Every single level where he can be ridden will add a drum/bongo track alongside the standard track. Yoshi is the single biggest influence on the soundtrack in this game, in a great way. If the style of the music is much the same, what’s here to distinguish World from the previous game? One word: Yoshi. The prevailing feeling you get when you listen to this soundtrack is “well, why not try to do what we’ve already done, but with less limitations?” They had all the incentives to play it safe, and a lot of room to make that safety still interesting: so why not?
That included the soundchip, which clearly gave the composers an advantage: they had much more to play around with, with less limiting ranges and channels compared to the NES. This might seem odd at first: why just do the same kind of soundtrack again? Why not experiment more? Like I said at the start, Mario World had a big task of using one of the largest franchises to introduce a lot of people to this newfangled system, with expanded capabilities all around. If you’ve played Mario 3, you’ll be right at home with how this sounds, with a light, upbeat soundtrack. World does not try much new in the way of style, and it doesn’t try anything innovative music wise. But look at it a little closer, look at what it was trying to do, and I think there’s plenty of value to be had in this little soundtrack. The soundtrack for World isn’t the first thing that’s brought up most of the time when people look back on it, and I’ll admit, when you first listen to it, it doesn’t sound like anything special.
It’s still a platformer where you jump, swim, and power-up your way to victory, and this extends to the music as well.
It’s very clear and open in it’s intent: much like the SNES is Nintendo, but in 16 bits, World is Mario, but in 16 bits. Super Mario World was the Mario game that launched alongside the 16 bit Super Nintendo console.
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