Donkey Kong Country 3 Soundtrack Comparison

Published 8/29/25

Donkey Kong Country 3 is generally considered to be the worst game in the original DKC trilogy, but it's still a quality platformer. The once-impressive psuedo-3D graphics looked dated now that the Nintendo 64 was out, the most iconic characters from the series were replaced with less appealing newcomers, and many of the levels featured gimmicks that weren't popular with a lot of players. Still, I have very fond memories of my time with this game, having owned it on both the SNES and the GBA. But something confused me about the portable version. It was a very good remake - the graphics were bright even without a backlight, some new collectables and minigames were added, and best of all, it had an entirely new world. But there was something wrong with the soundtrack. It was good, certainly, but... it sounded so different from how I remembered it. Years later, I would learn this was because it had a brand-new soundtrack, as the previous one just didn't sound good when it was running on GBA architecture. The original was composed by Eveline Fischer, who had done some work on tracks from the first DKC, while this upgraded port was composed by none other than David Wise, the lead composer for the previous two entries.

What interested me most is that the tracks went for different moods. They had both looked at a level and came up with a completely different direction for what kind of atmosphere they wanted to convey. It made me reflect a lot on how important the music is for a video game. If you've ever played a game on mute, or with your own music on in the background, you'd realize how different the experience can be. This was what compelled me to study not just music theory, but particularly how it relates to video games, or other interactive media. I listen to a lot of atmospheric and experimental music, which is often designed to provoke specific feelings in the listener, some that are quite complicated and profound. Using a (relatively) popular example from last year, Blood Incantation's Absolute Elsewhere is a progressive death metal album that does a fantastic job of making the listener feel like they're in a science fiction setting. But most albums don't have any accompanying visuals or stories. They want you to feel a certain way, but it doesn't tie into another piece of media. With video game soundtracks, the music you write drastically affects how a level is perceived. And even more than that, there are specific songwriting techniques that can give a listener an image of what the stage must look like without ever touching the game! Have you ever heard an out of context song and instinctively knew that it must be for a water level, or a volcano stage, or an ice-themed or desert-flavored world?

Because DKC3 has two different soundtracks, it makes an excellent case study of how something as simple as a change in backing track completely changes the tone or stressfulness of a level. I decided to go through a good chunk of the soundtrack (10 songs in total) and directly compare the choice of themes, discussing the differences on how you perceive the gameplay when it plays, and which one feels more fitting overall. I just want to say, first and foremost, that I love both soundtracks deeply, and hold equal nostalgia for both, so there really isn't a 'better' one overall. It will come down to each individual player as to which one they think comes out on top.

SNES Dixie Beat VS GBA Intro (Opening Cutscene)

Right off the bat, we get into a massive disparity in tone. Interestingly, both versions feature reprises of songs from previous games in the trilogy, as well. Fischer's Dixie Beat starts with the playful drums from DK Island Swing from the first game, with monkey noises to really capture that jungle feel. Then, it opens up into a variation of the bonus level themes, closest to the one used in DKC2. It's a very bouncy and energetic track that does a good job of hyping the player up for the adventure to come, especially with the accompanying gameplay footage. It's the perfect introduction to another installment of the franchise; the player knows exactly what they're getting. But Wise goes in the opposite direction with the GBA intro - he created a contemplative, melancholic track that washes over you in waves, to better fit the new opening scene. It starts off with a slow interval that is perfectly synced to the scuba diver on screen taking a deep breath, then like Fischer's piece, repurposes a part of DK Island Swing. Here, Wise opts for a minor key rendition of the melody, that's haunting and familiar. Moments later, Aquatic Ambience - arguably the most fondly remembered track from DKC1 - takes its place, with the forlorn piano you'd love and expect, as the title screen proper appears. The vibes couldn't be more different, but they both work alongside their cutscenes. You can't really compare which one is 'better' since they don't have the same context, but I've always loved how the GBA intro is so dark, but also comforting, even though the SNES version's opening makes more sense for the actual gameplay that follows.

SNES Stilt Village VS GBA Stilt Village

Stilt Village is the theme applied to the very first level in the game, which as the name implies, is a path of wooden walkways above the water. Fischer chooses a playful melody with brass and mallet percussion, on top of a bouncy bass line with some deep, low notes. After the halfway mark of the loop, there's a key change, and the melody even jumps to the bass for a bit. Altogether, it's about what you'd expect for a fun little platformer on the SNES, and pretty catchy. Wise, for his part, once again decides to go for a more contemplative tone. After the sound of waves lapping on a shore, the actual track kicks in, with a laid-back groove and a sweet chord progression, followed by an acoustic guitar breakdown. It's also a bit longer than Fischer's version, with more variation to the melody beyond changes in instrumentation. Part of the reason for this change in tone may actually be chalked up to the new world, Pacifica, that is exclusive to the GBA version; this theme shows up for other wooden walkway levels there, which take place during a thunderstorm. Therefore, I feel that both versions are pretty equally suited for their circumstances, like the intro was, but I prefer Wise's when no context is involved.

SNES Mill Fever VS GBA Mill Fever

Mill Fever is another theme found primarily in the first two worlds and is also an apt name for the stage theming. In some of these stages in particular, there are mice that can be found in hamster wheels and defeating them can be required for progressing further. For that reason alone, the SNES original is a fantastic backing track, as the percussion sounds a bit like rats scurrying in the walls or chewing on wires. It's also incredibly funky, with a swing beat and a lazy electric guitar. The refrain's downward bass movement conveys the player moving further and further into the mill well, too. Wise's version is also pretty good, but it honestly feels out of place - it's the first instance of a theme not sounding particularly well suited for it's environment. It also has downwards movement, prominent electric guitar, and jangly percussion, but it sounds like it belongs somewhere much more futuristic than a rundown mill, especially with the distorted bass and how spacey the melody gets at the end. It's also a bit more tense than Fischer's ideas. This gives the impression that the level is way higher tech than it actually is, like you're exploring one of the factories you'd encounter later in the game. It changes the vibe quite a bit and is pretty noticeable!

SNES Northern Kremisphere VS GBA Northern Kremisphere

Northern Kremisphere is the backing track to Lake Orangutanga, the first map in the game. Fischer opts for another laid-back song. It's atmospheric and the reverb gives the impression that you're on the lake in a small boat that's rocking in the waves. It's easily one of the most nostalgic songs from the game for me. Interestingly, someone once pointed out that it sounds a bit like a backing track you'd hear in a news report, which seems fitting. It's not very tense, but it does manage to grab your attention. It makes the lake you're traversing seem so beautiful and impressive, in a way. The GBA rendition has a lot more movement, with another very fun bass line, and a call and response melody. Here, it feels like you're on vacation with friends at the lake, and you're drinking and grilling and having a good time, instead of taking in the majesty of your surroundings.

SNES Frosty Frolics VS GBA Frosty Frolics

This is one of those songs that you'll hear out of context and immediately know it was written for a snow-themed level. Fischer's glockenspiel and other mallets just scream 'winter.' But it's quite a bit darker than most icy levels, as beneath the minor key twinkling there's a relentless, if quiet, bass line and chords that inspire trepidation instead of wide-eyed wonder. I feel that I unconsciously move slower through these levels in the SNES version solely because of this track. It's just incredibly cool and slow, with a certain tension that makes you want to be cautious. Wise, however? This is where things get weird. Seriously, this might be one of the only major missteps he's made in a Donkey Kong game. It opens with a yodel, which is a bit jarring, to say the least, then a pretty standard wintery theme shows up. It actually doesn't rely too heavily on bells like Fischer did but conveys the environment well through other means that I'm not qualified to describe. There must be chord progressions or voicing that we associate well with Christmas music going on here. And then, right when it feels like it's going to loop, a fierce wind picks up, drowning out the music entirely, with only random clangs and yodels cutting through. What's going on? Who thought this was a good idea? It's bizarre, because there's no wind mechanics in these levels either. It feels very out of place and makes me play through the stages faster just to stop hearing it. I will give him one thing - it sure feels cold. I involuntarily shivered just listening to it again for this write-up.

SNES Boss Boogie VS GBA Boss Boogie

The main boss theme of the game is tense in both versions, but in different ways. Fischer opted for some sparse harmonies for her take, with the most prominent channels being distorted bass with a lot of movement, and a repetitive percussion beat with offbeats. What little melody there is can be found in a quiet mallets part, but the tension really ramps up with several key changes towards the end of the loop, the higher pitch giving the sensation that you're running out of time. Wise also puts most of the emphasis on bass and percussion, but his bass line is a funky slap groove. The melody is an electric guitar jam that wouldn't feel too out of place on a tinny MIDI of a Rage Against the Machine song. It's relatively laidback, but the string chords in the background provide the necessary tension. In the end, Wise's theme is more catchy and has me thinking more cautiously during the fights, while Fischer's is more stressful.

SNES Treetop Tumble VS GBA Treetop Tumble

This is arguably the most drastic contrast yet, and the one that honestly inspired me to write this up at all. First, you have to understand, while this track plays during the treetop levels, myself (as well as many players) will always associate it first and foremost with the dreaded saw level. If you need a refresher, the stage's gimmick is that there's a saw cutting through the trunk of the trees and steadily climbing upwards, meaning you have to constantly be moving upwards to avoid it. As a kid, this was beyond stressful, and it's still my least favorite level in the entire game. With that in mind, the SNES version is dark and unsettling. There's moody, atmospheric chords, a pedal note in the bass guitar, uncomfortable arpeggios, and a cold wind that howls every so often to give the impression you're out alone somewhere you really shouldn't be. It works great for the aforementioned saw level, and makes the less intense stages feel much more eerie, even sinister. Wise decided screw that, he was going to make something so out of place it would make your head hurt. That's right, the GBA version is major key and jazzy, with a lot of xylophone and what I assume is a saxophone, and is just so whimsical that it honestly makes me think of a lazy summer day at a playground. Sure, it's fine for most of the other tree levels - it gives the impression you're on an adventure, exploring the trees for fun with nothing dramatic happening. But on the saw level? Get ready to be annoyed, because it honestly feels like the game is mocking you! You will die one million deaths to that damn saw while this cutesy song plays. But hey, some people seem to prefer this version because it's less stressful, and they felt less frustrated whenever they died because the track playing was very non-serious. That's the power of a game's soundtrack!

SNES Water World VS GBA Water World

Fischer's Water World is probably the darkest song on the entire SNES game, but it's also one of the most gorgeous. It sounds claustrophobic, even alien - the opening actually brings Super Metroid to mind, particularly the item room ambience themes. It gradually opens up with eerie harmonies, before the menacing crashing of waves (or perhaps a distant but fierce wind) submerges the synths, like you're hearing it from underwater. It's devastating and makes the underwater stages feel ominous and oppressive. Wise's rendition is no less beautiful, but while it's not exactly cheery, it is much more comforting. DKC1's Aquatic Ambience makes another triumphant return, and just like it's original appearance, it creates something melancholic but relaxing, even welcoming, like the ocean greeting you as you sink into its embrace. What's more, Forest Interlude, an underrated track from the second game, also sneaks its way into this remix towards the end of the loop in a way that tickles your brain until you realize exactly where you've heard that melody before. If Fischer's goal was to give you the feeling of a lonely scuba diver exploring a dark and dangerous yet breathtaking reef, Wise wanted to capture the nostalgia of sitting on the bottom of a pool on a warm summer day, feeling completely at peace in your solitude.

SNES Rockface Rumble VS GBA Rockface Rumble

Rockface Rumble is the theme for the cliff stages, most of which involve climbing ropes and avoiding explosive barrels that will chase you across the screen. The SNES version is once again an atmospheric piece with plentiful percussion and sparse melodies. In the latter half, an electric guitar plaintively cuts in, somehow conveying the immensity of the mountain you're scaling, with a simple bass line that urges you to keep moving forward. There's some tension, but it's not enough to make the level feel intimidating; it's actually motivating. On the GBA, that mood is entirely discarded, and replaced with a catchy, country-inspired jam. It's upbeat and jovial, giving the impression you're going hiking in the boonies with friends. As the track continues, however, some darkness does creep in, with a fierce wind once again cutting in and drowning out the tune (although it's nowhere near as out of place as the one in Frosty Frolics). Animal noises, such as canine howls, provide an ambience that does a good job of conveying loneliness, but it's also peaceful, as though you're bonding with nature. To me, it sounds like camping outside, and the song you have playing on your speaker fading out, but you deliberately wait a bit before picking a new track because it just sounds kind of nice, you know?

SNES Jungle Jitter VS GBA Jungle Jitter

The final track I want to discuss, Jungle Jitter, only shows up at the very end of the game, and is on a limited number of levels. Fischer is clearly inspired by Wise's Tree Top Rock from the first game. As has become a trend, it opens with percussion and monkey noises, and some bluesy guitar licks. The jazzy mallets are a treat, and as the track's name implies, have a jittery feel to them. This is a track that's content to not stand out too much, instead providing a chill ambience, especially with that lethargic bass line towards the end. Yet another understated SNES groove that fits the stages perfectly. Wise hits us with yet another stellar remix, this time reprising DK Island Swing, with some elements seemingly lifted from Forest Interlude. Even if you haven't played the GBA port, you might find this song extremely familiar - it was itself remixed for Donkey Kong Country: Tropical Freeze. There's still the monkey noises, prominent percussion, and swinging mallets, so the two songs on offer here are fairly similar in tone. It's cool that they both agreed on the direction to take this level musically, and although they're both inspired by Wise's previous soundtracks, they both sound unique from each other.

These ten songs I covered only represent about a third of the game's soundtracks, but they're the ones that were most interesting to discuss. They represent the best of the music on display, as well as highlight the similarities and differences between the two versions. Some other tracks that I had originally wanted to talk about I had to decide against, as some pulled double duty and were used for multiple different stage themes, and it didn't feel fair to compare them when the context in which they're heard differs. It's funny, as towards the end of my writing of this article, OFF! remastered was released, which featured an entirely different soundtrack by different people. The comments I saw online were mostly negative - it simply wasn't seen to be as good as the original, even with heavy hitting composers like Toby Fox featured. Was this from pure nostalgia overriding any opinions of the new music? Did the new tracks have different moods than the original? If someone listened to every song off the soundtracks together with no previous context, would the remaster's renditions still be seen as mediocre? Who knows - I've never played the game. But I can't help but wonder what it might be like to play the game once through with each soundtrack, and to see how it would impact your experience.