Awesome Music / Compilation of Final Fantasy VII

Given its place in video game history of pretty much bringing JRPGs to the Western market, and the number of affiliated titles in part of the Compilation, it's no wonder that Final Fantasy VII and its spin-offs has their own page of Awesome Music.

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Final Fantasy VII / Final Fantasy VII Remake trilogy

Introduced in Final Fantasy VII

• After building up with some pretty good boss themes, Final Fantasy VII unleashes the One-Winged Angel accompanied by the theme of that name. Chances are you'll recognize it just by the drumming beats and signature "Psycho" Strings that open it. Most fans certainly did.
  • Advent Children takes the tune to its fullest extent of awesomeness (to date) by turning the whole thing into pompous, Nightwish-esque symphonic metal. The Advent Children Complete version is revamped awesomeness. It was awesome enough to be used in Sephiroth's reveal trailer for Super Smash Bros. Ultimate, to boot, as well as the official game itself alongside the original version.
  • The Reunion Tracks remix. Pure orchestral goodness. It should be noted this is the version of the song chosen for Dissidia, which speaks rather well to its quality.
  • The Crisis Core version is fittingly titled "The World's Enemy".
  • What, did you think that Final Fantasy VII Remake wasn't going to get a new remix of One-Winged Angel? Think again! "One-Winged Angel- Rebirth" starts off with a totally new and incredible interpretation of Sephiroth's theme. Then, at about the halfway point, it switches back to a much more traditional interpretation of Sephiroth's theme that continues to crank the menace and sheer intensity of the original theme up! There are a full four minutes of false starts to this version before it really gets going... which ultimately ends up being a form of Fridge Brilliance that ties in with the very name Final Fantasy VII Remake, because the entire game to this point has been Sephiroth's attempt to remake history so he wins, so of course his song would be rearranged temporally. And it is so, so satisfying when it begins in earnest. This version was also famously used by Kenny Omega at Wrestle Kingdom 17.
  • The Distant Worlds orchestrated version is a grand number with more instrumentation to encapsulate the open freedom of the worlds you visit.
• "WEAPON Raid" is the sound of Gaia's Vengeance in the form of gigantic implacable monsters crushing those bastard humans underfoot.
• Cosmo Canyon is just... beautiful. The remix played when Red finds out his father's fate, Great Warrior, is Tear Jerker in musical format.
• Lifestream (Rebirth) is a tranquil melody backing the observatory's keeper's explanation of the universe.
• The Main Theme / Bombing Mission with full orchestra is absolutely gorgeous.
• Holding my Thoughts in my Heart. Beautiful, just beautiful.
• Cid's Theme and its slower and sadder version, Sending A Dream Into The Universe. When it plays, you know it's time to get back in the saddle and save the world.
• Fight On!. Also known as "Still More Fighting" and "Those Who Fight Further". Also known as one of the best standard boss battle songs ever.
  • The Black Mages take on it is just epic.
  • This naturally follows through in the Remake, where many of the bosses have their own themes that have an overall backbone of the aforementioned (but now remastered) track. Air Buster's Theme in particular is a standout, especially this part which leads into an electric guitar arrangement and chorus. To give you an idea of just how awesome the song is, it's even considered Awesome Music In-Universe in Remake. And for good reason!
  • S7-6 Annex Diversion is a varied piece which switches through several melodies; later on, it morphs into an epic guitar riff of "Fight On!" which almost comes across as something of a Dark Reprise.
• The brilliantly creepy J-E-N-O-V-A is even better than the standard boss song. The electronic ostinato, four-to-the-floor drum tracks and synth melodies set the tone perfectly: This is an Outside-Context Villain and your Materia will not save you from a space alien.
  • Then there's Jenova Absolute for your final battle with Sephiroth's "mother".
  • What about the Advent Children remix?
  • Even the Advent Children remix cannot compete with the Distant Worlds orchestral version of the same song.
  • Much love to the Dissidia 012 remix too, giving the song an epic, futuristic styled remix with an ominous intro leading into the classic melodies of the original
  • The Remake has a wonderful meta variation during the unexpected battle with Jenova DREAMWEAVER, where it starts as a very good, albeit standard orchestral arrangement ... before it switches it up in the third phase by suddenly shifting to an incredible, amazingly faithful, synthy-as-hell remix of the classic J-E-N-O-V-A. To put things into perspective with how masterful this switch to the synthy rendition is, it plays as the battle enters the most frantic, final phase. This is after the player has spent a decent amount of time fighting one of the most anticipated battles in the game and listening to the aforementioned orchestral arrangement, and then is hit with the synth remaster out of nowhere to very good effect, as evidenced by the reactions of these various players. As one savvy commenter on YouTube put it: "The composers knew EXACTLY what they were doing."
  • Further adding on to the brilliant creepiness of Jenova's shapeshifting nature courtesy of its boss theme in Remake, music producer Alex Moukala points out that the main melody changes key 11 times.
    Alex Moukala: A shapeshifting melody for a shapeshifting creature!
  • Rebirth gives us Jenova Emergent which is heavier on the synth elements, and also includes a choir backing.
• Birth of a God, played for the penultimate boss fight. It's overshadowed by One-Winged Angel, but still an awesome track in its own right. In Remake, part of the track is reincorporated into "Operation: Save Aerith" (at around the 0:54 mark), when our heroes storm the Shinra parking garage in search of Aerith, with high-pitched violins used to provide the sense of tension and emotional severity, along with french horns to convey the haunting atmosphere.
• Aerith's Theme. Most notable for playing during the Jenova:LIFE battle following her death.
  • And how about Aerith's Theme for full orchestra?
  • Following the Remake's release, we now have multiple versions of Aerith's theme, ranging from heartwarming, melancholic, triumphant, or romantic, and each of them are absolutely breathtaking. The version that plays during Aerith's optional romance scene in Chapter 14 is simply beautiful, having a wonderful ethereal feel.
  • Rebirth adds some new interpretations of Aerith's theme, including one which plays during her Gold Saucer date, and a beautiful rendition with a choir which plays during the end credits.
• The timing of the music at certain points creates a CMOA. In Cloud's original flashback section, Sephiroth begins his murderous rampage through Nibelheim by dramatically announcing, "I'm going to see my mother." Cue spine-chilling theme song of pure evil. The scene's music is perfect because up until Sephiroth says that, the music in the mansion had been just the backing percussion and bell sounds... the rest of the theme kicks in as he leaves to go burn the place. The true account of what happened in Nibelheim has dull, repetitive Background Music all the way through it until the point where Sephiroth stabs Cloud through the chest. The very moment that Cloud grabs Sephiroth's sword and begins to overpower him the music reaches a dramatic and beautiful swell and becomes appropriately heroic.
• Nibelheim's theme: Anxious Heart and its Remake version "Anxiety". There's a reason it's called Anxious Heart. It's creepy, almost to the point of being downright nightmarish. It puts you on edge, and you can just tell something bad's gonna go down. The Crisis Core remix, The Shrouded Village, is also excellent. Faster-paced and thus less overtly sinister than the original version, it gives a feel of the calm before the storm — and considering what's about to happen...
• More terror-inspiring music: You Can Hear the Cry of the Planet., which plays while you're exploring the desolate City of the Ancients before meeting up with Aerith. The remake has a remix in Seven Seconds Till The End, played near the end of the game with Cloud and Sephiroth's final confrontation at the edge of creation. Haunting, unsettling, and even with a triumphant portion, just enough to send shivers down one's spine. Rebirth uses the track during the Temple of the Ancients dungeon instead, and includes a new battle edit which briefly features part of the melody from One Winged Angel.
• Off the Edge of Despair perfectly matches the sobering mood of Cloud's damaged psychological state in the Mideel hospital, as well as conveying Tifa's utter heartbreak upon seeing the man she loves in such a helpless and desecrated condition.
• The Opening, commonly grouped together with the below-mentioned Bombing Mission, is simply gorgeous. It grows and grows, setting up for an excellent, revolutionary adventure before hitting you full force with an epic crescendo, followed by a seamless segue into the Bombing Mission. The Remake gives this incredible opening track a bit more flair, with Ominous Latin Chanting of the lyrics to One-Winged Angel sprinkled in, while somehow managing to top the intensity of the original. Ladies and gents, Midgar, City of Mako.
• Bombing Mission, heard right after the opening. Nothing starts a game better than putting you directly in the action. And now, we have the Remake's take on the Bombing Mission! Absolute perfection.
• Even the regular battle music (known as "Fighting", "Those Who Fight" or "Let the Battles Begin") is great. The remake gives this theme the modern orchestra treatment!
• Crazy Motorcycle plays alongside the end of the Midgar section, and is effectively a Spiritual Successor to the similar track Uematsu composed for Chrono Trigger, "Bike Chase". The Remake does this one better: this version steals the crown for sheer maddening effort by way of "Midgar Expressway", the remix of "Crazy Motorcycle". Not only does the song carry a whooping eight phases, but as the chase of the expressway builds up further and further, the track begins to mix in several other tracks from the game, including "Bombing Mission", "Let the Battles Begin", "Whispers of Fate", and finally culminating in "Those Who Fight Further" as the M.O.T.O.R comes careening towards Avalanche for Shinra's last-ditch effort to put an end to the chase.
• The Turks' Theme from the original game. And Secretly maneuvering in Dark Suits, the remix for PSP. Remake adds a few new variants along with the main one, including boss themes.
• And here's A Flower Blooming in the Slums, a sweet guitar-laden version of Aerith's Theme. Also its predecessor, Flowers Blooming in the Church (Remake).
• The Those Who Fight piano arrangement from Advent Children may not stand out compared to some of the other songs listed, but, to someone who plays piano, it's absolutely epic.
• The Nightmare Begins. And the piano version from the piano collection, as well. So incredibly awesome. Rebirth reintroduces Vincent's theme, but also provides a boss fight variation. It begins with ominous chanting, cranking up the gothic ominous heights reached before the original theme is reintroduced by way of a spooky cursed choir.
• Wutai. If ever there was one piece of music that made you want to live in a fictitious place... And here's Yuffie's theme! As well as the remix when you know what occurs.
• Costa Del Sol (Rebirth version) is a very relaxing track, with Caribbean elements, perfectly suited for the location.
• Under the Rotting Pizza (Remake version) is a great track people usually forget. It typically plays in areas with a fair concentration of monsters, and ups the tension as a sinister piece.
• The Sandy Badlands, especially this particular version, which is a melancholy piano remix.
• Shinra, Inc. The perfect theme music for an evil MegaCorp. The Remake makes it even better by upping the intensity of its militaristic vibe. There's also a short variant with a chorus backing.
• Infiltrating Shinra Tower, while repetitive, fits the music of such a MegaCorp. The Remake turns this track into one of the most magnificent pieces in the entire game, as it becomes an ambient chillwave remake. Combining this music with the breathtaking design of when it's placed (the cyberpunk-esque lobby of Shinra Tower) and the foreboding factor of it being the final dungeon, and it's an absolute marvel to behold in your first playthrough of the scene.
• Tifa's Theme doesn't seem to get much love from FF fandom for some reason, even though it's gorgeous.
  • The Remake's version is melancholic, nostalgic, and the perfect update to an amazing track.
  • There are also a number of great variations. The Star of Seventh Heaven at the bar is warm and cosy. Hole in the Sky plays when the party returns to Sector 7 to see the bar completely destroyed and is easily the darkest and most tragic revision of her theme thus far, perfectly matching the scene as she struggles to suppress her grief and devastation. Tifa's Tears, which plays during Tifa's resolution scene, is both haunting and beautiful, gently rising to a crescendo when Cloud finally embraces the crying Tifa. Rebirth gives a romantic variant which plays during her Gold Saucer date.
• INTERRUPTED BY FIREWORKS is a touching harmony with harp and glockenspiel for some bonding over celebratory fireworks, an irony for the title.
• When battling your way down the Northern Crater to get to Sephiroth, Judgment Day perfectly encapsulates the feeling of "It all comes down to this. The fate of the world is in my hands. Fortunately, I have my best friends and loved ones to fight by my side."
• Our favorite yellow bird goes country/bluegrass in Fiddle de Chocobo, complete with a cowboy yelling "Yahoo" near the 1-minute mark.
• The Chocobo goes surfer birdie with Electric de Chocobo (Remake), which sounds like something Uematsu came up with after he heard "Wipeout" quite a few times. Remake also gives us another variant.
• Rufus's welcoming ceremony. It was good enough to warrant a tweaked version to appear in FFIX. Rebirth naturally has a remastered version, as well as one with a choir backing.
• Mako Reactor (Remake) is a brilliantly atmospheric piece that plays in EVERY Mako reactor you go into. It becomes even better when you realize that the final section of Mako Reactor is a slight change from Aerith's Theme, played in a minor key to contrast the down-to-earth Aerith with the environmentally destructive reactors. The Remake also gives us a battle variant of the theme, which perfectly blends the action of combat with the sinister vibe of the original.
• Those Chosen by the Planet, Sephiroth's actual Leitmotif in the original game. Too bad it's been overshadowed by "One-Winged Angel" to the point that it's easy to forget that the latter incorporates the melody of "Those Chosen by the Planet". Remake bumps the nightmare fuel up to eleven by actually incorporating "Psycho" Strings.
• Ahead on Our Way (Remake), a wonderful calming track.
• Lurking in the Darkness (Remake). Chances are if you hear this, you're not far away from some monster attacking you.
• Remake's reggae-inspired take on the Wall Market theme from the original is particularly catchy. The battle version even more so.

Introduced in Final Fantasy VII Remake

• While the Whispers' theme is already a very fine piece of music, the tracks used during the battle against the Whisper Harbinger are absolutely fantastic. Arbiter of Fate (advent) introduces the scene, with an appropriate epic music for a place where fate is to be defied and changed. Arbiter of Fate (Rebirth) takes the form of an apotheose of the same epicness with a more dramatic and melancholic direction, fitting a fight against a tragic, yet originally necessary future, unknowingly sacrificing the ensured survival of the planet. In contrast, Arbiter of Fate (Singularity) is filled with hope, playing with the musical theme of the Franchise itself, in a situation where fate is effectingly being broken and this new entry's future shaping itself, for better or worse.
• The theme song, "Hollow", a slow, somber sad song that perfectly drives home the game's melancholy. Special note goes to the almost intentionally strong similarities to "The Price of Freedom" from Crisis Core which plays over the ending where we see that Zack is still alive. Yosh (of the band Survive Said The Prophet) knocks the vocals out of the park. An instrumental variation, Hollow Skies, occasionally plays when Cloud traverses Midgar, setting up the mood for the events to come. Rebirth introduces new instrumental versions of the song when the party explores certain parts of the Grassland region.
• "Midnight Rendezvous" is a peaceful and gently soothing melody that plays throughout the roads connecting Sector 5 and Wall Market. Its name comes from the beginning scene of Chapter 9 where Aerith meets Cloud in the middle of the night to accompany him as he makes his way back to Sector 7, bonding with each other along the way.
• Ignition Flame, Roche's theme. The music and beat shows what kind of guy Roche is, a SOLDIER who's willing to fight without any qualms.
• Wall Market - The City That Doesn't Sleep is used in the Remake for a new, more Vegas-inspired presentation of the area, with its bombastic brass and expert drumwork to give it a brand new veneer of luxury. Notably, Chocobo Sam and Madame M have their own versions of the theme, with Western and Eastern influences, respectively.
• Smash ‘Em, Rip ‘Em, the peppy song that accompanies Aerith and Tifa’s glorious rampage through Don Corneo’s mansion.
• Funk With Me, Sync or Swim, and Vibe Valentino accompany the new glorious dance mini-game in all its glory.
• Stand Up (Honey Bee) captures the spirit of the locale’s new image of a Moulin Rouge-esque cabaret club. Also see the reprisal.
• The Colosseum Theme is another catchy battle theme that perfectly builds up the hype for the occasion.
• The Train Graveyard Theme is sad, haunting, and yet beautiful at the same time.
  • Also see Haunted, the area's standard battle theme.
  • "Ghoul", the theme that plays during the eponymous boss battle, as well as the second battle with Abzu. Astute listeners will notice its reincorporation of the Hymn of the Fayth theme from Final Fantasy X.
  • Eligor is similiar in many ways to "Haunted", but dialed up suitably for a boss battle. It's also used when fighting Bahamut.
• Perhaps the biggest case of Ascended Extra in the game, Jessie gets her own theme in the remake, a wistful and elegant melody. Flying Over the Undercity, which plays during the parachute jump off the plate, is an energetic variation of her theme that sounds like it came straight out of the '80s movies.
• Scarlet's Theme, a mellow jazzy track that almost masks just what kind of a person she is, almost like a propaganda piece that serves its purpose to hide the ugly truth.
• For Shinra corporate propaganda, Stamp's Theme is surprisingly catchy.
• Fight for Survival, an action packed piece as you race up to stop the destruction of the Sector 7 pillar.
• Fires of Resistance is a hopeful and heroic theme that plays as the party ascends the destroyed Sector 7 plate in order to reach Shinra HQ, fighting their way through elite Shinra mooks and even SOLDIERs to reach the top. As its name suggests, Shinra didn't end AVALANCHE's spark of resistance; it turned it into a raging fire that's coming to burn them down.
• The Valkyrie boss fight theme in the Remake is a contribution of guest composer Keiki Kobayashi, the legendary composer of Ace Combat series. A stunning militaristic action piece that both gives a sense of urgency and hopefulness.
• Before the Storm, an atmospheric piece that fits the mood perfectly before the party confront Sephiroth.
• The jukebox mix of "Prelude" might give you a Final Fantasy X flashback.
• The haunting quality of "Cycle of Souls" playing after the first bombing mission that is basically an instrumental version of "The Promised Land" from Advent Children, quite possibly one of the earliest foreshadowing hints of how different Remake would become.
• Infinity's End, an action packed piece that plays during a boss fight in Chapter 13.
• Rufus' theme starts out with the melody from "Fight On!" before shifting into an incredible and bombastic interpretation of Shinra's Theme suitable for the boss battle. A tweaked version appears in Rebirth during Rufus' rematch with Cloud at the Gold Saucer.

Introduced in Intergrade

• The Fort Condor Minigame Theme is epic, and has multiple mixes including one on the verge of victory and another for Sudden Death.
• Intergrade's take on Yuffie's theme is very catchy, as is the battle mix version.
• Intergrade introduces a variety of tvery catchy Happy Turtle jingles. Judging by the way Yuffie hums along to songs, it seems she agrees...
• Nero's battle music, in particular "Dissonance", which is a pulsing track that sets up the atmosphere.
• The Materia Production Theme is oddly soothing, before ramping up in the battle variant.
• "No Escape" and the battle version "Fighting Spirit", another electronic piece that plays while traversing Shinra HQ.
• Good Morning, Levrikon, a fantastically upbeat jazz tune that complements the battle.

Introduced in Final Fantasy VII Rebirth

• The main theme of Rebirth, "No Promises To Keep", (Extended Version) (Instrumental) is a powerful love ballad with vocals from Loren Allred, sung in-universe by Aerith, as a way of expressing her thoughts about the immense burden of being a Cetra, her longing to escape from her cruel destiny, and her feelings towards everyone she holds dear, which includes not just her love interests, Cloud and Zack, but also Elmyra, Ifalna, Tifa, Barret, and other people she met. Keen listeners will notice the subtle inclusion of parts of Aerith's theme.
• An instrumental version of "No Promises to Keep", titled "One Last Date - My Dream", plays throughout Chapter 14's "dream" date sequence between Aerith and Cloud. It's a subtly more melancholic take on the song that emphasizes both how much Aerith cherishes her time with Cloud and her deep sorrow as they're forced to part ways at the end of the sequence, knowing that fate dictates for her to die and that they may never get another chance like this.
• Rebirth gives us a whole new lineup of battle themes. The Grasslands battle theme from the area around Kalm in the early chapters, in particular, goes pretty hard, subtly mixing the overworld and battle themes from the 1997 original to create a bombastic new theme.
• A new piece for Rebirth is a track that plays as you ascend Mount Corel, while it sounds like something out of the 80s it's also uplifting and almost makes you want to climb the mountain yourself. There's also a trance-esque battle edit with an even heavier beat.
• Kyrie gets a silly but very peppy theme song about being a merc, which she uses for marketing in universe (and blatant Character Shilling). After being introduced in Chapter 4, this gets reused multiple times as she reappears through the game.
  "I'm your friendly merc, so give me some work! ♪"
• A new and beloved track by the player base comes from a couple of side quests that feature the group escorting a dog to another location. During the trip, Fight For Us, Stamp plays.
• During the Queen's Blood tournament Red XIII gets a ridiculous sequence where he gatecrashes, complete with some new music which dials up the silliness. Initially starting out straight out of the 80s disco playbook, it also briefly incorporates part of "It's Hard to Stand on Both Feet" before shifting into a much heavier drum and synth sequence.
• The Corel minecart mini game has an epic theme, an energetic track that's heavy on the drums and adds to the feeling of rushing down the mountain at breakneck pace.
• True to form for the Remake trilogy, old side characters get renewals as reimagined portrayals. One of those characters, Mr. Coates, who was once the Warden of Corel Desert, has become the ridiculously over-the-top criminal Gus, complete with a sleazy funk piece to highlight just how much of a comical scumbag he is. Certain battles in Gus's arena, the Beast Battleground, feature a frantic remix.
• The theme that plays during the fight with Jenova Lifeclinger after Aerith's apparent death puts an interesting twist on the original. The fight starts with Aerith's theme much like the original, but just like the new fight is now a multi-part affair, the new theme gradually shifts towards Jenova's theme during each succeeding phase.
• The G-Bike minigame has its own track this time around, which starts off with a similar melody to Remake's Spiritual Successor track "Lay Down Some Rubber - Let's Ride", before incorporating elements from the original's "Crazy Motorcycle", and then shifting into a new section with vocal backing.
• Wonderment square uses an upbeat energetic chiptune track that perfectly fits the retro theme of the area. The 3D brawler game has another energetic chiptune theme to match.
• Gongaga as a much more fleshed-out region has unique musical themes this time around. While the main exploration theme sounds like something more at home on an episode of Survivor, it's a very soothing piece, with pipes, flutes, and drums and a choir all combining.
• The escape from Corel Prison in the buggy has a new musical cameo from Keiki Kobayashi, the composer behind the Ace Combat series. Once again for a boss fight against a large speeding mechanical construct (in Remake, he did the track for the fight against the Valkyrie in Sector 7's ruins, and the Ace Combat series has a large number of huge war machines to fight), this time with Barett being the gunner while dodging missiles.
• Cacneo Carnival is a catchy and funny samba song that goes perfectly with the silliness of the Cacneo fight.
• For his first appearance in the VII games, Gilgamesh gets an awesome and intense hard rock remix of Battle on the Big Bridge, which mixes the original theme with accents from "Those Who Fight Further".
• The Forgotten Specimen, formerly known as Lost Number, gets an intense and surprisingly excellent theme for a one-time boss.
• "Aerith's Fate" starts off as a sombre and melancholic version of Aerith's theme, briefly incorporating Jenova's leitmotif as well as Sephiroth's theme "Those Chosen By The Planet", before shifting back into Aerith's theme, which while still retaining an underlying tragic element is more hopeful and upbeat, tying in with Cloud's visions of seeing Aerith alive and unharmed, even as the rest of the party sees Aerith as having fallen at Sephiroth's hands.
• A new interpretation of Tifa's theme plays during her time in the lifestream, which is beautiful, peaceful and yet oddly haunting at the same time. For much of the piece, the usual piano is switched out for an organ, while the subtle ethereal choir backing evokes images of children playing, appropriate given the flashback sequences showing her childhood memories.
• The Midgardsormr boss battle gives an incredible new take on the normal battle music. Appropriately enough, the fight starts with an orchestral mix of the regular Final Fantasy VII battle music rather than a variant of "Those Who Fight Futher", as a nod to the battle in the original game which was a non-boss encounter. As the battle shifts to the final phase, the track switches to a much harder mix which is far heavier on the percussion elements, adding to the frantic nature of the fight.

Before Crisis

• The sheer beauty of Theme of Elfe is overwhelming. Takeharu Ishimoto does not get enough credit.

Final Fantasy VII Advent Children

• The melancholic haunting melody of "The Promised Land" that plays over the recap intro, and the lyrics add the sense of Cloud's guilt of not being able to save anyone (notably Zack and Aerith) and not being able to move forward. A new rendition of the song is played in Rebirth when the party makes their way into the Forgotten Capital, then turns hectic the moment Sephiroth and his Whispers appear. The vocals grow more intense as the Whispers impede the party's attempts to reach Aerith and possibly save her from her intended fate.
• "Tenrai: Divinity I", and "Tenrai: Divinity II", two absolutely epic tracks filled with Orchestral Bombing and Ominous Latin Chanting. Words cannot describe.
• "For the Reunion" is simply one of the better tracks on the movie's soundtrack. The tension it provides during the exchange between Kadaj and Rufus at Healin is simply atmospheric win.
• "The Chase of Highway", scored for the duel in Midgar's highways. And then the "Turks' Theme" comes in...
• "Safe and Sound", the ending song included in only the Japanese versions of the Complete Edition re-cut, weirdly enough. It is sung in full English lyrics, no less, and written and performed by Gerard Way of My Chemical Romance fame alongside Kyosuke Himuro (who provided the song "Calling" for the original and international releases).

Dirge Of Cerberus

• The ending theme "Redemption", as sung by Gackt. The game's other vocal theme, "Longing" (also by Gackt), plays during the final level and is equally as awesome.
• "The Immaculate", Weiss' battle theme, is a tense, yet climactic theme, fitting for the battle against the Big Bad of the game. For his Optional Boss battle in Final Fantasy VII Remake Intergrade, the theme receives a new remix, which abridges the song slightly, but in exchange adds stronger instrumentals to create a truly epic theme deserving of a tough boss of Weiss' caliber.

Crisis Core

• The "CRISIS CORE Theme". It's nostalgic and soothing, yet so sad knowing what's going to happen...
  • ...and its variations "Burden of Truth" and "The Burdened".
  • "SOLDIER Battle", the final boss theme. It's like we've left Final Fantasy and entered Command and Conquer.
• "The One who Receives the Divine Protection of the Planet", for the fight with Genesis Avatar.
• "Operated Iron Beast".
• "The Summoned", a remix of "Fight On!" for the battles against Zack's summons.
• "Living Legacy", the credits music. Especially around the 4:00 mark, when a fully orchestrated version of "Those Who Fight" kicks in.
• "The Price of Freedom", probably most remembered not for being an awesome song (which it is), but rather for the scene it plays in. While far less known than the original, the official remix "The Price of Freedom (I Want To See You Smile)" is equally amazing. It manages to transform the original into a tear-jerker of a pop-rock ballad, with a powerful vocal performance from Stephanie tying it all together. It later became Zack's leitmotif in the Remake trilogy.
• And finally, the ending theme, "Why" by Ayaka, a sweet country ballad to reflect the valley boy Zack always was at heart.