "Mill Fever" (GBA) was practically made to be married with Mazedude's quirky, tracker-based style. The instruments and synths used in this remix do not differ that much from the original. The magic is in the way Chris latched onto David Wise's original melodies, and truly brought out their full potential with a dynamic arrangement and some of his most incredible synth solos I've ever heard. And he was the 2nd person on the project to finish his track, to boot! Phenomenal, definitive work here from Mazedude that exceeded all of my expectations.
Mazedude: Listening to the original "Mill Fever" track, I was reminded very strongly of the popular tracker files from the late 90s. The piece sounded very much like the work of Alexander Brandon, the composer behind Jazz Jackrabbit, Deus Ex, and more. I was also reminded of a very iconic piece by Andrew "Necros" Sega, 2nd place winner from the MC4 music content, "Tangerine Fascination." To this day, it's one of my favorite pieces of music, and I've always wanted to do a stylistic homage to it.
This particular style is very difficult to mimic, as it is highly detail-oriented, and uses a lot of samples that are hard to work with. But, magically, I was able to get it to flow, and the remix came out just like I had imagined it in my head. So, while many may not recognize the nostalgic reference material nor the homage, I had a blast making it, and hope others enjoy it as well.
4-01. Pot Hocket - "Undercurrent"
Source: "Enchanted River" (GBA)
Emu specifically asked me to remix this track back in 2009, and I went ahead and gave "Enchanted River" a listen. I knew immediately that I would have picked the track anyways. I basically picked up the guitar and started recording immediately, without a clear idea of what I was going to do, besides the theme of being underwater. In fact, I didn't listen to the source all that much either, and you may notice deviations all over the place especially when I basically just jam for a bit. Also, the recording quality does bother me a bit now (I blame my inexperience), and I apologize for that. Still, though I did put this together fairly quickly, I'm quite happy with how it came out: nice and simple. I hope you enjoy it!
4-02. halc feat. Level 99 - "Aquatic Transformations"
Source: "Water World" (GBA)
halc: I was quite amazed when I first heard the source material, which of itself is a brilliant arrangement of DKC's "Aquatic Ambiance," from which I also drew quite a bit of inspiration. The sound design in this mix is unlike anything I've produced to date, and Stevo's guitar performance was top-notch (much love!). I am incredibly proud of this mix and I hope you guys like it as much as I enjoyed producing it!
Level 99: Talk about a game of telephone: halc asked Emunator to find someone who might be able to give some guitar work for a chill, chippy take on the "Water World" theme. Emunator had heard of my stuff and sent me a message asking if I'd be willing to lend a hand.
I ended up doing clean rhythms and a distorted lead for the melody line, a bit less high end than what I normally use, but it went well with the effects that halc put on them. Slow, drawn-out notes with lots of bends, I focused above all else on keeping the flow of the track with as precise of timing as I could muster.
Really nice experience and I look forward to the opportunity to collaborate with halc again!
4-03. Rozovian - "Heart of the Cave"
Sources: "Cavern Caprice" (GBA), "Brinstar - Red Soil Wetland Area" (Super Metroid)
Emu made me do it. Said something about "Eye of the Storm." Then said it wasn't the longest mix on the project. I got provoked. Also, Theophany provided sound effects.
4-04. Peach - "Cranky's Mojo"
Source: "Cranky's Dojo" (GBA)
Late in Summer 2010, a well-respected OCR community member informed me of the DKC3 album project and suggested that I contact Emunator, despite the fact that all of the tracks were reserved at the time. I was told that a track likely would be dropped, and, in this case, it was "Cranky's Dojo." It was an excellent opportunity that I was honoured to seize, especially since I had no posted ReMixes on the site.
I selected the Roland Fantom X6 workstation keyboard to remix the track, and began compiling various samples from Roland's World Collection and Complete Orchestra expansion boards. Being a past MIDI transcriber, I wanted to sequence "Cranky's Dojo" accurately and build from there. My initial WIP was nothing more than a transcription of the source with an improvised synth lead, but the director accepted it. This simple recording was the beginning of a long line of ideas for the remix I dubbed "Cranky's Mojo."
My original plan was to have a bit of a dance section and mix in a Chinese-Japanese refrain, but the dance part became sort of a synth rock hybrid. While performing a trumpet solo improv overlay on Yoshi's "Tropical Island" from Mario Party, I got the idea of using the sample for a jazzy section of the piece, and it was then that I realised I would separate my remix into movements. A new chord progression for the source melody came to mind and I went on to use it for the aforementioned East-Asian part of the arrangement.
After many hours of labour, I was quite pleased with the results. A moody first movement, an upbeat rock section with a lot of source, an oriental part, and a 1940s sassy swing made this remix very dynamic. However, it had much room for improvement.
An opportunity arose to enhance "Cranky's Mojo," which the director for the album approved. With some advice, I implemented a richer piano arrangement for the opening movement, a more realistic rock drumline using Yamaha Motif ES8 keyboard samples, and a myriad of smaller refinements. The outcome of the extra effort feels much more polished than the previous recordings.
Many thanks go to Bahamut, Nutritious, Emunator, Cody Wedel, DragonAvenger, Flexstyle, and all those who helped make this possible.
4-05. Blue Magic - "Chasing Waterfalls"
Source: "Cascade Capers" (GBA)
I was really feeling the original when I first heard it. I was fortunate to have a couple of original songs that I felt could work very well with the waterfall theme. So, I put them all together, and this is what I ended up with. I also worked with a few of my newer samples and VSTs to create a more unique style of music, compared to my previous works.
Thank you for listening, and enjoy.
4-06. zykO feat. diotrans, Diggi Dis - "Corn-fed Kong"
Source: "Rockface Rumble" (GBA)
Emunator: zykO has a style all his own as a musician. I've been a fan of his eclectic, raw style for a long time and I was elated at the opportunity to have him contribute three mixes to the project. Here, Waleed crafted an absolutely gorgeous country-style arrangement of one of the more off-the-wall sources from the OST. The end result was an extremely accessible jam with the power to sway even those with an extreme distaste for country music. Everything about this remix has heart, and I think the additional live performances add to that even further. (On a personal note to Waleed, thanks for putting up with my neurotic requests and critiques during the production of this and your other two tracks. I'm sure that wasn't easy!)
Unfortunately, along the way, the project files for all 3 of zykO's tracks were lost, so there are a couple of unresolved pops and some tuning issues with the acoustic guitars present in the final mix. Still, when the rest of the track is this strong, I have no trouble looking past minor issues and enjoying one of Waleed's finest arrangements to date.
zykO: I listen to a lot more country than I let on. More of the Hank Williams III variety, no doubt, but my ears perked up immediately when I saw the opportunity to work with this source. I have a soft spot for the wondrous mix of the piano, violin, and upright bass, and with a little guitar, it's practically gold. The GBA version of "Rockface" is so completely unlike its SNES counterpart and while I was tempted to go off the deep end with the ambiance and SFX (as you'd expect me to), I opted instead to go for writing a song and letting the vibe of the piece do all the table setting instead of my normal dose of meandering scene-building.
I was very blessed to be able to welcome the talents of incredibly talented folk like diotrans and Diggi Dis onto the project. Otherwise, we'd all have been stuck listening to me sequence piano and violin, hahaha. No, but really, their work is PRO, no question about it. WILL DO AGAIN
4-07. David Wise feat. Robin Beanland, Level 99, Daniel Rosenqvist, Harmony, bustatunez, zykO, JJT, OA, prophetik, Diggi Dis - "Spanish Jitters"
Sources: "Jungle Jitter" (GBA), "Aquatic Ambiance" (DKC1)
Emunator: When I contacted David and asked him to reprise his role as a remixer on this album, I had no idea just how much coordination would be necessary, or just how legendary the end result would turn out. After Skyping with David a few times and discussing his track, we tossed around the idea of having members of the OC ReMix community contribute their instrumental talents to the remix. By the time the arrangement was wrapped up, 10 performers who had participated in this album or past DKC remix albums left their mark on the remix. The end result is pretty liberal, even by OCR's standards, but it stands as one of the most purely enjoyable remixes I've ever heard.
This whole experience has been monumental. When I first started the album, I never thought that I would have the chance to even speak to my all-time favorite composer, let alone be personally involved in the development process for one of his mixes. As the video game music arrangement scene grows, it excites me to see more and more instances of fans being able to connect with their favorite composers, and glad that I could help facilitate that in some small way!
David Wise: This turned out to be a HUGE mix by the time I eventually had put all the live parts in. It has taken far longer than I originally envisaged, mainly due to trying to find the time to squeeze in enough mixing sessions between writing music for upcoming projects. First of all, a BIG thank you to everyone who contributed so much to this track. Appreciated.
Having had a break from it now for several weeks, I'm listening back thinking how I'd change it if I were to mix it again today. At times, there are almost 50 live tracks running together, with many more contributing to the mix overall.
When putting this mix together, I had been listening to a lot of Candy Dulfer, so this is where some of the inspiration comes from. Her drummer just has a great groove going on, so I analyzed this in Cubase, and applied the groove to my drum track. After that, it was a case of taking the "Jungle Jitter" melody, and adapting to suit.
I made a very basic track, and Wes asked several of the OC ReMix community to contribute. There are some very talented musicians and remixers who contribute, and it was great to hear the results as they came in.
There was some incredible playing, and whilst I'd have ideally liked to use all of the parts, I had to choose the ones that best suited where I wanted to go. This mix could easily have gone on for a few more minutes.
So let me introduce the band:
We start with the incredibly talented Robin Beanland who played his flumpet for the "middle 80's section," of which I borrowed some of this also for the intro too. He also did the great flumpet ad-libs @ 2.30.
Level 99 (Stevo Bortz): Guitar @ 0.16 - The steel guitar gives the track a very Spanish/Latin feel from the off, and sets up a far more laid-back mix than I had originally anticipated. His rhythm work also works well for the other solo instruments to sit above. Stevo's tracks were some of the first to reach me, and I think this influenced the final outcome somewhat.
bustatunez (Wilbert Roget, II): Flute @ 0.51 - When I first heard this, my initial reaction was "WOW" – I wasn't expecting that! He also contributed the accordion here too – for something a little different. It just works.
JJT (Jon T.): Trumpet - The trumpet that interjects @ 1.10 is played by Jon. He also adds a brass line to the mix within the main brass section riff too.
The OC Players: Brass Section
prophetik (Bradley Burr): Alto Sax @ 1.29, multiple takes
prophetik: Tenor Sax @ 1.29, multiple takes
prophetik: Fake Baritone Sax
OA (Andrew Luers): Alto Sax Parts @ 1.29
Robin Beanland: Flumpet @ 1.29
Bradley's sax was just great. Take after take of usable "section material." Whilst Andrew had also contributed alto sax parts, Bradley was up for adding a few more layers. The combined effect makes for a very fluid sound.
Bradley even played the baritone parts on his tenor sax, whilst I used the VariAudio in Cubase to make a very convincing fake part to fill out the lower part of the section.
Obviously, Robin has extensive experience recording, not only providing the solo in the middle section of the piece, here providing take after take of great flumpet brass section material.
Harmony (Brandon Bush): Percussion - Brandon provided multiple percussion takes. Whilst I never made a feature of the percussion, you instantly notice it's no longer there when muting it in the mix. It really adds something to the groove, whilst not taking over at the same time.
And not forgetting the bass: Daniel Rosenqvist (the bassist from the band Monkey Kong) puts in a very solid performance.
Also @ 2.20 is zykO (Waleed Hawatky) playing guitar. Waleed sent through an absolutely rocking track, which to be fair, warranted a separate remix on it's own. Great tone, great style, cool phrasing. tight timing – fantastic attitude – but there were too many overtones coming from his set-up. Sadly, for me, the sound just wouldn't fit with the rest of the track. Apologies. It would have required a whole different approach. However, the guitar takes I did use from Waleed really add punch to the track.
80's Section
For some random reason, I decided to have an 80's inspired section in the middle.
Robin kindly lent his flumpet talents here for the main solo, a very laid back and subtle treatment, which builds strongly before heading back to the main theme.
prophetik: Sax Solo @ 4.36 - This just falls nicely into place, as though it had somehow always belonged there, long before he'd ever even recorded his solo.
Diggi Dis (Frank van 't Ende): Piano @ 4.58 - And to finish with, a great piano solo to round off the mix.
Thanks again to everyone who contributed so much to this mix. If I were to mix it again today, it would be a little different for sure.
4-08. Monkey Kong feat. David Wise - "Sea Breeze Concerto"
Source: "Stilt Village" (GBA)
Daniel Rosenqvist of Monkey Kong: In spring last year, I got a mail from Emu asking us to be a part of the DKC3 album. Although the time wasn't optimal for us with school graduation, concerts and, of course, rehearsing for our pre-show gig at the Stockholm Concert Hall for Distant Worlds II, there really was no way for me (being such an OC ReMix fan) to turn down on this! I knew the process was gonna be long -- getting up the energy in the band, finding time to practice, jam it (A LOT of jamming, actually), arranging, recording, mixing, mastering, and so on. But to now come out in the other end and see the result is gratifying.
This could not be done without David Wise. I would like to thank him from the bottom of my heart for all the love he's put in to both his playing and also in mixing and mastering. I've learned so much from this Dave, thank you!! This song is for you, the OC ReMix staff and, of course, every video game music lover that understands why it's the ultimate art form!
I'm very pleased to give you the "Sea Breeze Concerto!"
4-09. Theophany feat. Harmony, some1namedjeff, Fishy - "Beneath the Moonlight"
Source: "Stilt Village" (GBA)
Emunator: Since the GBA soundtrack doesn't really have an original piece of credits music, I thought it would be appropriate to have a remix of another theme to fill that role… something climactic, emotionally powerful, and conclusive that would do justice to the musical journey that preceded it. Theophany stepped up to fill that role with an additional remix of "Stilt Village," perhaps my favorite song from the OST. Something of this scale doesn't happen overnight, though—in fact, this mix alone delayed the album release for nearly a year past the project's final deadline. However, I can say that the wait was 100% worth it and there's no doubt in my mind that, once you listen to what he came up with, you'll agree.
Jason's arrangement exceeded even my wildest hopes for the source—this 9-minute behemoth seamlessly merges folk, ambient, and prog rock aesthetics together, featuring emotive live instrumentals and solos from some of OCR's most talented performers, and one of the most gratifying climaxes I've ever heard in a remix. "Beneath the Moonlight" is Theophany's magnum opus, and I can't even begin to thank him for his dedication to this concept, and for his contributions to the album as a whole.
Theophany: "Stilt" had been slated as an album-closer since the early days of 2010, and being the last main track of the DKC trilogy, I wanted the sendoff to be something special. The plan was to recruit as many live performers as possible, because I felt a proper remix of this track needed to be diverse. My concept was to fuse elements of Andes folk music with world percussion, flamenco-inspired guitar, live violin, post-rock and electronic textures.
Thanks to some extremely talented artists like Harmony, Jeff, and Fishy, the result is even greater than what I'd hoped for. I can't speak highly enough of Harmony's work in general, but on this he was a godsend. Straight away he got the concept and the material he came back with was stunning. Jeff's violin performance brought soul and shimmer to the track, and I think his work really helps keeps the listener connected throughout the 6+ minute journey leading up to Fishy's solo drop. For those who can stick around that long, you're in for something special.
My work on DKC3 has been mostly experimental, with the execution being more successful for some tracks than others. "Stilt" was by far the most ambitious of my half-dozen remixes on the album. It took over a year from start to finish -- from scrapping my initial WIP and starting over, to reworking the arrangement and album outro, to the logistics of trying to coordinate 4 people from here and overseas on one track. Even as it dragged out months beyond the deadline, Wes remained 100% behind the track, and committed to its evolving direction. There were definitely times we could have called this good enough. All I can say is I am proud we didn't.
I hope you all feel it was worth the wait.
4-10. Emunator, Theophany, Cody Wedel - "Distant Dreams on Stormy Seas"
Source: "Game Over" (GBA)
Emunator: Since the GBA port of DKC3 had no original credits music, I thought it fitting to use the "Game Over" theme, which is actually just the classic DKC1 theme music arranged for a music box, as a stand-in. I found it noteworthy that the first track on Kong in Concert, the very first DKC remix album, and the last main track on Double the Trouble! both remix the same source.
This track has come a long way from the initial draft I came up with over 2 years ago, which was simply a 1-minute improvised piano piece. Once more tracks on the album started coming in (particularly Theophany's emotionally-charged "Beneath the Moonlight") I realized that a simple 1-minute outro would not do justice to the material that preceded it, so I got to work building a track that would serve as a proper emotional resolution to the album. Along with Cody Wedel, who provided the arrangement for the first verse of the track, I came up with an arrangement consisting of piano, music box, and strings set to a backdrop of rain and thunder.
The remix didn't truly take off until Theophany stepped in and worked his production magic on the track, replacing the string and bell samples and adding in extended ambient intros/bridges and really making the arrangement shimmer. I don't know how he does what he does, but after Theophany had his way with the track, it sounded absolutely gorgeous. I can't thank him and Cody enough for their contributions that brought this track to new heights.
This track is supposed to capture the "calm after the storm" that you always feel as you watch the credits roll in a game. The three years I've spent directing this album have felt like an adventure, and I hope that it feels the same way for those who choose to listen to the album all the way through. To me, this marks the end of a journey that fans of the music of Donkey Kong Country have been a part of since 2004, when Kong in Concert was first released. I hope this song, and the album as a whole, does justice to the amazing source material, and the two remix albums that preceded it.
Cody Wedel: The idea of a "Game Over" GBA remix came to me on a whim: I somewhat jokingly brought it up to Emunator and asked if he wanted to possibly collaborate on the track, to which he obliged. Knowing that two emotional "Stilt Village" GBA remixes would go before it, we both envisioned an appropriate combination of strings, piano, and a music box accompanied by rain/thunder SFX, and that's exactly how the track ended up.
I couldn't thank Emunator and the INCREDIBLY talented Theophany enough for listening to my concepts and executing them. The Knautilus making a return at the end was an idea I had suggested months before, and its execution was flawless... I legitimately shed a tear at the end upon my first listen, it was so beautifully done.
In all, I absolutely 100% feel that this track is the perfect farewell for all the fans who had the pleasure of being blessed with the wondrous, beautiful musical journey that is Double the Trouble!
5-01. Acolyte - "Take the World Back"
Source: "Northern Kremisphere"
After listening to many DKC2 remixes, I decided to make my first mix with a theme from DKC3, which I thought was underrated.
The source material, for me, was perfect for the game, and its use as the world map music. You have this kind of happy, but soaring intro, and then the bass and drums come in and the other half is this darker, almost sad feeling to it.
"Take the World Back's" aim was to do this in reverse. It starts out dark and powerful, and then the other half is upbeat, hence the "Take the World Back" title, from the Kremlings.
I have the synth bass playing the bassline from the source throughout. The majority of the time it is being played in octaves and has swing on it to give it some more movement.
The pads are playing the darker melody from the source's second half for the track's first half.
I also was liberal in changing the melody up and adding to it throughout the song. The the dark melody can be heard in the lower piano towards the end during the upbeat section.
Another thing to take note of is the huge cinematic-sounding percussion, heard most prominently in the beginning but used throughout. This was derived straight from the cinematic drums used in the source. They play similar if not the same as well.
There was not much going on in the source in terms of melody, as I felt it was more of an ambient piece, so the real goal was to add a lot of movement to it while still keeping the large expansive atmosphere of the original.
5-02. Flexstyle - "Jitterbug System"
Source: "Jungle Jitter"
I heard the source and, for some reason, thought "funky electro house!" It didn't really end up being terribly source-laden, hence its status as a bonus track, but I thought it had some merit -- and so, coincidentally, did Wes. Funny how that works. Play this track at your next local rave, mmkay?
5-03. Draconiator - "Rocket Rave"
Source: "Rocket Run"
This was the first song I completed to try and get on the album. First, I showed Emunator my YouTube account, so he could get a handle on what I could do musically. He then suggested that I look through the tracklist to see if there was anything I liked. I picked "Rocket Run," and hammered it out in a short period of time. Unfortunately he thought it was STILL bonus track material, heh. This is when I decided to do what is now known as "Permafrost," but that is a whole other story...
Later on, I enhanced it because it got rejected on the panel, then resubmitted it. And this is the version you will be hearing. So, enjoy!
5-04. Danton F. - "Treetop Intense"
Source: "Treetop Tumble"
By chance, I found out about the project and decided to refine my mix to join in. I tried to include a dark night theme but with a touch of danger and intensity of my metal influences at the moment, without losing the original's jungle atmosphere. This was the result.
5-05. Chernabogue - "Joyful Jungle Jig"
Source: "Jungle Jitter"
While looking to the DKC3 project thread, I saw that "Jungle Jitter" was the only track left. I looked for a MIDI track and the track's bassline inspired me a lot. As it was a Donkey Kong Country track, I thought jazz and ethnic music would fit the best. This song was a strange source, since it was composed with percussion, a few jazzy melodies and some monkey screams. Finally, the track sounds like if it was ripped from a modern Donkey Kong game, using various orchestral and ethnic samples, like the pan flute or the "djembe" ensemble. And the acoustic bass sample comes from Emunator, this project director himself!
5-06. CC Ricers - "Heart of Darkness"
Source: "Cavern Caprice" (GBA)
This is a somewhat chilled-out dubstep take on the "Cavern Caprice" theme. I wanted to fill in the ambiance however I could without using actual sound effects, and it relies a lot on deep bass to move the track. Follow it especially after the second breakdown/build; has some source melody in there.
The name of this remix was made by agreement by the album community; it might explain the somewhat generic title. :P Also, I snuck in a short cavern theme from another game, see if you can find it!
5-07. Evory feat. Gintokipianist - "Canopy Crawl"
Source: "Jungle Jitter" (GBA)
Evory: This piece was originally meant to be entirely baroque counterpoint, but I kinda gave up after four bars, and tried to venture into jazz instead. I left the baroque bits in anyway, because that's what I was told to do in piano exams, don't bother going back to correct your mistakes, the examiner probably wasn't even paying enough attention to notice them (note the plural). So it's not baroque, but neither probably is it jazz, given that almost all the jazz (thus far; broadening of horizons in progress, yeap) I've heard has been from, well, piano exam pieces. Tom (the pianist) called it "a study on different genres/musical styles," so, well, eclectic or schizophrenic, it's up to you!
5-08. Flexstyle vs. Jason Covenant, AkumajoBelmont - "Banana Revolution (Flexstyle's Slam-the-Breaks Edit)"
Source: "Cranky's Showdown"
Flexstyle: Because this project needed to have a remix of a remix on it.
5-09. Peach - "Cranky's Christmas Mojo"
Source: "Cranky's Dojo" (GBA)
Merry Christmas, everyone! I created a Christmas-themed remix based on my track ("Cranky's Mojo") from the DKC3 ReMix album, Double the Trouble! as thanks to various communities who have helped me in different ways. Originally, this was going to be just for my YouTube channel, but this remix now features as part of An OverClocked Christmas v.5 and is a bonus track on Double the Trouble! Styles such as those found in the music of Animal Crossing (Kazumi Totaka) and Donkey Kong Country (David Wise) influenced this composition, as well as a bit of chord progression techniques from the Legend of Zelda series (Koji Kondo). Please enjoy!
5-10. HoboKa - "Can't Boss Us Around (Original Mix)"
Source: "Boss Boogie"
Well, I've never been a huge fan of the DKC3 OST, but there are some gems from it nonetheless. "Boss Boogie" was no exception. I decided to give this remix a DnB and ambient feel in one, but there isn't really a genre for this track, since I love to use multiple genres when remixing. audio fidelity did a pretty damn good job at remastering my rather muddy original mix, but it may require some more mastering, depending on how much the J's feel like raining on my parade.
Anyhoo, with that said, I'm glad I could be part of this ReMix project and I'm glad to have finished something that I started, unlike the other 20+ remixes I have in my remix folder, haha. Also, kudos to Emunator for always being around to lend me a hand when I needed it -- he's an awesome project CO and I'd definitely recommend him for future projects.
5-11. Draconiator - "FrosTronix (Original Mix)"
Source: "Frosty Frolics"
This is what "Permafrost" sounded like AFTER I finished it, but BEFORE Flexstyle got his grubby hands all over it and made it a lot more sexy. I figured you would like to see how it's evolved, so I put it on the bonus disc.
5-12. Theophany feat. JJT, prophetik, some1namedjeff, zykO - "Dive"
Source: "Water World"
Theophany: This track came about as an alternative to "Deep Sea Lights." I felt people would be turned off by the heavily distorted bass and wanted to create something more accessible. The concept was to gather live recordings from various tracks on the album and create a more trip-hop, Emancipator-inspired version of "Water World." Samples were sliced, stretched, pitched, and reversed to fit the arrangement, including: sax by prophetik, trumpet by JJT, violin by Jeff Ball, and reversed guitar effects from zykO. Definitely a lot of fun to produce.
5-13. Theophany - "The Crystal Key Is Broken"
Source: "Mama Bird"
Heavily inspired by the Sword & Sorcery OST, this track was conceived as an alternative to my abrasive, break-heavy remix. I felt fans of the original track might prefer something more ambient that captures the spacey mood of the original. After an initial atmospheric and sound design pass with harp and kinderklavier sounds, I borrowed a few instruments and went to work recording a bed of plucks on viola and guitar. The harp in this track was actually an instrument I sampled and programmed into Kontakt. The library is available for purchase over at Impact Soundworks, courtesy of zircon, and is also featured on "Beneath the Moonlight."
5-14. Emunator - "Footloose Falls"
Sources: "Cascade Capers" (SNES), "Cascade Capers" (GBA)
This mix started off as an original track that was intended to be entirely ethnic/ambient, drawing heavy inspiration from mv's classic "A Foray into Eastern Horizons." However, the chord progression reminded me of "Cascade Capers," one of my favorite tracks off of David Wise's criminally-underappreciated Game Boy Advance remake of the Donkey Kong Country 3 soundtrack. I arranged around that for a bit before realizing how well a lot of the backing elements from the SNES version of Waterfall fit with my current arrangement. I added a dance beat as a joke, initially, but I guess it stuck and what I ended up with is some weird-yet-cohesive (I think, anyway!) genre fusion that I think works pretty well.
The mix was done entirely in FL Studio 10. The ambient sounds were pulled from free sample packs across the net and Alchemy Player (which is, bar-none, the most gorgeous-sounding free synth software anywhere), the beats were default FL Studio samples and Kore Player for the ethnic percussion, the instruments were all from Sampletank, and all the riffs/backing tracks were played live on my electronic piano and then quantized to fit. The bassline was actually rendered by Flexstyle using Harmless and Toxic Biohazard. Thanks for that!
(This track was included as a last-minute bonus track on the album because I wanted at least one piece of self-produced material of mine on the album. The other two tracks I contributed were produced by others, so this should properly reflect my capabilities as a solo artist.)
Tracklist
| Digital Media 1: Kremisphere |
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| Digital Media 2: Krematoa |
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| Digital Media 4: Pacifica |
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| Digital Media 5: Bonus Time! |
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Credits
Release
| executive producer: | David W. Lloyd (OverClocked ReMix founder djpretzel) Larry Oji |
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| producer: | Mike Birch (Flexstyle) |
Release group
| other databases: | https://rateyourmusic.com/release/album/various-artists/donkey-kong-country-3-double-the-trouble/ [info] |
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| standalone website: | https://dkc3.ocremix.org/ [info] |
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