The idea behind this particular post came from a recent playthrough of Super Mario World. Then, I viewed a blog post that actually ranked every single level in that game. Strange how it's probably the only one of its kind, but I really do like ranking posts, even though there's bound to be some controversial decisions based off of author opinion. So I decided to make my own, this time using soundtracks from the Doom games and many PWADs. I plan to rank each song in Doom based off of their overall sound, how well they fight into each of the maps they are in, and, well, that's pretty much all there's to it. Amazingly enough, I really don't like hearing IWAD music that much anymore. I've heard every single IWAD track too many times to the point where I install my own music wad whenever an IWAD track shows up. That's what happens when you're like me and have memorized everything. And with that, I think it's time to stop yawning and see where each of the 23 original Doom tracks by Bobby Prince fall on my scale of likeyness.
23. Title
Well, obviously this track being only about eight seconds long will rank last. That being said though, it definitely will pull players into the game because DUN DUN DUN DUN DUN DUN DUN........... If you ask me, it's honestly the best of the title tracks for the IWADs for that matter, even if it's the shortest.
22. Sweet Little Dead Bunny
Again, since this will only play in one particular endgame cutscene, this one doesn't get that much popularity aside from one surprisingly scary appearance in Plutonia's Hunted. Not a bad track by any means though. It sounds un-Doom like and peaceful on purpose before the scare factor comes in, giving the obvious sequel hook. To be frank, aside from Hunted, I don't think I've ever seen this music track get reused ever.
21. Facing the Spider
Doom has many rocking tracks to it and Facing the Spider isn't any different from the big rockers. It definitely tries for the crazy thrash metal vibe, which is fun, and I guess it fits for the boss level. For Dis though, it's a bit too crazy for the rather lackluster spiderdemon battle, and got more mileage in say, Plutonia MAP12 (funny too, since there's no spiderdemon there).
20. They're Going to Get You
Ambient, spooky, but in my opinion, other atmospheric tracks do it way better. Plus if your volume is too low you probably wouldn't even hear much of the music. On a side note, I have to wonder if the title makes this track seem like a sequel to the Wolfenstein 3D track "Get Them Before the Get You". You can definitely plod through stuff while both tracks are playing, though this one is gonna be quieter.
19. Nobody Told Me About Id
A track that has some pretty odd mileage. Only used once in Doom, twice in Plutonia, gets used in PWADs on occasion (Community Chest 2 has two levels that have this track, both are long and Go 2 It-y in a way too). It's a showmanship that you're up against something fairly regal in any case though, whether it's hoards of monsters like in Go 2 It, or big old cyberdemon in the Tower of Babel. Fairly nice.
18. Intermission from DOOM
If anything, this is a continuation of the doom and gloom feeling the title track got, before crescendoing into the grungey rock riffage which makes this a popular intermission track. That being said, it's fairly strange as an actual level track, especially in Refinery. It don't really fit well on that level IMO.
17. Deep Into The Code
Heavy, rocking soundtracks go well with nonstop action. E4M3's usage of Deep Into The Code is great, the level is frantic with action all around, as does Plutonia MAP09. E3M3? Not so much. This is a track that fits an action-packed level, but definitely not something with less action.
16. Kitchen Ace (And Taking Names)
Probably the easiest of the Prince tracks to learn on a guitar. The riffs are generic, but the song as a whole seems to do okay in just about any kind of level. Not much else to really pinpoint.
15. The Demons from Adrian's Pen
A long time ago I had this as my favorite track. Nowadays, I really don't like it all that much anymore. It's definitely got the atmosphere going, and sort of feels like a combination of Suspense with Nobody Told Me About Id. Those doots are memorable and swanky, drumming is great, rest is actually quite awkward in hindsight.
14. Sign of Evil
This is a very difficult track to rate. I'm not a fan of those weird doots in the beginning, but the synth that comes in is a definition of atmospheric. As are the guitar lines, but then again the droning guitars could be seen as a turnoff to some. Drumming is nice. It's a track that works better for long levels, and I think Alien Vendetta MAP11 has the best use of this particular track.
13. Untitled
Honestly, the worst thing about this track is the fact that it's just called "Untitled". Not sure if Bobby just couldn't find a good name for a track based off of Pantera's Mouth of War or otherwise. That being said, this is still an interesting track that fits just about any Hell level there is. Yes, even Hell Keep.
12. The End of DOOM
"Dadadada-da" The sound of the end-of-episode music track is brooding to show that despite the marine's best efforts, there's doom and gloom to come each and every time. The End of DOOM indeed in some cases when you finally finish off that last episode, or Plutonia MAP30, or such and such. It's just a great haunting track and feels like it can go anywhere.
11. Suspense
The fact that Suspense barely misses the top 10 will have me getting tomatoes lobbed to my face. But my first memories of listening to Doom's soundtrack had me almost forgetting this track exists, due to it sounding so quiet. But it's often considered the best of the atmospheric tracks for how quiet it sounds, even with the background hissing of the cymbals there. It's quite brooding. I guess the main melody is a bit repetitive too.
10. At Doom's Gate
Starting the top 10 off with At Doom's Gate, the Hangar track. It gets the blood pumping, and the blood will pump with this map on UV for sure. Very memorable riff, while the completely random guitar solos after every eighth riff or so just seem like cake icing. Use it for action-packed levels of course, it's made for such. And interestingly, there is zero conclusive evidence on what this music track was inspired by. Real strange!
9. The Imp's Song
It's those bass riffs, man. An atmospheric opener, followed by bass riffs that basically have you plodding through stuff. Is there really much else to say? The second music track works great, shame it's only used once in the original Doom, as it's a true favorite.
8. Hiding the Secrets
This has to be the most harmonic of the rocking tracks, plus the riffage is fun to learn. Shame that those who avoid secret levels will miss out on this track, it's one of my guilty pleasures by a mile. It's funny how it shows up in Warrens too, the level that plays exactly like Hell Keep until the very end. Maybe first-time players will realize, "Hey, this isn't really Hell Keep!" from just hearing the music. So fun.
7. Donna to the Rescue
A rock track that tries to be slightly atmospheric with its instrumentation. Pretty strange, but another guilty pleasure track of mine. The beauty of it is the goofiness of the main riff; it's definitely unlike the riffs in the other rocking tracks. But it just seems to fit anywhere you put this particular music track without too much fuss, and especially Perfect Hatred of all levels.
6. Dark Halls
When it comes to exploring a dark and danky area that isn't Hellish but has the sense of a run-down base with little lighting and damaging liquid, Dark Halls is an almost perfect choice. Another great plodding track with the proper synth that makes it seem like more than the monsters could come to life to creep you out.
5. I Sawed the Demons
For the pure rocking tracks, I Sawed the Demons wins out for me. Although it took inspiration from a less heavier artist than Metallica or Slayer, this one incorporates the fun riffs from AC/DC's Big Gun and works with them to make a track feel great. While other tracks immerse you into feeling everything with the atmosphere, this one is here to remind you, you're playing a video game. It feels like a true video game song.
4. On The Hunt
On the Hunt screams urgency right from the first note. It just builds up well before it goes into that main riff, which is still plenty juicy to listen to as well. But the whole thing just feels perfect for true run-and-gun, and also feels like an actual video game song. It works well with levels that feel like gimmicks, if we're being honest.
3. Waltz of the Demons
Feel the power of the 3/4 time signature through those violins! A truly beautiful setpiece of a music track for the breather levels of Doom, and for any atmospheric-feeling level in general. Those xylophone bits are cute, and pick up well for each measure of the track. All while keeping the creepy feel.
2. Sinister
But for all intents and purposes, Sinister is much, much better for slow, brooding, atmosphere. A great buildup for a song with a super-sinister riff, almost as if it's telling you you better pay attention to the song title above all else. It's a showmanship to what's really sinister about Doom, and only the #1 track is better than it for its brooding atmosphere. Speaking of which...
1. Demons on the Prey
I really contemplated this decision quite a bit. I never really liked how repetitive this track was in Ultimate Doom considering it was used four times, plus it was used twice in Plutonia, and wasn't as rock-y or as atmospheric as the others. However, after some listens, this is the song that outright defines Doom. It builds up beautifully from the somewhat quiet beginning to some very harrowing and defining riffs, showing how doom and gloom it is while feeling very professional for both Hell and destroyed base settings. Sure, you'll probably get sick of it at some point, but you probably wouldn't change the music to something else when you hear Demons on the Prey because you just know it defines how Doom is supposed to be in story and such.
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