Gotta give some credit to therestofthe soundtrack as well. A trick Follin used in some of his SNES tracks was to take chords and use them as samples, in order to fit more notes into a single channel. Apart from the title theme, Plok's entire soundtrack only uses up five of a possible eight sound channels, meaning that the sound can do whatever it wants in the other three without cutting into the music. It's worth pulling the channels apart in an emulator to see how this stuff's done.
Ken Griffey Jr.'s Major League Baseball deserves special notice for being a first-party Nintendo title with music by Tim Follin. (Ironically enough, it was never released in Follin's own homeland— baseball's not all that popular in England...)
Spot: The Video Game for the Game Boy (not to be confused with Cool Spot). This is the music that plays as you make your move.
Terminator 2 for the NES continues the tradition of good Follin tunes, with the Asylum theme.
One of the few really rare examples of Follin brothers giving an A+ soundtrack to a good game (a licensed game, moreover; cos' it should be noted that not all licensed games are bad), apart from Rock 'n Roll Racing listed above, is Tom & Jerry (and Tuffy). Technically, it's nothing else than a potpourri made of the score of Puss Gets the Boot episode, but, oddly enough, it fits the game like nothing else.
As well as the familiar 3-channel square wave output which should be familiar to any 8-bit veterans, the ZX Spectrum also had a 1-bit piezo speaker built into the hardware. Using some specially coded drivers, and some insidious form of witchcraft, Mr Follin was entirely capable of churning out some surprisingly complex multichannel pieces, such as those heard in Future Games, Chronos, and Raw Recruit.