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Metal Gear Solid 3 Snake Eater Original Soundtrack :: Forum Review
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Album Title: | Metal Gear Solid 3 Snake Eater Original Soundtrack |
| Record Label: | Konami Media Entertainment | |
| Catalog No.: | KOLA-89/90 | |
| Release Date: | December 15, 2004 | |
| Purchase: | Buy at CDJapan |
Overview
Written by Chris
Metal Gear Solid 2: Sons of Liberty saw Metal Gear meet Hollywood in more ways than one. Cinematic composer Harry Gregson-Williams was the figurehead of its most ambient and electronic score, though Berklee-trained symphonic jazz musician Norihiko Hibino produced a large proportion of the cinematic music and most of the in-game music. The response to the score was mostly positive, given it worked so well in the game and had a few highlight cues, though there was criticism that it could be boring and derivative on a stand-alone level. On Metal Gear Solid 3: Snake Eater, the same duo return to produce an even more ambitious work that combined the ambient elements of its predecessor with a 1960s theme. The result is a fascinating moody score mostly commemorated in this soundtrack.
Track-by-Track Reviews
Disc One
1) Snake Eater (Written by Don)
"Snake Eater" is the main vocal piece for Metal Gear Solid 3: Snake Eater and it's one of the better vocal performances in recent years. Imitating a James Bond theme song, Norihiko Hibino crafts an amazing melody with pompous bass and strings to accentuate. Cynthia Harrell's goddess-like voice contributes to an awesome piece of music. Sure, some may think it's cheesy, but it definitely fits the style of game extremely well. A nice way to open up the soundtrack, and one of the highlights. I highly recommend this one to all! (10/10)
2) "Metal Gear Solid" Main Theme (Metal Gear Solid 3 Version) (Written by Don)
Harry Gregson-Williams is always able to capture the essence of Metal Gear Solid's main theme extremely well, and is always unique about it. In Metal Gear Solid 2: Sons of Liberty, the main theme incorporated electronica and orchestration and offered the first hints of the Metal Gear Solid theme as we know it today. How does he do it differently this time? He still incorporates the use of electronica, but the main theme is much less distinct this time around. Opting to use melodic fragments of the main theme, he is able to craft a theme that is both different from the original main theme as well as very fitting for the environments displayed in the game. The shift in styles is also a nice development, ranging from orchestra to electronica, into a bit of rock with some heavy percussion. The acoustic rendition of the whole theme at the end, plus the orchestral development thereafter helps to tie the melodic fragments together. From the instrumentation to the mixing, Gregson-Williams creates an entrancing and captivating experience. (10/10)
3) CQC (Written by Don)
"CQC" is a track that employs heavy use of percussion. In fact, most of the track is solely percussion with the occasional woodwind accents in the background. There is a nice industrial beat that can also be heard, but I really think that the strength of this track lies in the percussion. It gives a tribal feel and a very raw feel to something that describes Close Quarter Combat quite well. (8/10)
4) Virtuous Mission (Written by Bryan)
This track starts off with some ambient instruments, which are soon joined by the orchestra. This basic pattern stays thoughout the whole piece. Percussion is added in, with the cue gradually getting more exciting as it progresses. The track climaxes around 3:50, with the ambience coming back carrying us to the end of the piece. At just over six minutes, this piece may come off to some of you as boring. I, however, think it is a great representation of how Gregson-Williams can mix orchestration with ambience. Bravo! (9/10)
5) On the Ground ~ Battle in the Jungle (Written by Don)
This is quite the interesting mixture of elements in this track. It starts off with a very ambient atmosphere, which helps to accentuate the serene jungle environment. The track starts to pick up with some woodwind, percussion, and brass instrumentation. At this time, the track develops a nice interesting flavor and also serves as a segway into the "Battle" portion of the track. This portion is heavily dominated by percussion, brass, and strings, and also includes a nice electric guitar appearance. While this track may be separated in terms of tempo and instrumentation, it really seems to blend together quite well. (9/10)
6) KGBVSGRU (Written by Don)
This track is an interesting mixture between ambience, rock, and electronica. While the first portion of the track relies heavily on percussion to create a suspenseful atmosphere, the latter portion of the track shifts into rock and electronica, due to unexpected action in the cutscene in which it is featured. While there are some rhythmic interesting ideas here, I don't think that the track is executed all that well and the transition, while meant to be abrupt, really hurts the track in the long run. It works well in-game though. (7/10)
7) Shagohod (Written by Chris)
After the unpredictable beat fest of the last track, Gregson-Williams calms things down considerably for "Shagohod". The beats this time are highly predictable, sometimes tiresomely so, given one runs through near-enough the entirety of the composition without changing. This is great for building timbres, however, and Gregson-Williams mostly focuses on adding suspended strings figures in a similar way to what he did in "Virtuous Mission" to give a sense of an approaching revelation. A cliché of sci-fi movies, certainly, but so effective when Gregson-Williams gets the timbre just right for Metal Gear. A militaristic feel is achieved especially well thanks to some well-placed timpani figures and rasping brass motifs. After a momentous buildup in which a scientist reveals Shagohod is the ultimate tank, the piece changes to become more beat-orientated and electronica-focused at 2:31. There is just enough rhythmical contrast and sense of textural buildup to remain interesting although the conclusion is appropriately anticlimactic to cease the scene. One of the most outwardly enjoyable of Gregson-Williams' tracks, in my opinion. (9/10)
8) Operation Snake Eater (Written by Chris)
A brief but emotional appearance from Norihiko Hibino, "Operation Snake Eater" does a lot in its 1:14 play time as it shows a US plane approaching the enemy's territory. It starts off atmospherically with the passing of a dramatic motif across the string section with support from high-pitched choral vocals and eerie sound effects. At 0:20, the motif is left unexplored as the track becomes more focused on undergoing an ascending chord progresson that will touch the hearts of most listeners. At 0:40, a heavy militaristic percussion line and some subtle electronic beats enter to take the piece towards its climax. Hibino uses suspended swelling notes from brass and, later, a chorus for the foreground in a similar way to Gregson-Williams did with strings in the previous track. However, the dynamic variation is so intense that the technique becomes more associable with revelation of mission plans rather than preparation. With a final ascending chord motif led by brass while all this is going on, the track quietens and leads seamlessly into the next... (9/10)
9) Mission Briefing (Written by Don)
This track is very percussive in nature. A static bass line accompanies this track throughout, but the rest of the track develops a bit more nicely. As the track progresses, it moves from strong ambient noises, to something with a bit more instrumentation. While the entire track is ambient in nature, the addition of the strings, brass, and industrial sounds help to develop the track a bit more. Unfortunately, this track is also a snoozer. I don't recommend it too highly. (6/10)
10) Across the Border ~ Snake Meets the Boss (Written by Don)
Moving from a snoozer, Gregson-Williams offers a more motivating track. The track itself includes melodic fragments from the "Metal Gear Solid Main Theme" heard earlier. This addition, alongside the percussive bass line, is a really nice treat. After the main theme motif section is completed, the track does get a section that is pretty dull to listen to, but redeems itself with the addition of some suspense and the main motif again, this time in the background. While this track gives me mixed feelings, it's still a pretty decent track overall. (8/10)
11) Eva's Unveiling (Written by Chris)
A collaborative composition between sound effects designer Nobuko Toda and main composer Norihiko Hibino, "Eva's Unveiling" has two distinct portions. Toda uses his expertise in establishing ambient soundscapes in the first section of the piece, but uses instruments as opposed to noise. Using minimalistic techniques, he uses a mixture of suspended notes from strings, brass, and ethnic flute with supporting percussion. After a false alarm, the composition undergoes a buildup at 0:45 as the percussion intensifies and the Metal Gear Solid boundless strings effect is briefly exposed. Eva confronted and exposed, the first passage ends and a new one begins at 1:14. A more settling but slightly sleazy saxophone-led piece develops, clearly the handywork of Hibino. But alas, the composition was required to end at 1:50 and so it does after this brief jazzy tease. Effective and well-composed, though not intended for stand-alone listening. (7/10)
12) Ocelot Youth ~ Confrontation (Written by Namakemono)
The first half of this track conveys tension with a simple percussion pattern and a wild two-note motif on a shakuhachi flute. Just when you think this track is not going anywhere, the flute screams and a couple of guitars make their entrance. Even if you've never played the game, you can easily guess what kind of movies Ocelot is into. Normally, this kind of tributes to Ennio Morricone are cheesy, but Hibino managed to create an epic battle theme. Hibino likes to fragment melodies and assign the little bits to different instruments, in this case, the melody is carried by an electric guitar, a choir, horns, and trombones; all of them used tastefully. Overall, this battle theme does justice to the series' villian, unlike the weak attempt found in Metal Gear Solid: The Twin Snakes. (10/10)
13) Cobras in the Jungle (Written by Don)
"Cobras in the Jungle" fits exactly what one would expect from an espionage soundtrack. The first half of the track is ambient to the extreme, with the occasional note or two to create some form of melodic stimulation. As the track progresses, we are treated to a more developed track that employs the use of some low strings, again to build tension. As the percussion progresses, it becomes extremely rhythmic and, at the same time, almost hypnotic. All in all, while ambient, this track manages to satisfy on a least some level. Unfortunately, it happens once the track picks up. In-game though, this definitely creates a suspenseful mood. (6/10)
14) The Pain (Written by Don)
The first boss battle of the game belongs to The Pain, an angry beekeeper if you must joke, and the accompanying music is composed by Norihiko Hibino. "The Pain" is definitely a stellar battle track. Relying on a strong string motif and a nice electronica accompaniment, with the occassional brass and percussion accents and the addition of some haunting chorals, it creates a track full of tension and suspense. All in all, this is one of my favorite battle themes from Metal Gear Solid 3: Snake Eater, but in all honesty, they are all pretty amazing. (9/10)
15) The Fear (Written by Don)
If you thought "The Pain" was fantastic, you have yet to be fully amazed. "The Fear" is a fantastic blend of sharp woodwinds, intense, suspenseful percussion, and lush orchestration. This battle track starts off with a bit of Asian flair, given by the woodwinds. As the brass and strings are introduced, they help to give the track a bit of substance and help to build an atmosphere of tensile suspense. What's particularly interesting is Hibino's additions of the occasional choral accent and guitar. It helps add a bit more development to the entire track. There is nothing negative I can say about this piece. It truly is a masterpiece in my eyes. (10/10)
16) Fortress Sneaking (Written by Bryan)
As a movie composer, Harry Gregson-Williams has to be a master of setting the mood for a wide array of scenes. In this game, he does just that by taking ambience and developing it to a whole new level. That's a good premise to this track. While ambient, it still manages to set the mood VERY well. It also stays listenable outside of the game, which is not too common with most ambient tracks (think Junya Nakano). There isn't much to say about the instrumentation of this track; the typical Gregson-Williams sound set is used here, sounding not unlike the mid section of the game's rendition of the main theme. A very well done mood setting piece here! (9/10)
17) Underground Tunnel (Written by Don)
This piece is a very suspenseful track. As is always the case with this series, it fits its environment quite well. The rhythmic percussion, the suspenseful strings, and the brass all amalgamate to form something that has a nice ambient vibe, but at the same time produces some sort of melody, even if it is in fragments. It's a nice, enjoyable piece if you ask me! (8/10)
18) The Fury (Written by Don)
"The Fury" is another excellent battle theme that truly fits the battle more than any other boss, in my opinion. Since the battle takes place in a series of parallel corridors, I really like the suspenseful feel that this track exudes. Sometimes never knowing where "The Fury" would spray his fire was part of the excitement. I love how Hibino gives this track the sense of excitement as well. The use of brass and percussion really help to create this perfect soundscape and create a truly amazing battle theme. (10/10)
19) Surfing Guitar (Written by Hengun)
This track differs a lot from the others. You can hear this track in-game, when you try different frequencies on your radio. The positive effect for Snake was that his wounds healed when he listened to this music track. The track itself is fantastic Surf Music and has a catchy melody performed by an electric guitar. It easily reminds you of your last vacation on a sunny island by the green warm sea. (9/10)
20) Sailor (Written by Don)
If I remember correctly, I believe this track plays while you are in an enemy base while disguised as a soldier. The music itself has a jazzy influence, however, it sounds more like elevator music to me. It's not a bad track at all though; the melody played by the piano is extremely captivating and the addition of guitar helps to give the track some nice contrast. (9/10)
21) Salty Catfish (Written by Hengun)
Another Surf Music track, you might say. But this one is really special! Starting with clapping as some kind of backbeat, which makes you wanna stand up and dance, electric guitars fade in and develop a rocky melody. Soon enough, a blurry synthesizer backs up and seems to improvise some melodies. I simply adore this track. It's the best one out of the "Healing Tracks"... and has really grown on me! (10/10)
22) Old Metal Gear (Written by Don)
This is definitely a favorite of mine! In this piece, Starry K. plays an arrangement of the "Metal Gear Solid Main Theme" in a surfer rock/jazz crossover style. The style of the music definitely gives the piece a vintage feel. The guitar and saxophone definitely give the track a nice mellow tone as opposed to its electronica and orchestra heavy counterparts. (10/10)
Disc Two
1) Battle in the Base (Written by Hengun)
Starting with an upbeat rhythm, this track is full of tension. A steady percussion seems to push forward, while nice orchestration (strings, flutes, brass, electric guitar) gives the track its adrenaline rush. At 2:09 it turns into a mellow ambient track, but the tension does not break, like a typical espionage track. The electric guitar with its haunting melody and a shimmering synthesizer adds depth to the atmosphere. Overall a nice track. (8/10)
2) Volgin, the Torturer (Written by Baltimoore)
This track, representing Colonel Yevgeny Borisovitch Volgin, does some nice things regarding creating tension, effective textures, and a build-up to create a suitably cruel and sadistic aura. However, it has basically no melody at all and the ostinato is a little repetitive. More positive than negative attributes, so this comes off pretty nicely. Nothing to mind too much, though. (7/10)
3) The Sorrow ~ Everlasting Fight (Written by Hengun)
This track starts with various sounds and vocal chants that have been put together and seems quite disturbing due to the several percussive and clinging sounds. It does not have a certain melody, so it is more of an ambient piece. At 1:31 you can hear someone moan; this adds to the really creepy texture of this piece. Hence 1:46 a rhythmic pattern by percussive instruments begins, which is accompanied by strings. This piece is really awkward; it does not have a certain structure, so you cannot predict what is coming next. But maybe that's the special thing about it... It's not a classic, but you can't say that it's not good either. (6/10)
4) Clash with Evil Personified (Written by Hengun)
This track is one of my favourites. It starts with a big bang and a special, kinda funny "water-flows-into-the-plughole" sound. After that an electric guitar plays a short melody, accompanied by something that sounds like a didgeridoo, which gives the piece an ethnic quality. The fast tempo delivers the feeling that this track fits in the context of some sort of pursuit. Several choral parts and string instruments playing pizzacati add to the depth of this piece. It might come out a little shorter than I'd like this track to be, but brevity is the soul of wit, right? (9/10)
5) Sidecar ~ Escape from the Fortress (Written by Don)
Harry Gregson-Williams creates an extremely epic track here. Sounding almost like a standard-fare crisis theme found in an RPG, the melody itself is rather mediocre, but the instrumentation really helps carry this track along. The rhythmic bass line, coupled with the string melodic line, really helps to create an emotionally driven piece of music. (8/10)
6) Sidecar ~ On the Rail Bridge (Written by Don)
In a continuation of the last track, the same crisis motif can be heard. While slightly different, the melody is essentially the same. However, I find this track to be slightly more enjoyable. For some reason, the string work is more sporadic and the coupling of this to some extremely strong percussion really helps to motivate the listener. The ethnic sound coming from the recorder-like instrument really helps add some contrast to the track, as do the chorals, making this track slightly more favorable in my eyes than its predecessor. (9/10)
7) Takin' on the Shagohod (Written by Don)
This battle theme is quite the interesting blend of orchestra, rock, and acoustics. The track's tension is achieved mainly through the use of some interesting string motifs, while the meat of the battle theme is achieved through the use of guitar and brass. The end result is an epic battle against the first Metal Gear. This track truly is a testament to the compositional skills of Norihiko Hibino and, as with all of his battle themes, is quite amazing. (10/10)
8) Escape Through the Woods (Written by Don)
I really like this piece. It's very atmospheric without being boring. The free-flowing flute is a nice touch and really helps to complement the other instruments rather nicely as well as add suspense to the piece as a whole. There really isn't anything bad that can be said about the instrumentation at all. Each piece adds to the suspense, dramatic build up in the piece, and by the end of the piece, you go through various soundscapes. I have to say that this is Hibino's masterpiece on this soundtrack. (10/10)
9) Troops Gathering (Written by Bryan)
Gregson-Williams has to be the only western composer who can still captivate us with melodies that we normally only hear from eastern game music composers. While that might sound a bit biased, I just have to say listen to this track. I'm not really sure where this track fits in game, but it sounds like a battle/hurry theme. I love his mixture of orchestral and electronica, which is heard throughout the entire soundtrack from him. This piece starts out with a tribal-like drum beat, then the orchestra layers over top of it. Transitions between sections are made using the same electronic "sliding" noise he used in the Main Theme and various other tracks on the album. My only complaint with this piece is it ends in the middle of nowhere. Just as you think it is becoming even more intense, a single loud drum crashes in and the track ends. A bad move to an otherwise perfect theme. (9/10)
10) Life's End (Written by Bryan)
My guess is that this must be either a game over theme or something that plays when someone dies (nice assumption eh?). It is a very slow orchestral piece, with remnants of the main theme strung throughout. It is a pretty piece, but it's somewhat short. It also doesn't really do anything too special beyond that. (6/10)
11) The Last Showdown (Written by Don)
Well, this is it. The final showdown with The Joy, or "The Boss" as she's known prior to this. A battle amidst a field of flowers, this is one of the more exhilarating battles in the game. The rhythmic percussion, the intriguing brass melody, the intermittent flute, and the plucked strings all come together to form the most suspenseful boss track of them all. The brass flourishes also add some contrast to the rather ambient sections of the piece, but in the end, I think it comes off rather well. (9/10)
12) The Return of the MiGs (Written by Don)
This track is a fairly short action piece. Relying on heavy percussion and strings to provide a fairly static bass line, this track really shines in the melody. The brass in full force, the hint of subtle chorals, and the inclusion of the "Metal Gear Solid Main Theme" dominates the first half of the piece, while the latter half is softer in execution with strings carrying the melody. (8/10)
13) Don't Be Afraid (Written by Hengun)
This is a wonderful vocal track by Rika Muranaka. Accompanied by a piano, a saxophone, strings, and a slow beat, Elisa Fiorillo sings about how she longs to be loved and how she wants her lover to open up to her and feel "the joy of love". I would classify this song as a ballad but it has a strong jazzy feeling in it, which is not a bad thing. It gives the song the little kick that makes it emotional and powerful the same time. I just love the romantic atmosphere it creates. (10/10)
14) Eva's Reminiscence (Written by Don)
This piece opens up rather softly with a chordal piano line. While it does lack a strong melody, or rather hardly has one at all, it does create an effective mysterious atmosphere. As the piece climaxes, strings are introduced adding to the overall mood of the piece, and the scene it accompanies. While I think this combination of instruments is rather potent when used melodically, I find them even more potent if used correctly to convey mood. In this case, the piece is a subtle one, but it works well in context. It's harder to appreciate this one out of context though. (8/10)
15) Debriefing (Written by Don)
Well, "Debriefing" is the theme that plays during one of gaming's saddest endings ever. Gregson-Williams, with his ability to capture the scene perfectly, is able to create a poignantly beautiful piece of music here. While the beginning may house similar ambient techniques in prior pieces, once the melody gets going, there's no going back. The brass and violin that enters around the 1:00 mark is the impetus to one of my favorite ending themes. Extremely somber sounding chorals are added creating an atmosphere of sorrow.
The melancholy arrangement of "Metal Gear Solid Main Theme" is perhaps the star of the show. Accompanying the scene perfectly, if you were to see it and understood the story, you would definitely cry. After the brief "Main Theme" motif, Gregson-Williams treats us to a more militaristic sounding piece of music. Both dark and melodic, this section is a perfect segue into the "Main Theme" motif once again. The orchestration this time is grand, but at the same time, it leaves the listener with feelings of sadness. The choral work only heightens the experience.
The ending of the piece, a loose arrangement of the "Main Theme," brings with it the most touching of scenes. The strings and brass combine here to create a truly heroic and patriotic scene, giving honor to the one person who truly deserves it. While it's very hard to fully appreciate the music without seeing the accompanying scene, I feel that Gregson-Williams created, in my opinion, one of the best ending themes in recent years. (10/10)
16) Way To Fall (Written by Don)
Starsailor treats us with a beautiful song that plays during the ending credits. To me, the acoustic treatment is something you don't see too often in video game vocal themes. In addition, the lyrics convey a true sense of the story. The vocalist's voice, in my opinion, is amazing. The piano accents to the melody also help add some contrast to the acoustic guitar and percussion accompaniment. Overall, this is probably my favorite piece on the entire soundtrack. The lyrics, the music, and the vocals are extremely strong and definitely create a feeling of despair, or at least discomfort. Truly, this is the perfect song to sum up an entire game. (10/10)
17) Rock Me Baby (66 Boys) (Written by Chris)
The healing tracks return with "Rock Me Baby", another Surf Rock track. It's quite different from "Surfing Guitar" but just as catchy. The saxophone takes a harmony role, while some pretty cool prog. rock style keyboard improvisation can also be heard. The electric guitar solo half way through is the major highlight, though, and it's refreshing that it guarantees on just as the piece seems about to enter a new section. All in all, another fine effort from Norihiko Hibino. (9/10)
18) Pillow Talk (Starry K.) (Written by Chris)
Another lounge jazz piece from Norihiko Hibino under the pseudonym Starry K. Semi-acoustic guitar takes the lead with a slow romantic melody, accompanied purely functionally and echoed by a Hammond organ at points to add to the 60s feel. Both receive solo sections that ensure the track comprehensively developed. A great scene-setter and a fun parody with some individual emotion also poured into it. (9/10)
19) Jumpin' Johnny (Chunk Raspberry) (Written by Don)
This is another jazzy rock piece. Unfortunately, I think that track sounds a bit like the "Talkin' Bout my Generation" (the exact title eludes me). On a positive note, the track is rather funky, offers a catchy melody and develops quite nicely overall. This is another nice track under a false name. (8/10)
20) Sea Breeze (Sergei Mantis) (Written by Don)
Hibino shows up again with another moniker. This piece has a nice jazz lounge feel to it, but it also sounds like it could be used in an elevator. The guitar and piano are a nice combination and really give life to the track as a whole. The melody is rather strong and it manages to suck the listener in with it's smooth sounds, almost like Santana! (9/10)
21) Snake vs. Monkey (Kobo) (Written by Don)
There is no denying the Hibino battle sound for this game in "Snake vs. Monkey." Even under a false name, this track just sounds like Hibino. This theme plays during the mini-game in which you have to catch the monkeys from Ape Escape in stealth style. It's a rather fun track, relying more on a groovy melody, rather than suspenseful ones, in order to match the mini-game concept. (8/10)
Summaries
Written by Bryan
What do you get when you cross an ambient eastern composer and a western Movie composer? You get an incredible game soundtrack that has a hard time standing on its own out of context. Both composers are stars in their own rights here. Hibino creates some amazing action/boss themes, while Gregson-Williams creates one of the best arrangements of the Metal Gear Solid theme to date. Other themes on the album are hit or miss. Some will become instant favorites, while others you will be skipping; they are there simply as ambient mood pieces. On a whole, this is an album that shouldn't be missed, especially if you are a fan of the series. (8/10)
Written by Don
Metal Gear Solid 3: Snake Eater is a soundtrack that can be hard to digest outside of context. While the ambient pieces are definitely skippable, since they serve very little purpose out of context, the action tracks are something that shouldn't be missed. All of the boss battles fit their respective persona quite well, and while some are weaker than others, they are all fairly strong. Gregson-Williams is able to capture the scene perfectly for most of his tracks and, despite a few downers, does a solid job on this score. Hibino, on the other hand, is probably the strongest contributor on the album. His action and suspenseful pieces work well both in and out of context. I recommend this album to those who have played the game or are fans of the Metal Gear series. It's definitely not one to miss on the whole, but there will be tracks that are worthy to be skipped. (8/10)
Written by Hengun
The Metal Gear Solid 3: Snake Eater soundtrack can be seen as the climax of all Metal Gear Solid soundtracks. It has everything: Touching piano pieces ("Life's End"), action themes ("Escape from the Fortress", "On the Rail Bridge", "CQC"...), heartmelting vocal themes ("Don't Be Afraid", "Way to Fall", "Snake Eater"), and there is a lot of ambience as well ("Eva's Reminiscence", "The Sorrow"...). Harry Gregson-Williams did two of the best arrangements of the series' theme with "'Metal Gear Solid' Main Theme (Metal Gear Solid 3 Version)" and "Debriefing".
Overall, I really enjoyed this soundtrack. I heard it even before I played the game and I have to say that you don't really have to play the game to appreciate this soundtrack. It's just that knowing the game itself, you like this soundtrack even a little bit more. So basically this is a must-have if you like action and epic/cinema themes. You should listen with an open mind and hear every single track. All themes fit in the game perfectly and both CDs contain many genres, so you won't get bored of it. I'm giving it 10 out of 10 points, because hearing it since 10 months made it really grow on me. (10/10)
