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This kind of tone is further exemplified through the composers’ area themes for the game’s various locations among the game’s Osaka setting.“Umeda” carries a somewhat jazzy structure of composition, though the melody itself borders on dull repetition.“Battle With a Small Fry” and “Osaka Harbor” are similarly composed to the underground pieces, setting the scene well enough for in-game fights, but less so on a stand-alone basis. Almost like an enhanced remake, the SNES version featured even more customization options alongside the expected quality increase of graphics and sound.“Union Executive 1” and “Union Executive 2” along with “Motorcycle Key” and more variety as event pieces, while “Epilogue” and “Staff Roll ~The First Medley~” at least manage to close things off competently. Falling on the weaker side of the series’ soundtracks, it’s an unfortunate and rather bland collection of similar-sounding tracks that offer limited variety. Kazuo Sawa, Chiaki Iizuka, Reiko Uehara, and Kiyomi Kataoka were responsible for the game’s varied soundtrack, and it is definitely an improvement over , though it gives listeners a hint of the new game’s soundscape.

The melody here is well-composed and definitely keeps the Japanese-inspired tone.

The original NES track was an arrangement of two Beatles songs “Hard Day’s Night” and “Get Back,” though hints of both can still be heard.

Primarily though, it relies heavily on a piano/organ combo, something that works surprisingly well together.

The synth strings responded with resonance, while the other sections match it perfectly with excellence.

It’s the best stage theme in the entire score, and one of the most memorable in the entire series.

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