Here's something that everyone's been making, and I decided to make one too! This is a mashup of the Thomas and Friends Theme Song mixed in with the rap from The Fresh Prince of Bel-Air. Will Smith takes a ride on Thomas through Sodor, while rapping the "Fresh Prince" theme song. But what will Sir Topham Hatt think about this? Find out!

Songs used:
* Mike O'Donnell and Junior Campbell: Thomas and Friends Main Title Theme
* Will Smith: The Fresh Prince Theme (from "The Fresh Prince of Bel-Air")

(The picture is made by Khristianity.)
Inspired by Yxng Raijin's version on YouTube, but extended.

The Fresh Tank Engine Of Bel-Air (Thomas x Will Smith)

Here's a song from Kingdom Hearts 2 with Guess How Much I Love You? styled instruments. In Kairi's Theme Music, we get to enjoy the soothing flute, piano, harp and solo violin tunes as heard in the show. Chillax or enjoy your relaxing day with this music played by the show's instruments.

Song: Kairi's Theme
Composer: Yoko Shimomura
Soundfont: East West Symphonic Orchestra and Logic Pro

KH2: Kairi's Theme (GHMILY TV series Soundfont -- In the style of Hylton Mowday and Ryan Grogan)

REMIXERS, REJOICE!! Here's a cleanly ripped acapella for the Backyardigans song, "Into the Thick of It!" No music, only singing from Uniqua, Pablo, Tyrone and Austin.

“Into the Thick of It!” is an opera style song featured in The Backyardigans episode "Heart of the Jungle". Uniqua, Pablo, Tyrone, and Austin sing as they travel with no guide to find the heart of the jungle and soon realize they have been walking in circles.

Just like "Castaways" (from TB episode of the same name), this also started trending on TikTok in May, 2021.

U/T/P: Into the thick of it. 
Into the thick of it.
Into the thick of it. 

A: Ugh!

U: We're tramping throu----gh the bush.
On and on, we push. 

T: I----nto the thick of it --

P: But we can't see where we're going!

U: We've made a ste----llar start
To find the jungle's heart.

T: But all we'll find is nothing...

P: If we can't see where we're going!

U/T/P: Into the thick of it.
Into the thick of it. 
Into the thick of it.

P: But we can't see where we're going!

U: Into the thick of it.
Into the thick of it. 
Into the thick of it.

T/P: But we can't see where we're going! 

A: Ugh!

U: The jungle's ki----nd of tricky;
The path is never straight.

T: And sometimes there's no path at all
Which makes it hard to navigate.

U: Although the jun----gle's thick
We're moving through it quick.

P: But that won't do us any good 
If we're going around in circles...

U/T/P: Into the thick of it.
Into the thick of it. 
Into the thick of it.

P: We're going round in circles! 

A: Ugh!

U: These trees look so familiar.
We've been here once before.

T: You're right, except it wasn't once

P: It was three times,

A: O-r fo----ur!

All 4: Stuck in the thick of it!
Stuck in the thick of it!
Stuck in the thick of it!
We've gone around in circle----s!

Song: Into the Thick of It!
Performed by: Jamia (Uniqua), Sean Curley (Pablo), Corwin Tuggles (Tyrone) and Thomas G. Sharkey (Austin)
Composer: Evan Lurie, McPaul Smith
From: The Backyardigans - "Heart of the Jungle"

Note: If you are using this acapella for a remix or something, PLEASE CREDIT ME!

The Backyardigans - Into the Thick of It! (Official Acapella) (Cleanest Rip)

Here is a famous American folk hymn melody played with the New Super Mario Bros. soundfont. 

"Amazing Grace" is a Christian hymn published in 1779, with words written in 1772 by the English poet and Anglican clergyman John Newton (1725–1807). It is an immensely popular hymn, particularly in the United States, where it is used for both religious and secular purposes.

Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed (conscripted) into service in the Royal Navy. After leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. This moment marked his spiritual conversion but he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist.

Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have been chanted by the congregation. It debuted in print in 1779 in Newton and Cowper's Olney Hymns but settled into relative obscurity in England. In the United States, "Amazing Grace" became a popular song used by Baptist and Methodist preachers as part of their evangelizing, especially in the South, during the Second Great Awakening of the early 19th century. It has been associated with more than 20 melodies. In 1835, American composer William Walker set it to the tune known as "New Britain" in a shape note format; this is the version most frequently sung today.

With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognisable songs in the English-speaking world. Author Gilbert Chase writes that it is "without a doubt the most famous of all the folk hymns". Jonathan Aitken, a Newton biographer, estimates that the song is performed about 10 million times annually.

It has had particular influence in folk music, and has become an emblematic black spiritual. Its universal message has been a significant factor in its crossover into secular music. "Amazing Grace" became newly popular during a revival of folk music in the US during the 1960s, and it has been recorded thousands of times during and since the 20th century.

Lyrics:
Amazing grace,
How sweet the sound
That saved a wretch like me!
I once was lost, but now I'm found;
Was blind, but now I see.

'Twas grace that taught my heart to fear
And grace my fears relieved.
How precious did that grace appear
The hour I first believed!

Song: Amazing Grace
Composer: John Newton, William Walker
Soundfont: New Super Mario Bros.

Amazing Grace (NSMB Soundfont)

SOMEONE SEND THE CLOWNS! Here is a famous Circus March played with the Super Mario All Stars/Super Mario World soundfont.

"Entrance of the Gladiators (Thunder and Blazes)" is a song, in which it was used as one of the most popular theme tunes for circus clowns. It is composed by the Czech composer Julius Fučík. He originally titled it "Grande Marche Chromatique", reflecting the use of chromatic scales throughout the piece, but changed the title based on his personal interest in the Roman Empire.

Generally, the march is divided into three parts. The first part contains the melody that the trumpet keeps and the several supporting parts. The second part is the section where the low brass (mainly the tubas) take over with the chromatic scale-like role. Finally there is a trio, or a softer melodic section, where there is a strong balance between woodwinds and low brass. The trio has a part similar to the second part with a chromatic scale-like sound. The piece is written in cut time and is originally written to be played at standard march tempo, but when played as a screamer it is usually played much faster.

Song: Entrance of the Gladiators (Thunder and Blazes)
Composer: Julius Fucik
Soundfont: Super Mario All Stars/Super Mario World

Entrance Of The Gladiators (SMAS/SMW Soundfont)

Here's another Sousa march, but played with the Super Mario Advance Soundfont. We know this tune in the trio section! I might do this song with the LeapFrog Leap-font (LeapFrog soundfont) also once my friend @integratedsg-ic has finished making the LeapFrog soundfont. 

During Sousa’s brief wartime service in the Navy, he was invited to a luncheon meeting in New York with Secretary of the Navy Josephus Daniels and Army Lieutenant George Friedlander. Friedlander, of the 306th Field Artillery, asked Sousa to compose a march for that regiment, suggesting that the march be built around an artillery song then known by such names as “The Caisson Song,” “The Caissons Go Rolling Along,” and “The Field Artillery Song.” The song was believed to be quite old, perhaps of Civil War origin, and had not been published; the composer was believed dead.

Sousa liked the song and agreed to use it. He set it in a different key, changed the harmonic structure, refined the melody, gave it a more snappy rhythm, and added this to his own original material. The complete composition was then published as the “U.S. Field Artillery” march.

It came as quite a surprise to Sousa and Lieutenant Friedlander to learn that the composer of “The Caisson Song” was still very much alive and that the song was less than ten years old. It had been written in March, 1908, by Lieutenant Edmund L. Gruber of the U.S. Army Field Artillery at Camp Stotsenburg, Philippine Islands. The piece was composed in the presence of at least two fellow officers who assisted in writing the lyrics. No doubt Lieutenant Gruber was even more surprised to find that his song, much revised, had skyrocketed to fame. He raised no objections to Sousa’s use of the song, which was serving the army’s purpose so admirably.

Lyrics: 
(Instrumental first section)

(Verse I)
Over hill, over dale
We will hit the dusty trail,
And the Caissons go rolling along.
In and out, hear them shout,
Counter march and right about,
And the Caissons go rolling along.

Chorus:
Then it's hi! hi! hee!
In the field artillery,/Everybody, follow me!
Shout out your numbers loud and strong! (2-3-4!)
For where'er we go,
We will always know
That the Caissons go rolling along. 

(Instrumental interlude)

(Verse II)
In the storm, in the night,
Action left or action right
See those Caissons go rolling along
Limber front, limber rear,
Prepare to mount your cannoneer
And those Caissons go rolling along.

(Repeat Chorus)

Song: US Field Artillery March (The Caissons Go Rolling Along)
Composer: John Philip Sousa
Soundfont: Super Mario Advance

US Field Artillery March [The Caissons Go Rolling Along] (SMA Soundfont)

Here's one of the 25 songs from the Leap's Learning Band. This song -- well, you know this one if you know up and down, rain or shine!

"Itsy Bitsy Spider" (also known as "Incy Wincy Spider" in Australia and Great Britain, and several other similar-sounding names) is a popular nursery rhyme and fingerplay that describes the adventures of a spider as it ascends, descends, and reascends the downspout or "waterspout" of a gutter system (or, alternatively, the spout of a teapot or open-air reservoir). It is usually accompanied by a sequence of gestures that mimic the words of the song. Its Roud Folk Song Index number is 11586.

Lyrics:
The itsy bitsy spider
Went up the waterspout.
Down came the rain
And washed the spider out!

Out came the sun
And dried up all the rain,
And the itsy bitsy spider
Crawled up the spout again!

(Repeat x1)

Song: Itsy Bitsy Spider
Composer: Traditional

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Itsy Bitsy Spider

Here's one of the 25 songs from the Leap's Learning Band. Think "Yakko's World" or Homer doing the Mexican Hat Dance around his phone.

"Jarabe tapatío", often referred to as the "Mexican Hat Dance" (not to be confused with the other title "La Raspa") is a popular Mexican dance, also being well-known in other countries such as Cuba, Peru, and the Dominican Republic, that has come to symbolize Latin America both domestically and internationally. The standard tune was composed by Jesús González Rubio in the 19th century. However, its more common instrumental arrangement dates from the 1920s. Sometimes it is confused with La Raspa, another Mexican dance. Nowadays, its music is most commonly performed by either mariachi groups or string ensembles.

Song: Mexican Hat Dance (Jarabe Tapatio)
Composer: Mexican Folksong

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Mexican Hat Dance (Jarape Tapatio)

Here's one of the 25 songs from the Leap's Learning Band -- and one of my very favorite 3 songs in this toy among many others. This is one of the songs from LeapFrog's 1-2-3 SING! CD. When the female voice (Amy X. Neuberg, I think) did the singing, it was pretty good. But when they actually did the Leap-font music sequence, they kinda messed it up a bit. LOL, the vocal line was like about 200 milliseconds too late... but then this version is enjoyable as the original one. And yes, this is actually THE MOST POPULAR SONG of all of the songs in this toy.

This is the Way We Hear the Band is the 11th song from the CD LeapFrog: 1-2-3 Sing!: Sing-Along Learning Songs. It is sung by a group of children (William Blair Boren, Hannah Boren, Peter Kappen, Vita Romano) in the original version, and Amy X. Neuberg in the Leap's Learning Band Jammin' Boombox. The song teaches listeners about the instruments (piano, trombone, flute, drums) and the sounds they make, although credited with "you" instead of "we" in the CD. It is also the 5th song of the 25 preloaded songs in Leap’s Learning Band Jammin’ Boombox.

In this version, the female voice introduces the instruments the four characters play in the song. In order of this song, Lily jumps into the jive with a piano, Leap keeps the tune a-groovin' with a trombone, Casey makes the tune happy with a flute and Dan gives us a beat on the drums. Each of the four instruments make their own sound when our quartet plays a groovy tune.

Lyrics:
Female Voice: This is the way you hear the band,
You hear the band, you hear the band.
This is the way you hear the band,
When we play a groovy tune!

This is the way the piano sounds...
(piano playing)
... the piano sounds.
This is the way the piano sounds,
When we play a groovy tune!

Additional verses:
3. 
This is the way the trombone sounds...
(trombone tooting)... etc.

4. 
This is the way the flute sounds...
(flute trilling)... etc.

5. 
This is the way the drums sound... 
(drumbeats)... etc.

Song: This is the Way We Hear the Band
Melody: Here We Go Round the Mulberry Bush
Composer: Traditional, adapted by Judy Munsen
Vocal: Amy X. Neuberg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - This is the Way We Hear the Band (Vocal)

Here's an introductory dialogue from Lily from the Leap's Learning Band. Lights... music... ACTION! 

Lily introduces the band -- Dan Dog playing the drums, Leap tooting his trombone, Casey Cat jammin' on her flute, and Lily herself playing the piano. After this, she asks YOU to choose a song. 


Script:
Lily: Let me introduce the band to you! There's Dan Dog playing the drums...

Dan: (♪ drumbeats ♪)

Lily: Leap on the trombone... 

Leap:  (♪ toots trombone ♪)

Lily: Casey Cat is jammin' on her flute... 

Casey:  (♪ plays flute ♪)

Lily: And I'm Lily! I play the piano!  (♪ playing jazzy piano tune ♪) (to the player) Come on and choose a song.

Spoken voice: Kelsey Lally (Lily)
Composer for short instrumental snippets: Jeanne Parson, Judy Munsen

Audio credit goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Introducing... the Band! (Dialogue)

Here's a musical tour de force and the most famous Windows MIDI made by David Yackley, played by LeapFrog's Leap-font. Fun fact: LeapFrog composer Jeanne Parson now works at Microsoft with this company. Also, I would imagine if Jeanne Parson did this MIDI with those instruments.

Onestop, also known as Onestop.mid is a midi file found within the Windows Media folder on most modern-day Windows OSes. It was composed by David Yackley, and is also found alongside two other two midi files, Town.mid and Flourish.mid.

The song has a duration time of 4 minutes, 8 seconds (4:08).

Onestop plays at an inconsistent BPM, with the fastest section of the song, Segment 6 (Circus-like Song) being at 144 BPM, and the slowest section of the song, Segment 5 (Classical Harpsichord, Winds, Strings) being at 62 BPM.

The following genres:
Intro/Cinematic: A tense song that sounds similar to that of songs used in cowboy showdowns in films and animations. It also sounds similar to one of Gravis Ultrasound's midi files, HIDNSEEK.MID, but pitched up, shorter and arranged differently. This part of the song is at 81 BPM. NHRHS2010 describes it as an introduction to the song.

Groove Funk: A groovy and funky melody that uses mostly Slap Bass, Bass & Lead and Orchestral Hits. Genre: Possibly Funk. This part of the song is at 100 BPM. NHRHS2010 describes it as funky music.

Swing: A sneaky sounding swing-like song with spy-themed Flute that sounds similar to that of songs that play in Spy and Espionage films. This part of the song is at 114 BPM. NHRHS2010 describes it as slow swing music.

Hard Bop Jazz: A jolly and fast paced song with loud Brass Sections that sounds like "casino music". This part of the song is at 181 BPM. NHRHS2010 describes it as fast jazzy music.

Classical Harpsichord, Winds, Strings: A slow and peaceful song that gives off the feeling of either exploring a English cottage or going on a cruise boat. This part of the song is at an inconsistent BPM. NHRHS2010 describes it as classical music.

Circus-like Song: A faster version of the 5th segment of the song. It has a Pizzicato and a Flute and gives the feeling of an animal running away, such as a dog or a rabbit. This part of the song is at 144 BPM. NHRHS2010 describes it as circus like music.

Blues Rock: A rock song that has loud and aggressive guitars and a jolly piano plays alongside, giving the song a funky and rocking melody. This part of the song is at 120 BPM. NHRHS2010 describes it as piano blues music (or some sort of rock music).

Dark New Age/Dark Ambiance: A tense tune that involves a choir who begin to sing lower and lower in pitch as the song goes on, alongside a Xylophone and a Harpsichord. At the end of the segment, a bell plays as the song fades out. This part of the song is at 82 BPM. NHRHS2010 describes it as some creepy music.

Pop-Rock: A happy ending type song. It first begins with a pad and a piano, and then drums play and then electric guitars and stings play alongside a choir pad. The song then fades out after this, and the midi file ends. This part of the song is at 79 BPM. NHRHS2010 describes it as two different segments, firstly being some piano rock music and then some guitar rock music (along with a choir singing).

Song: Onestop.mid
Composer: David Yackley
Soundfont: LeapFrog's Leap-font

Onestop.mid (LeapFrog's Leap-Font)

Here's the theme song from Odyssey, but played with the Learning Screen Karaoke instrument set (of course using LeapFrog's Leap-font soundfont). Sure to get everyone dancing! Please enjoy!

"Jump Up, Super Star!" is a jazz-orientated song originating from Super Mario Odyssey, which served as its main theme. The vocals are performed by Kate Higgins (in character as Pauline).

Playing this song on New Donk City Hall will play a simplified version without vocals and a portion of the instruments. Throughout the stage, the Super Mario Players, the band that plays the song, will appear on floating platforms, as well as Pauline. Touching each band member allows them to play their respective instruments, completing the instrumental part of the song. Touching Pauline allows her to sing the vocals of the song. There is also a version of the song that doesn't require gathering the Super Mario Players together exclusive to the New Donk City Hall stage, simply known as "Jump Up, Super Star! (Full Band Performance)".

Lyrics: 
Pauline: Here we go, off the rails. 
Don't you know it's time to raise our sails? 
It's freedom like you never knew.
Don't need bags, or a pass.
Say the word, I'll be there in a flash. 
You could say my hat is off to you.
Oh, we can zoom all the way to the moon,
From this great wide wacky world.
Jump with me, grab coins with me, oh yeah!

It's time to jump up in the air.
Jump up, don't be scared.
Jump up and your cares will soar away.
And if the dark clouds start to swirl,
Don't fear, don't shed a tear, 
'Cause I'll be your 1-Up Girl.

So let's all jump up super high,
High up in the sky.
There's no power-up like dan-cing!
You know that you're my Super Star,
No one else can take me this far!
I'm flipping the switch,
Get ready for this, ohh, ohh!
Let's do the Odyssey!

Odyssey, ya see! (x7)
Odyssey, Odyssey!

Song: Jump Up, Super Star! 
Composer: Aimi Mukohara, Naoto Kubo, Noboyoshi Suzuki and Rob Tunstall
Performer: Kate Higgins
Soundfont: LeapFrog's Leap-font

Note: In honor of the 5th anniversary of Super Mario Odyssey [2017-2022].

Jump Up, Super Star! (Learning Screen Karaoke Style)

Here's a Rod Stewart disco hit from 1979 with the Mario Golf: Toadstool Tour soundfont. 

"Da Ya Think I'm Sexy", also written "Da' Ya' Think I'm Sexy", is a song by British singer Rod Stewart from his 1978 album Blondes Have More Fun. It was written by Stewart, Carmine Appice and Duane Hitchings, though it incorporates the melody from the song "Taj Mahal" by Jorge Ben Jor and the string arrangement from the song "(If You Want My Love) Put Something Down On It" by Bobby Womack.

The song was released as the first single from Blondes Have More Fun in November 1978. It spent one week atop the UK Singles Chart in December 1978 and four weeks atop the US Billboard Hot 100 in February 1979. Billboard ranked it number four on its Top Singles of 1979 year-end chart It also topped the charts in Canada for four weeks and in Australia for two weeks.

Royalties from the song were donated to the United Nations Children's Fund (UNICEF) and Stewart performed the song at the Music for UNICEF Concert at the United Nations General Assembly in January 1979. Rolling Stone ranked the song at number 308 in its 2004 list of the 500 Greatest Songs of All Time.

Lyrics:
She sits alone waiting for suggestions
He's so nervous avoiding all the questions
His lips are dry, her heart is gently pounding
Don't you just know exactly what they're thinking

If you want my body and you think I'm sexy
Come on sugar let me know
If you really need me just reach out and touch me
Come on honey tell me so
Tell me so baby

He's acting shy looking for an answer
Come on honey let's spend the night together
Now hold on a minute before we go much further
Give me a dime so I can phone my mother
They catch a cab to his high rise apartment
At last he can tell her exactly what his heart meant

If you want my body and you think I'm sexy
Come on honey tell me so
If you really need me just reach out and touch me
Come on sugar let me know

His heart's beating like a drum
'Cause at last he's got this girl home
Relax baby now we're all alone

They wake at dawn 'cause all the birds are singing
Two total strangers but that ain't what they're thinking
Outside it's cold, misty and it's raining
They got each other neither one's complaining
He says I'm sorry but I'm out of milk and coffee
Never mind sugar, we can watch the early movie

If you want my body and you think I'm sexy
Come on sugar let me know
If you really need me just reach out and touch me
Come on honey tell me so

If you really need me just reach out and touch me
Come on sugar let me know
If you really, really, really, really need me
Just let me know
Just reach out and touch me

If you really want me
Just reach out and touch me
Come on sugar let me know
If you really need me just reach out and touch me
Come on sugar let me know
If you, if you, if you really need me
Just come on and tell me so

Song: Da Ya Think I'm Sexy
Originally performed by: Rod Stewart
Composer: Rod Stewart, Carmine Appice and Duane Hitchings
Soundfont: Mario Golf: Toadstool Tour

Soundfont download for MGTT (made by TheAdorableOsha on MediaFire [TheAdorableOshawott]): https://musical-artifacts.com/artifacts/2304

Rod Stewart - Da Ya Think I'm Sexy (MGTT Soundfont)

Here's one of the 25 songs from the Leap's Learning Band. This is one of the songs from LeapFrog's 1-2-3 SING! CD. Along with the original by Fran Avni, this version (along with the one from 1-2-3 SING!) is enjoyable as the original one.

Name Game is the 6th song and a rhyming song from the LeapFrog album 1-2-3 Sing! It teaches the names and rhyming by a different consonant. It is sung by Fran Avni in the original version and Amy X. Neuberg in the album 1-2-3 Sing! as well as in the version played on Leap’s Learning Band Jammin’ Boombox, which is the 3rd song of the 25 preloaded songs.

Lyrics:
CHORUS:
I'll make a rhyme and we'll play a game,
Rhyming means things sound the same.
Same game, game same,
Let's begin/continue with someone's/another name!

Ella, Ella, remember your umbrella. (x2)

CHORUS

Caroline, Caroline, won't you be a friend of mine? (x2)

CHORUS 

Taylor, Taylor grew up to be a sailor. (x2)

CHORUS

Cory, Cory remembers every story. (x2)

CHORUS 2
I'll make a rhyme and we'll play a game,
Rhyming means things sound the same.
Same game, game same,
Find a rhyme for your own name!
(X2)

Song: Name Game
Composer: Fran Avni
Vocal: Amy X. Neuberg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Name Game (Vocal)

Here's one of the 25 songs from the Leap's Learning Band. Let's begin with the song everyone knows -- it's the ABC song! A, B, C, D, E, F, G -- listen to this and sing with me!

The Alphabet Song is a song that is designed to teach children the alphabet. It shares the same commonalities and tune as do Twinkle, Twinkle, Little Star and Baa, Baa, Black Sheep.

The song was first copyrighted in 1835 by the Boston-based music publisher Charles Bradlee, and given the title "The A.B.C., a German air with variations for the flute with an easy accompaniment for the piano forte". The musical arrangement was attributed to Louis Le Maire (sometimes Lemaire), an 18th-century composer. This was "Entered according to act of Congress, in the year 1835, by C. Bradlee, in the clerk's office of the District Court of Massachusetts", according to the Newberry Library, which also says, "The theme is that used by Mozart for his piano variations, Ah, vous dirai-je, maman." This tune is the same as the tune for "Twinkle, Twinkle, Little Star" and similar to that of "Baa, Baa, Black Sheep".

Due to the speed at which 'L, M, N, O, P' is spoken it is a common misconception among children still learning the alphabet to believe that it is in fact its own letter called 'elemenopee' (among other variations). Some have proposed teaching slower versions of the song to avoid this issue.

Lyrics:
A, B, C, D, E, F, G
H, I, J, K, L, M, N, O, P
Q, R, S, T, U, V
W, X, Y, and Z.
Now I know my ABCs;
Next time, won't you sing with me?

Song: The ABC Song
Composer: Traditional
Vocal: Amy X. Neuberg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - The ABC Song (Vocal)

Here are 12 different dialogues from Leap, his sister Lily, and his friends Casey Cat and Dan Dog to help start the songs from the Leap's Learning Band.

There are 3 for each character:
Leap -
"1-2-3, HIT IT!"
"Join in the groove!"
"Groove to the beat!"

Lily -
"Wanna play with us?"
"This was our first big hit."
"Jump into the jive!"

Casey -
"Come on, make it happy with us!"
"This is one of our favorites!"
"Jam to the groove!"

Dan -
"This song is in the Top 5!"
"Come on! Join in the beat!"
"Let's rip!"

Spoken voices: Zac Schuman (Leap), Kelsey Lally (Lily), Ali Samuel (Casey), Richard Streeter (Dan)

Audio credit goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Song Starters (Voice Lines)

Here's one of the 25 songs from the Leap's Learning Band. This one is also used in Learning Drum, with the same arrangements but original recordings, but here is THAT ONE with the Leap-font. Why? That music is the most overrated and well known classical piece out of all 3 used in the Learning Drum -- and here as the most well-known classical piece in all 25 songs. Also, this is actually another of my 3 favorite songs in this toy among many others. LEARNING DRUM, ANYBODY?!

Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart (1756–1791). The German title means "a little night music". The work is written for string orchestra. Today, the serenade is widely performed and recorded; indeed, both Jacobson and Hildesheimer opine that the serenade is the most popular of all Mozart's works.

This first movement is in sonata-allegro form. It opens with an ascending Mannheim rocket theme. The second theme is more graceful and in D major, the dominant key of G major. The exposition closes in D major and is repeated. The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation.

In this version, we only hear the first theme as we all know it. 

Song: Serenade No. 13 in G Major, Eine Kleine Nachmusik, K525, 1st Movement (Mozart's Night Music)
Composer: Wolfgang Amadeus Mozart

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Mozart's Night Music

This is the jingle that plays whenever a problem that's really strange happens. 

Composer: Shunsuke Kikuchi

Doraemon BGM - Strange Problem Music 1

This is another jingle that plays whenever a problem that's really strange happens.

Composer: Shunsuke Kikuchi

Doraemon BGM - Strange Problem Music 2

This is one of the jingles that plays to introduce scenes of a classic Doraemon episode.

Composer: Shunsuke Kikuchi

Doraemon BGM - Generic Cue 1

Here's one of the 25 songs from the Leap's Learning Band. This is one of the songs I used to sing with my kindergarten friends as a girl, and when I heard this version, it made me grin.

Ring Around the Rosie is a traditional nursery rhyme, folk song and playground singing game. Descriptions first emerge in the mid-19th century, but are reported as dating from decades before, and similar rhymes are known from across Europe. It has a Roud Folk Song Index number of 7925.

The lyrics vary, but a modern interpretation based on modern lyrics that related the words to the plague in England became widespread post-WWII, even though it appears to be a false folk etymology.

Lyrics:
Ring around the rosy,
Pocket full of posies. 
Ashes, ashes. 
We all fall down!

The king has sent his daughter
To fetch a pail of water. 
Ashes, ashes. 
We all fall down!

The bird upon the steeple
Is singing to the people.
Ashes, ashes. 
We all fall down!

Song: Ring Around the Rosie
Composer: Traditonal

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Ring Around The Rosie

Here's one of the 25 songs from the Leap's Learning Band. This song teaches numbers, and... UP AND DOWN again?! We had the "Itsy Bitsy Spider", now it's the mouse going up the clock and down again.

"Hickory Dickory Dock" or "Hickety Dickety Dock" is a popular English-language nursery rhyme. It has a Roud Folk Song Index number of 6489.

The earliest recorded version of the rhyme is in Tommy Thumb's Pretty Song Book, published in London in about 1744, which uses the opening line: 'Hickere, Dickere Dock'. The next recorded version in Mother Goose's Melody (c. 1765), uses 'Dickery, Dickery Dock'.

The rhyme is thought by some commentators to have originated as a counting-out rhyme. Westmorland shepherds in the nineteenth century used the numbers Hevera (8), Devera (9) and Dick (10) which are from the language Cumbric.

The rhyme is thought to have been based on the astronomical clock at Exeter Cathedral. The clock has a small hole in the door below the face for the resident cat to hunt mice.

Lyrics:
Hickory dickory dock, 
The mouse ran up the clock. 
The clock struck one, mouse ran down, 
Hickory dickory dock.

(repeat x1)

Song: Hickory Dickory Dock
Composer: Traditonal
Vocal: Amy X. Neuberg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Hickory Dickory Dock (Vocal)

Here's one of the 25 songs from the Leap's Learning Band. This one song is also used in Learning Drum, with the same arrangements but original recordings, but here is THAT ONE with the Leap-font. LEARNING DRUM, ANYBODY?!

"The Washington Post March" is a march composed by John Philip Sousa in 1889. Since then, it has remained as one of his most popular marches throughout the United States and many other countries.

In 1888, the recent purchasers of The Washington Post newspaper—Frank Hatton, a former Postmaster General, and Beriah Wilkins, a former Democratic congressman from Ohio—requested that Sousa, the leader of the United States Marine Band, compose a march for the newspaper's essay contest awards ceremony, in conjunction with a campaign to promote the newspaper under new ownership. Sousa obliged; "The Washington Post" was introduced at a ceremony on June 15, 1889, "with President Benjamin Harrison in attendance" before "a huge crowd on the grounds of the Smithsonian Museum." It quickly became quite popular in both the United States and Europe as the standard musical accompaniment to the two-step, a late 19th-century dance craze. This led to a British journalist dubbing Sousa "The March King". Sousa is honored in The Washington Post building for his contribution to the newspaper and his country.

The composition is in the public domain in the US, as its copyright has expired, due to Sousa having been dead for more than 70 years and it having been published before the early 1920s.

During the award ceremony the young essay contest winners were presented with gold medals, that were hand-crafted by local jewelers Galt & Bro., with each having unique designs and custom engravings.

Song: Washington Post March (Sousa March)
Composer: John Phillip Sousa

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Sousa March

Here's one of the 25 songs from the Leap's Learning Band. This one song is also used in Learning Drum, with the same arrangements but original recordings, but here is THAT ONE with the Leap-font. LEARNING DRUM, ANYBODY?!

La Cucaracha ("The Cockroach") is a popular Mexican folk song about a cockroach who cannot walk. The song's origins are unclear, but it dates back at least to the 1910s during the Mexican Revolution. The song belongs to the Mexican corrido genre. The song's melody is widely known and there are many alternative stanzas.

Lyrics:
(Spanish)
La cucaracha, la cucaracha
Ya no puede caminar
Porque no tiene, porque le faltan
La dos patitas de atrás.

(repeat x1)

(English translation)
The cockroach, the cockroach
Can no longer walk
Because she doesn't have, because she lacks 
The two hind legs to walk.

Song: La Cucaracha
Composer: Mexican Folksong [Pancho Villa[?]]

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - La Cucaracha (The Cockroach)

Here's one of the 25 songs from the Leap's Learning Band.

Fiddle Around with the Middle Sound is the 4th song of the 25 preloaded songs in Leap’s Learning Band Jammin’ Boombox. It teaches the words that match first and last sounds but have different middle sounds. It is sung by Fran Avni in the original version and Amy X. Neuberg in Leap's Learning Band Jammin' Boombox.

Lyrics: 
It's fun to fiddle with the sounds in the middle, 
Though you might find it strange.
When you fiddle all around with the middle sound,
The word will change.
When you fiddle all around with the middle sound,
The word will change.

CHORUS:
Deedle-dee deedle-dee deedle-dee deedle-dee
Deedle-dee deedle-dee dee!
Doodle-dee doodle-dee doodle-dee doodle-dee
Doodle-dee doodle-dee doo!

My goat went running through the gate,
I played my lute so I came late,
My cat ran off to cousin Kate
'Cause we fiddled around with the middle sound!
My best friend Jake just told a joke,
I think our car's front brake just broke,
Dad put my dirty sock to soak
'Cause we fiddled all around with the middle sound!

CHORUS

(repeat 1st verse)

CHORUS

Song: Fiddle Around with the Middle Sound
Composer: Fran Avni
Vocal: Amy X. Neubeurg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Fiddle Around with the Middle Sound (Vocal)

Here's one of the 25 songs from the Leap's Learning Band. 

"America the Beautiful" is a patriotic American song. Its lyrics were written by Katharine Lee Bates and its music was composed by church organist and choirmaster Samuel A. Ward at Grace Episcopal Church in Newark, New Jersey.

Bates wrote the words as a poem originally entitled "Pikes Peak". It was first published in the Fourth of July 1895 edition of the church periodical, The Congregationalist. It was at that time that the poem was first entitled "America".

Ward had initially composed the song's melody in 1882 to accompany lyrics to "Materna", basis of the hymn, "O Mother dear, Jerusalem", though the hymn was not first published until 1892. The combination of Ward's melody and Bates's poem was first entitled "America the Beautiful" in 1910. The song is one of the most popular of the many U.S. patriotic songs.

Lyrics:
O beautiful for spacious skies,
For amber waves of grain,
For purple mountain majesties
Above the fruited plain!

America! America!
God shed His grace on thee,
And crown thy good with brotherhood
From sea to shining sea!

Song: America the Beautiful
Composer: Katharine Lee Bates, Samuel Ward, William Arms Fisher

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - America the Beautiful

Here's one of the 25 songs from the Leap's Learning Band.

"Yankee Doodle" is a traditional American song, the early versions of which predate the Seven Years' War and American Revolution. It is often sung patriotically in the United States today and is the state anthem of Connecticut. Its Roud Folk Song Index number is 4501. The melody is thought to be much older than both the lyrics and the subject, going back to folk songs of Medieval Europe.

It also inspires the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet.

Lyrics:
Yankee Doodle went to town 
A-riding on a pony;
Stuck a feather in his hat 
And called it macaroni. 

Yankee Doodle, keep it up,
Yankee Doodle dandy!
Mind the music and the step 
And with the girls be handy.

(repeat x1)

Song: Yankee Doodle
Composer: American Folksong

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Yankee Doodle

Here's one of the 25 songs from the Leap's Learning Band.

"Let's Count with Our Fabulous Band" is a counting song sung by Leap as he and his friends play a counting song. It's the second song in Leap's Learning Band Jammin' Boombox.

Lyrics:
Leap: Our... fabulous band played 1 song,
The first, that's all we knew.
We practice our jam and we jam some more, 
Then the band played 2.  

Our... fabulous band played 2 songs,
And one's enough for me.
We practice our jam and we jam some more, 
Then the band played 3.  

Our... fabulous band played 3 songs,
We rrally knew the score.
We practice our jam and we jam some more, 
Then the band played 4.  

Our... fabulous band played 4 songs,
We learnt to jump and jive!
We practice our jam and we jam some more, 
Then the band played 5.  

Our... fabulous band played 5 songs,
What a groovy mix!
We practice our jam and we jam some more, 
Then the band played 6.  

Our... fabulous band played 6 songs,
Another one would be heaven!
We practice our jam and we jam some more, 
Then the band played 7.  

Our... fabulous band played 7 songs,
We really sounded great!
We practice our jam and we jam some more, 
Then the band played 8.

Our... fabulous band played 8 songs,
One more would be so fine.
We practice our jam and we jam some more, 
Then the band played 9.  

Our... fabulous band played 9 songs,
We did it all again!
We practice our jam and we jam some more, 
Then the band played 10!

(band "Ta-dah!")

Song: Let's Count with Our Fabulous Band
Composer: Judy Munsen
Vocal: Zac Schuman (Leap)

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Our Fabulous Band (Vocal)

Here's one of the 25 songs from the Leap's Learning Band. This version goes pretty fast... but it's a lot of fun to hear!

"Pop! Goes the Weasel" (Roud 5249) is a traditional English and American song, nursery rhyme, and singing game that emerged in the mid-19th century. It is commonly used in Jack-in-the-box toys and for ice cream trucks. The song is honored annually on June 14 which is National Pop Goes the Weasel Day in the USA.

In America, the tune became a standard in minstrel shows, featuring additional verses that frequently covered politics. Charley Twigg published his minstrel show arrangement in 1855 with the refrain "Pop goes de weasel.".

Lyrics:
All around the cobbler's bench,
The monkey chased the weasel.
The monkey thought 'twas all in fun...
Pop! Goes the weasel!

Half a pound of tupenny rice, 
Half a pound of treacle.
Stir them up and make it nice...
Pop! Goes the weasel!

Johnny has the whooping cough,
And Sally has the measles. 
That's the way the story goes...
Pop! Goes the weasel!

The painter works with ladder and brush, 
The artist, with an easel. 
The dancers need a fiddler's tune...
Pop! Goes the weasel!

Song: Pop! Goes the Weasel
Composer: Traditional

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Pop! Goes the Weasel

Here's one of the 25 songs from the Leap's Learning Band. 

"Sing a Song of Sixpence" is an English nursery rhyme, perhaps originating in the 18th century. It is listed in the Roud Folk Song Index as number 13191. The sixpence in the rhyme is a British coin that was first minted in 1551.

Lyrics:
Sing a song of sixpence,
A pocket full of rye.
Four and twenty blackbirds
Baked in a pie.

When the pie was opened,
The birds began to sing;
Wasn't that a dainty dish
To set before the king?

(repeat x1)

Song: Sing a Song of Sixpence
Composer: Traditional
Vocal: Amy X. Neubeurg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Sing a Song of Sixpence (Vocal)

Here's one of the 25 songs from the Leap's Learning Band.

"Hey Diddle Diddle" (also "Hi Diddle Diddle", "The Cat and the Fiddle", or "The Cow Jumped Over the Moon") is an English nursery rhyme. It has a Roud Folk Song Index number of 19478. The rhyme may date back to at least the sixteenth century. Some references suggest it dates back in some form a thousand or more years: in early medieval illuminated manuscripts a cat playing a fiddle was a popular image.

Lyrics:
Hey diddle diddle, 
The cat and the fiddle, 
The cow jumped over the moon.
The little dog laughed 
To see such sport
And the dish ran away with the spoon.

(repeat x1)

Song: Hey Diddle Diddle
Composer: Traditional
Vocal: Amy X. Neubeurg

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Hey Diddle Diddle (Vocal)

Here's one of the 25 songs from the Leap's Learning Band. I always wanted to hear the flute play its main tune, and so, here it is for you, played by Leap, his sister and his friends!

The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concertos by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. These were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua. They were published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).

The Four Seasons is the best known of Vivaldi's works. Though three of the concerti are wholly original, the first, "Spring", borrows patterns from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.

They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.
Unusual for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. 

The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.

Song: The Four Seasons, Concerto No. 1 in E Major, Spring, RV 269, 1st Movement (credited as "Vivaldi's Spring")
Composer: Antonio Vivaldi

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Vivaldi's Spring

Here's one of the 25 songs from the Leap's Learning Band. This tune is -- 3 words -- "OH, THE JOY!!" This always cheers me up whenever I feel down.

"Ode to Joy" is best known for its use by Ludwig van Beethoven in the final (fourth) movement of his Ninth Symphony, completed in 1824. Beethoven's text is not based entirely on Schiller's poem, and it introduces a few new sections. His tune (but not Schiller's words) was adopted as the "Anthem of Europe" by the Council of Europe in 1972 and subsequently by the European Union. Rhodesia's national anthem from 1974 until 1979, "Rise, O Voices of Rhodesia", used the tune of "Ode to Joy".

The choral finale is Beethoven's musical representation of universal brotherhood based on the "Ode to Joy" theme and is in theme and variations form. At about 24 minutes in length, the last movement is the longest of the four movements. Indeed, it is longer than some entire symphonies of the Classical era.

Song: Symphony No. 9 in D Minor, Choral, Op. 125, 4th Movement, Ode to Joy (credited as "Beethoven's Ode to Joy")
Composer: Ludwig van Beethoven

Audio credit for music goes to The Electronic Toy Archive on YouTube.

Leap's Learning Band - Beethoven's Ode to Joy

Here's a Strauss waltz tune, but played in the style of LeapFrog's LeapPad or Leapster. It might work appropriately for a Disney Princess Leapster game!

In 1860 Strauss began conceiving his waltzes with an international audience in mind, occasionally electing to "illustrate" aspects of his homeland. Arguably, the most important of these is Geschichten aus dem Wienerwald (Tales From the Viennese Woods), Op. 325, one of Strauss' most famous waltzes. The Wienerwald evokes not so much the Vienna Woods themselves as it does the Austrian Heurigen, small establishments outside Vienna that serve partially aged wine and food associated with the countryside. Clearly a concert piece, Wienerwald does not exhibit predictable patterns of repetition or 16-measure melodies, and seems nearly through-composed.

Opening with horns supporting flute figures that resemble bird calls, the introduction immediately places the listener outdoors and ushers in the most surprising element of the piece -- a dulcimer. (The sound of the dulcimer (zither) is generally associated with rural Austria and Southern Germany and folk music performed at country inns and homes.) The tunes Strauss writes for the dulcimer are not necessarily folk-ish, although the pace of the first melody is slow enough to place the emphasis on every beat, as in a Ländler. The waltz pair performed on the dulcimer, however, is unusual in that the second of the pair has two distinct, eight-measure melodies in two contrasting tempos. After the orchestra enters, six more pairs of waltzes follow, throughout which Strauss seems to be thinking more in terms of symphonic music rather than music for the ballroom. The repeat of the first part of Waltz No. 1, for example, covers only 12 of the original 16 measures before shifting abruptly to the second melody of the pair, which is not repeated. The syncopation of the second half of the third waltz works against the triple meter, while the strings and trumpet share the melody of the second part of Waltz No. 4. The first half of Waltz No. 5 is not repeated, but the second half is, and the second part of Waltz No. 6 is really a slow, legato variation of the first part. Syncopation is also a feature of the seventh waltz, whose first melody has a span of 20 measures. Modulations and thick orchestration create a symphonic atmosphere in the coda, which includes a literal return of the second waltz pair and part of the third, before the first waltz sounds again on the dulcimer.

Song: Tales from the Viennese Woods, Op. 325
Composer: Johann Strauss II
Soundfont: LeapFrog Leap-font

Tales From The Viennese Woods (LeapFrog Leap-font)

Here's a Strauss waltz tune, but played in the style of Madeline, Seasons 2-3. Imagine playing this over My Fair Madeline or Madeline in London!
 
The announcement of Strauss's engagement must have seemed heaven-sent by the London publishing firm of Charles Sheard & Co. and their music editor, Alfred Lee (? 1839-1906). The previous month they had organised a massive publicity drive for their catalogue of songs from music hall and American minstrel shows and, since two of the potpourri numbers (published in Vienna as opp. 329 and 341) which Strauss composed for his London audiences consisted exclusively of material from Sheard's catalogue, it would seem that the publisher had lost no time in exploiting the appearance in London of the world's foremost composer of dance music.
 
The programme of music announced for the promenade concert given on the evening of 27 September 1867 included the first performance of a "new festival valse comique on popular melodies, composed by Johann Strauss". Such was the enthusiastic reception for this charming tribute to the Waltz King's London audience, that it had to be repeated. The Morning Herald (30.09.1867) deemed the novelty "spiritual, and amusing as such a thing could be", and classed it as one of the "popular successes of the season" alongside Strauss's waltz An der schönen blauen Donau (By the beautiful blue Danube), remarking that both works "can hardly fail to aid him in achieving that special pre-eminence here which he indisputably enjoys abroad". Charles Sheard announced the publication of The Festival Valse Comique just two days after the work's première, and its piano score gave additional publicity to Sheard's catalogue by identifying the individual melodies:
 
Waltz 1   - "Champagne Charlie" (1866, composed by George Leybourne and Alfred Lee)
Waltz 2   - "The Flying Trapeze" (1866, Leybourne & Lee)
Waltz 3   - "The Mousetrap Man!" (1865, H. J. Whymark & R. Hughes, adapted from The Mouse-Trap Man Waltz by W.H. Montgomery)
Waltz 4   - "Beautiful Nell" (1867, Stacey Lee & R. Coote)
Waktz 5 - "Sweet Isabella" (1867, Leybourne & Lee)
 
All the above numbers were originally sung and made famous by 'The Lion Comique', George Leybourne (1842-1884), with the exception of "Beautiful Nell", which was first performed by his music hall rival 'The Great Vance', the stage name of Alfred Peck Stevens (1839-1888).
 
The Introduction and Coda of The Festival Valse Comique also quote from "Champagne Charlie" as well as from Henry R. Bishop's popular ballad "Home, Sweet Home", from his opera Clari, or the Maid of Milan (1823). The interpolation of the latter in Strauss's waltz had a dual relevance: not only was Bishop's opera first performed at Covent Garden, but the ballad was one with which Johann's wife, the mezzo-soprano Jetty Treffz, had enjoyed tremendous success during her 1849 concert visit to London, and which she sang again during the 1867 Covent Garden Promenade Concerts where she was engaged as a soloist.

Song: Memories of Covent Garden, Op. 329
Composer: Johann Strauss II
Soundfont: Madeline Soundfont Collection

Memories Of Covent Garden (Madeline TV Series "Soundfonts" (Season 3 Instruments))

Stephanie is my name, music is my game -- welcome to my Merry Musical Museum of Sounds, Songs and Soundfonts! I'm an exciting 30-year-old Korean-American female who is a huge fan of Nostalgic stuff and I am also a musician (with a good musical ear or musical skills) who makes tunes with soundfonts from games and toys, as well as musical mashups and song covers too. I also upload game music (includes LeapFrog LeapPad and My First LeapPad music too) and other songs, with credit to others. I will upload my music, mashups, song covers, rare songs and video game tunes on here when I feel like it. 

My other interests are anime, art, cute things, animated movies and series, and drawing.

Note: Please wait. Sometimes posting things here takes a while. Plus patience is a virtue.

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