The 25 Best Video Game Soundtracks of All Time

All good schlock needs the right soundtrack, and Lollipop Chainsaw delivers both in spades. Directed by Japanese designer Goichi Suda (under the alias Suda51) and co-written by Guardians of the Galaxy director James Gunn, the game harkens back to Suda’s roots as a Troma b-movie director, with a ludicrous, blood-soaked story about Juliet, a cheerleader who spends her 18th birthday battling the zombie apocalypse with the sentient severed head of her boyfriend at her hip.A bombastic retro vibe is injected into the game from the opening title screen with the track “Cherry Bomb” by Joan Jett and the Blackhearts. The game’s licensed music was curated to emphasize the batshit tone of the game, one that composer and Mindless Self Indulgence front-man Jimmy Urine has called, “Totally. Fucking. Crazy.”And crazy it is, with songs accompanying menus, mini-games, and climactic battles that range from hits like Toni Basil’s “Hey Mickey” and The Chordettes’ “Lollipop” to era-appropriate bangers like Sleigh Bells’ “Riot Rhythm.”Song to stream: “Cherry Bomb,” Joan Jett & The Blackhearts

Just because a game has a great soundtrack doesn’t mean it needs to be a long one. Sega’s Crazy Taxi is the perfect example of utilizing just a handful of licensed tracks to maximum effect.Beginning as an arcade game before being ported to Sega’s final console, Dreamcast, it’s designed for quick sessions with players controlling a lunatic taxicab who must pick up fares at a frenetic pace. Theat frenetic playpace is set by a punk soundtrack consisting of only seven songs from two bands: The Offspring and Bad Religion. But with Crazy Taxi, less is more.Some 25 years later, fans of the series still associate the intro with the lyrics of The Offspring’s “All I Want,” but many were bummed as licensing issues forced modern ports and mobile remakes to omit the best tracks. The Crazy Taxi experience isn’t the same without the iconic high-pitched howls of the band’s vocalist Dexter Holland’s, “Yeah, yeah, yeah, yeah, yeah!”Song to stream: “All I Want,” The Offspring

One of the best ways to incorporate mainstream music in games without breaking the atmosphere is to use them as in-game covers or diegetic music used within the scenes. Irrational Games’ steampunk first-person shooter Bioshock Infinite combined both to infuse an eerie asynchronous tone into its sci-fi world, which is set in a fictional city-state in the sky circa 1912.Creator Ken Levine and music director Jim Bonney originally sought to use period-appropriate music, but struggled to find music with the right political gravitas and modern audio quality.“It’s much more challenging to find music from that era that sounds great to a modern ear,” creator Ken Levine said to Wired at the time of the game’s release. Instead, they opted for old-fashioned covers of tracks like Cyndi Lauper’s “Girls Just Want to Have Fun” and R.E.M.’s “Shiny Happy People,” blasting from a gramophone.Song to stream: “Fortunate Son,” by Jessy Carolina (covering Creedence Clearwater Revival)

Forza Horizon 5 shows that the easiest way to insert popular music into a video game is to just add a radio. With eight different radio stations featuring over 100 songs, it’s practically impossible to get tired of the in-game music. Station genres include punk, dance, hip-hop, and — of course — classical.The eclectic mix of tracks featured in Forza Horizon 5 were compiled over three years, according to lead audio designer Fraser Strachan, creating a soundtrack that fit both the overall franchise and the Mexico setting itself.“Music curation is by far the most challenging and time-consuming task we undertake on every game,” he said in a 2021 interview with A Sound Effect. “We wanted to fill each station with a collection of music that was authentic to Mexico.”Every Forza release delivers a new collection of music, and the selection for the best mostly boils down to the player’s taste, but the fifth installment features the most robust track list that, paired with its open world gameplay – some of the best ever produced for the genre — allows players to roam a fictionalized version of Mexico’s coastline with the blaring radio leading them off into the sunset.Song to stream: “Heat Waves (Shakur Ahmad Remix),” Glass Animals, Shakur Ahmad

Another racing game from a venerated series, Midnight Club: Los Angeles strikes a different tone than that of Forza Horizon. Produced by Rockstar San Diego, the Midnight Club series focuses on street-level races that feel closer to the early Fast & Furious films than the over-the-top grandeur of Forza.At the time of its release in 2008, there wasn’t anything else quite like the Midnight Club franchise. In the eyes of the team at Rockstar, it filled a void left by other racing games by bringing a larger than life quality to the racing fantasy. In an interview with IGN, then-series producer Jay Panek called other racing games of the era, “Boring, with no vibe and generally lacking any imaginative quality.” Part of avoiding that sense of monotony was imbuing their take on the racing genre with music that can match the game’s energy.Fans would say it’s a toss-up between Midnight Club 3: Dub Edition or Los Angeles for which game has the best soundtrack, but we’re giving the edge to the latter for its varied mix of high-octane beats across genres, with tracks from artists ranging from Nine Inch Nails, MGMT, and Justice, to Nas, Jeezy, and The Game. No matter what song is on, it’s bound to feel like you’re playing a better Fast and Furious game than any of the actual licensed attempts from the movie franchise.Song to stream: “Kicking and Screaming,” The Presets

Ubisoft’s Watch Dogs series is an interesting breed of open world, action-adventure games starring hacktivist cells working to take down corpo-fascist organizations through stealth, hacking, and gunplay. To evoke that rebellious tone, the soundtracks employ a mix of aggressive yet catchy electronica and hip-hop, alongside more retro classic rock and punk songs that help paint the game’s apolitical crypto-anarchist themes in the game.Much of the fun of Watch Dogs 2 rests in the increasingly ridiculous ways in which players can remotely hack into cars, drones, and other people’s personal devices. Of course, that extends to the in-game radio, where players can use “SongSneak,” a wireless hacking app clearly inspired by Shazam to pick up on songs in the environment and steal them for their own playlist. The producers previously called details like this the “jester spirit” of hacktivism.With a wide-ranging soundtrack that includes music from artists like Duran Duran, Giorgio Moroder, Big Sean, Dead Kennedys, Ty Dolla $ign, and Sublime, there’s plenty of tracks to “hack” throughout the game in the name of court-jester anarchism.Song to stream: “Blockbuster Night Part 1,” Run the Jewels

When thinking of the music of Naughty Dog’s The Last of Us games, most people would imagine the string arrangements of Gustavo Santaolalla, whose intimate scores for both the games and HBO adaptation are legendary, but one of the most vital parts of the second game is actually its effective use of licensed music.There’s a few popular songs peppered throughout the game — including a snippet of Ice Cube’s “It Was a Good Day” — but the real heavy lifting is done by actors Troy Baker and Ashley Johnson as protagonists Joel and Ellie, singing acoustic covers of songs like Pearl Jam’s “Future Days” and a-ha’s “Take On Me” at pivotal moments that help cement its place as one of the greatest emotional sucker punches in all of gaming.According to game director Neil Druckmann, obtaining the rights to use tracks was the easy part, but the difficulty came afterward when trying to find the right tone for the more somber version of “Take On Me.” With the help of musicians and current Guns N’ Roses band member Melissa Reese, Ashley Johnson actually had to work diligently to bring the more upbeat track down to the game’s emotional wavelength.The focus on Joel teaching Ellie to play guitar (with a playable minigame to boot) and passing along that gift is one of the most important aspects of The Last of Us Part II, and remains one of the best uses of popular music woven into the fabric of a video game narrative.Song to stream: “Take On Me,” Ashley Johnson (Covering a-ha)

Okay, these are technically two different games, with Sega developing multiple titles based on Michael Jackson’s 1988 experimental film Moonwalker: one an arcade beat ‘em up and the other a platformer for home consoles. But as they both adapt the same material and share some of the same songs, we’re going to consider them one complete entry that celebrates the work of the King of Pop.All versions of the game star MJ himself, covering the “Smooth Criminal” portion of the film, and play like traditional platformers/beat ‘em ups of the era, filtered through the bonkers lens of Jackson’s bizarro Peter Pan persona, including the ability to transform into a laser blasting mech and in-game assists from his monkey, Bubbles. They’re elevated even further by glorious MIDI renditions of various hits, including “Bad,” “Beat It,” and of course, “Smooth Criminal.” The project would kick off a multi-part collaboration between Jackson and Sega, including his later work on the Sonic the Hedgehog series and appearance in Space Channel 5, although the musician’s involvement in games diminished as the artist became more reclusive following a media frenzy surrounding sexual abuse allegations.Much of the detail surrounding Jackson’s work with Sega has been lost to time, but the singer was well known as one of the first ardent celebrity gamers whose personal arcade housed titles like Crazy Taxi, Tekken 2, and the iconic six-player X-Men cabinet. Moonwalker was one of the first games to show just how far the crossover between music and gaming could go, even with the limited technology of the era.Song to stream: “Smooth Criminal” (Sega Genesis version; Michael Jackson)

Metal Gear Solid director Hideo Kojima has long since been considered one of the auteurs of gaming, and the closest thing the industry has to a Scorese-level icon, but with the final installment of his breakout franchise, he also introduced his love of era-appropriate rock and pop music for the game, which is set in 1984.Kojima’s appreciation for classic rock informs his storytelling in surprising ways. In an interview with Siliconaera shortly after the game’s release, he admitted that he named the private military company at the heart of the story after David Bowie’s song “Diamond Dogs.” But putting together the game’s soundtrack was more of a tug-of-war with his younger team members.“I’m always being rejected by our staff members,” he said. “I’m the only old man around, so most people don’t get it.”The music he was able to convince them on is obtainable through collectible cassette tapes and playable through an “iDroid” (not subtle!), the game features unlockable tracks from throughout the Eighties, including The Cure’s “Friday I’m in Love,” Joy Division’s “Love Will Tear Us Apart,” and Billy Idol’s “Rebel Yell.” Despite being relegated to bonuses, the licensed music does well to frame the game’s setting firmly within a timeline that can be a little wonky to follow overall and brings another layer of its creator’s global pop culture obsession to the mix.Song to stream: “Gloria,” Laura Branigan

Anyone who’s played Fallout (or seen its adaptation on Prime Video) knows that part of its oddball charm is the retro-futuristic touch applied to the desolate wasteland. A huge part of that is the music, which often leans into very old timey tunes like Fallout 3’s “I Don’t Want to Set the World on Fire” by The Ink Spots. Fallout: New Vegas had that, too, and more.For Fallout: New Vegas, the developers at Obsidian wanted to take the music in a new direction. With a team who originally worked on the early Fallout games (1 and 2), special care was taken to evolve the game’s soundtrack beyond what they’d previously explored, while remaining strict on from what era each song could be pulled.“It kind of felt nice because we had covered the Fifties with Fallout 1 and Fallout 2,” director Josh Sawyer told USgamer. “So pushing a little bit into the Sixties didn’t feel bad, because it was like, ‘Okay, we’re continuing ideas from Fallout 2.’ And we’re venturing into a later decade, but the cutoff I used was JFK’s assassination. We couldn’t use music or anything past that point.”Given the unique setting of New Vegas in the Mojave wasteland, featuring ruined portions of the Vegas strip, the game makes use of its locale to incorporate a sleazier romanticization of the Rat Pack Fifties that utilizes the lounge music of Frank Sinatra, Dean Martin, and Nat King Cole, with an underpinning of good old cowboy gunslinger vibes from the likes of Peggy Lee. It’s a different kind of Fallout soundtrack, while retaining the essence of everything fans know and love about the series’ tone.Song to stream: “Johnny Guitar,” Peggy Lee

To put it lightly: they don’t make games like Def Jam Vendetta anymore. Sure, everything from Call of Duty to Fortnite may feature famous artists as combat skins, but the sheer audacity of a pro-wrestling game starring a roster of real-life rappers beating each other senseless remains the product of a bygone era.But as ridiculous as the game’s premise was, the people behind it took the process dead seriously. As one of the creative leads behind the game, former Def Jam president Kevin Liles was committed to honoring hip-hop, and bringing truth to its video game depiction.“I couldn’t see us, at that particular time, doing a game that wasn’t authentic to the culture, from what artists were in the game to the character’s clothes and moves,” he said in an interview with Okayplayer. “These artists were either on the label or friends in the industry. Also, I would say 95 percent of them were gamers.Leveraging its heavy hitters like DMX, Funkmaster Flex, Ludacris, and the combo of Redman and Method Man as characters, the soundtrack is packed with rap and hip-hop tracks of the time, including DMX’s “Party Up,” Joe Budden’s “Focus,” and “The Grain” by Ghostface Killah ft. RZA. It was rare at the time to see this level of synergy between the in-game appearances of iconic musicians and the game’s actual soundtrack, and it’s something seen even less frequently today.Song to stream: “Party Up,” DMX

Fans of the now-defunct snowboarding franchise SSX could debate all day which game in the series has the best soundtrack, and they’d all have a solid claim. And while 2001’s SSX Tricky might be the most famous due to its direct tie-in with the hero track, Run-DMC’s “It’s Tricky,” it was with the series’ fourth installment, SSX on Tour, that the game’s soundtrack explored new horizons.Unlike the previous games in the series, which focused more on breakbeat and techno, SSX on Tour branched out into popular rock, alternative, rap, punk, and metal, which was clear from its lead track, Iron Maiden’s “Run to the Hills.” Including music from artists like Diplo, Bloc Party, Pennywise, and OK Go, its breakneck, arcadey gameplay was made all of the better by its off-the-rails musical arrangement.The change in tone was deliberately targeted at capturing gamers who were coming of age at the time of SSX on Tour’s release and the game’s developers were pretty blunt about it at the time. Producer Tim Fields has gone on record stating that the goal was to transform the franchise into something that’s, “much more culturally relevant.”“The kids today, our fans, they’re changing,” Fields told IGN in 2005. “The techno music and stuff that was great before isn’t as fresh as it was.” The result was a much harder hitting sound than anything that had come before from the series.Song to stream: “Daft Punk Is Playing at My House,” LCD Soundsystem

Even diehard fans of the Saints Row series know that it’s essentially developer THQ’s dumber, more ridiculous counterpart to Grand Theft Auto, but that doesn’t make it any less enjoyable. Aping and exaggerating the open world criminality of Grand Theft Auto, the Saints Row games also incorporate in-game radio stations where players can find the perfect accompaniment for a ultraviolence laced with petty larceny.According to the game’s lead audio designer, Frank Petreikis, Saints Row 2 had a budget that was double that of the original game, which helped secure a massive swath of licensed music that helped give the game its pristine soundtrack.Many fans of the games — Saints Row 2 in particular — feel that the in-game soundtracks, which consist of nearly 170 licensed tracks, do a better job of creating an eclectic playlist for players, with a better mix of artists both mainstream and underground. With artists including Deftones, Panic! At The Disco, Young Jeezy, MSTRKRFT, and Tokyo Police Club, it’s hard to argue that the soundtrack isn’t well curated, at the very least.And while future games in the series would continue the trend, even as the games themselves varied in quality, the second game stands head and shoulders above the rest as a fan favorite.Song to stream: “Street Justice,” MSTRKRFT

With a name like Rock n’ Roll Racing, you pretty much know what you’re in for — and it absolutely kicks ass. Developed as an early game by Silicon & Synapse (now Blizzard Entertainment), Rock n’ Roll Racing was a vehicular combat game that pitted players against each other in a monster-car death race, set to MIDI versions of the exactly the rock hits you’d imagine —from George Thorogood’s “Bad to the Bone” to Steppenwolf’s “Born to Be Wild.”As noted in a Blizzard developer diary, co-founder Allen Adham’s original idea for the game was simply, “ZZ Top’s Racing,” but the idea had to be nixed because the company couldn’t afford to license the band’s likeness. Instead they opted to go for their own aesthetic, married with their own digitized renditions of other popular rock classics.The game’s inclusion of mainstream music was influential not just to other titles of the time, but to future staff members at Blizzard who were only kids at the time of Rock n’ Roll Racing’s release. In the same developer diary, Blizzard’s game master Angelo Cani recalled his obsession with the game’s rock tracks, despite speaking an entirely different language.“We liked the songs, and knew they were famous, but had no idea what they were called,” the developer said. “I was born in Brazil, so I had no knowledge of English at all at the time. Since we couldn’t identify them but still wanted to play them at home, we went to a music store and we sang our 16-bit remembered version of ‘Born to be Wild’ from the depths of our lungs.”Song to stream: “Paranoid,” (Instrumental, originally by Black Sabbath)

The Need for Speed games have long been the premiere racing franchise predicated on going really fast and evading the police. Under the direction of Criterion Games, who returned to the series after a nine-year hiatus, Unbound took a notably different direction, focusing instead on urban street racing aesthetics through graffiti-like art style, complete with an all-timer soundtrack.Prior to release, the game caused a stir across Reddit and YouTube, pitting the fandom against itself as older players rejected the new tone and hip-hop heavy soundtrack headlined by A$AP Rocky, while newer, more open-minded players and fans of hip-hop embraced one of the most thoughtfully curated soundtracks in gaming.A$AP Rocky himself isn’t just featured on the soundtrack, but appears in-game with his own playable mode. Other than Rocky, the massive artist list for the soundtrack includes Princess Nokia, Rico Nasty, and Playboi Carti, making the gaming’s ultimate who’s who of global hip-hop that’s true to the street racing spirit of the series.“Underground was considerably, like, everybody’s favorite,” A$AP Rocky, told Rolling Stone. “And I think Unbound is just an extension of that.”Song to stream: “Shittin Me,” A$AP Rocky

The best way to describe the music for Burnout 3: Takedown is through the words of the game’s creative director, Alex Ward, who wanted the experience to feel like, “Snorting a huge bowl of cocaine.”Another hit from Criterion Games, Burnout 3: Takedown is often referred to as one of the best games, full stop, of its generation. With white-knuckle driving mechanics that brutally emphasize slow-motion automotive wrecks, it’s the rare type of game that instills the fear of God in players as they continuously inch just a little bit faster at the risk of losing it all.A huge part of its kinetic energy comes from the game’s soundtrack, which leans rock and punk-heavy for maximum adrenaline behind the wheel. The game’s opening track, “Lazy Generation” by The F-Ups, sets the appropriate tone and features every suburban teenager’s early gen iPod favorites, including New Found Glory, Yellowcard, Sugarcult, and Funeral for a Friend.“[When] we signed to Electronic Arts, all of a sudden they’d send you a catalog and you could pick real songs yourself,” Ward said in a 2016 interview with GamesRadar. “Given the chance, ask any developer in the world, and if you can put real music in your game you probably would.”Song to stream: “My Favorite Accident,” Motion City Soundtrack

It’s the last racing game on the list, but it’s also the granddaddy of them all. When it was released at the turn of the 21st century, Gran Turismo flipped the racing genre on its head by shirking the floaty, arcade-like controls of the genre’s most popular games to instead create “the ultimate driving sim.”With an elegant presentation better suited to the showroom than the street, it set a new standard for racing games, and that included the music that came with it. While many arcade racers of the time leaned into over-the-top glam rock and metal sounds to hook players, Gran Turismo 2 delivered contemporary tracks that were instantly familiar and kept the tempo going behind the wheel.The game’s intro track is pretty on-the-nose, pairing the opening cinematic of racing footage with The Cardigans’ “My Favourite Game,” off their aptly titled fourth studio album Gran Turismo.Of course, being released in 1999, Gran Turismo 2 also featured now dad-rock tracks like Foo Fighters’ “My Hero,” but it also had sexier stuff like Garbage’s “I Think I’m Paranoid” and the aptly named Stone Temple Pilots classic, “Sex Type Thing.” What a time to be alive.Song to stream: “Now Is the Time (Millenium Mix),” The Crystal Method

Many games have fantastic soundtracks, but few go to the lengths of crafting a genre love letter that Double Fine Productions’ Brütal Legend did. Starring Jack Black as “the world’s best roadie” transported into a medieval fantasy world for a metal-themed adventure, it’s the closest thing to legitimate Tenacious D video game there is (kudos to the Kyle Glass cameo). The game even goes as far as to cast music legends like Ozzy Osbourne (Black Sabbath), Lemmy Kilmister (Motörhead), and Lita Ford (The Runaways) in major roles.Part of the game’s charm was its commitment to its own original soundtrack, arranged to fit in tandem with its 107 licensed tracks, making for a metalhead’s dream. Tim Schafer, the game’s creator director, described it as a, “Trojan Horse” for non-metal fans to fall in love with the genre, Brütal Legend’s soundtrack is so expansive that the end result exponentially dwarfed the original scope of songs the team wanted to include.“We got a little carried away because we were just having so much fun,” Schafer told Xbox Achievements in 2009. “First, just listing out all my favorite songs and which ones I wanted to have in the game. Getting those, I was like, “Oh well I guess we’re done,’ and then our music director was like, ‘No, that covers about 10 percent of the game.’”With unlockable songs from Judas Priest, Children of Bodom, Mastodon, Manowar, and In Flames, the game’s soundtrack includes a litany of metal bands from all eras.Song to stream: “Goliaths Disarm Their Davids,” In Flames

In all of gaming history, there may not be a soundtrack as ambitious as that of Grand Theft Auto V. Everything about the game is massive, from its multi-region open world to its three parallel narratives woven together, but strictly on the music front, the scale is unparalleled. The first game in the series to utilize its own original score, composed by the Alchemist, Oh No, and Tangerine Dream in collaboration with Woody Jackson, GTA V broke new ground for the series with a litany of tracks produced exclusively for the game.But beyond that, everyone knows the GTA series for its radio stations which, in this case, features over 441 licensed tracks stemming from practically every genre imaginable. Its track list is so stuffed, it had to be released over five official soundtracks for retail. The only criticism one could possibly make against the game is that it almost has too much music, with a kitchen sink approach that aims to recreate the concept of Los Angeles radio from every conceivable angle, unlike its predecessors, which were more tightly curated to be of their periods settings.“For this game, which is set in our version of modern day Los Angeles, what was important for us was to capture that feeling of L.A. and California,” Rockstar’s soundtrack supervisor Ivan Pavlovich told Rolling Stone. “We approached the radio stations as the musical soundscape as you fly into L.A. One of the things we’ve never done in a GTA game before is a pop station; exploring that made so much sense in the context of L.A.”Song to stream: “A.D.H.D,” Kendrick Lamar