"Vice City" redirects here. For the song by Jay Rock, see Vice City (song).
Grand Theft Auto: Vice City is an action-adventurethird-person shooter video game developed by Rockstar North and published by Rockstar Games. It was released on 29 October 2002 for the PlayStation 2, on 12 May 2003 for Microsoft Windows, and on 31 October 2003 for the Xbox. A remastered version was released for mobile platforms in 2012, for the game's tenth anniversary. It is the sixth title in the Grand Theft Auto series and the first main entry since 2001's Grand Theft Auto III. Set within the fictional Vice City, based on Miami, the game follows Tommy Vercetti following his release from prison. After he is caught up in an ambushed drug deal, he seeks out those responsible while building a criminal empire and seizing power from other criminal organisations in the city.
The game is played from a third-person perspective, and its world is navigated on foot or by vehicle. The open world design lets the player freely roam Vice City, consisting of two main islands. The game's plot is based on multiple real-world people and events in Miami such as Cuban, Haitian, and Biker gangs, the 1980s crack epidemic, the Mafioso drug lords of Miami, and the dominance of glam metal. The game was also influenced by the film and television of the era, including Scarface and Miami Vice. Much of the development work constituted creating the game world to fit the inspiration and time period; the development team conducted extensive field research in Miami while creating the world.
Upon release, the game received critical acclaim, with praise particularly directed at its music, gameplay and open world design. However, the game also generated controversy, with criticism directed at the depiction of violence and racial groups. The game sparked lawsuits and protests while being labelled as violent and explicit. Vice City became the best-selling video game of 2002 and has sold over 17.5 million copies. Considered one of the most significant titles of the sixth generation of video games, and one of the greatest video games ever made, it won numerous year-end accolades including Game of the Year awards from several gaming publications. Since its release, the game has received numerous ports to many gaming platforms. Its successor, Grand Theft Auto: San Andreas, was released in October 2004, and a prequel, Vice City Stories, was released in 2006.
Grand Theft Auto: Vice City is an action-adventure game played from a third-person perspective. The player controls the criminal Tommy Vercetti and completes missions—linear scenarios with set objectives—to progress through the story. It is possible to have several active missions running at one time, as some missions require the player to wait for further instructions or events. Outside of missions, the player can freely roam the game's open world and has the ability to complete optional side missions. Composed of two main islands and several smaller areas, the world is much larger in area than earlier entries in the series.[b] The islands are unlocked for the player as the story progresses.
The player may run, jump, or drive vehicles to navigate the game's world. The player uses melee attacks, firearms and explosives to fight enemies. The firearms include weapons such as the Colt Python, an M60 machine gun and a Minigun. The game's three-dimension environment allows a first-person view while aiming with the sniper rifle and rocket launcher. In addition, the game's combat allows the player to commit drive-by shootings by facing sideways in a vehicle. The game provides the player a wide variety of weapon options—they can be purchased from local firearms dealers, found on the ground, retrieved from dead enemies, or found around the city.
In combat, auto-aim can be used as assistance against enemies. Should the player take damage, their health meter can be fully regenerated through the use of health pick-ups.Body armor can be used to absorb gunshots and explosive damage, but is used up in the process. When health is entirely depleted, gameplay stops, and the player respawns at the nearest hospital while losing all weapons and armour and some of their money. If the player commits crimes while playing, the game's law enforcement agencies may respond as indicated by a "wanted" meter in the head-up display (HUD), which increases as the player commits more crimes. On the meter, the displayed stars indicate the current wanted level, and the higher the level, the greater the response for law enforcement (for example, at the maximum six-star level, police helicopters and military swarm to lethally dispatch players).
During the story, Tommy meets characters from various gangs. As the player completes missions for different gangs, fellow gang members will often defend the player, while rival gang members will recognise the player and subsequently shoot on sight. While free roaming the game world, the player may engage in activities such as a vigilante minigame, a fire fighting activity, and a taxi cab service. Completion of these activities grants the player with context-specific rewards. As Tommy builds his criminal empire, the player may purchase a number of properties distributed across the city, some of which act as additional hideouts where weapons can be collected and vehicles can be stored. There are also a variety of businesses which can be purchased, including a film studio, a taxi company, and several entertainment clubs. Each commercial property has a number of missions attached to it, such as eliminating competition or stealing equipment; once all missions are complete, the property begins to generate an ongoing income available for the player.
In 1986, Tommy Vercetti (Ray Liotta), a loyal former member of the Forelli Family, is released from prison after serving a fifteen-year sentence. His former boss, Sonny Forelli (Tom Sizemore), ostensibly promotes Tommy to a caporegime and sends him to Vice City to act as the Forelli's buyer in a cocaine deal and to also do other ground work for the Forellis. When Tommy and his bodyguards arrive in Vice City, crooked lawyer Ken Rosenberg (William Fichtner) takes them in his car to the docks; the site of the deal. They are ambushed by several masked men, who kill their bodyguards. Tommy narrowly escapes with Ken from the docks, losing the Forelli's money and the cocaine in the process. After Ken returns to his office, Tommy drives back to his hotel and informs Sonny, promising him under the threat of consequences to get back the drugs and money and kill whoever was responsible for the ambush.
Seeking information, Ken points Tommy towards Juan Garcia Cortez (Robert Davi), who helped set the exchange up. Expressing regret for the matter, Cortez promises to help Tommy find out who masterminded the ambush plot. In the process of finding leads, Tommy meets Kent Paul (Danny Dyer), who leads Tommy to one of the participants in the ambush. Tommy then works for Ricardo Diaz (Luis Guzmán), who hires him as protection. Cortez soon voices his suspicion that Diaz might have organised the ambush. With the help of Lance Vance (Philip Michael Thomas), whose brother died in the ambush, Tommy kills Diaz; as a result, Tommy and Lance become Vice City's drug kingpins, allowing Tommy to create his own organisation and distance himself from the Forelli family. Tommy also works with the Cuban gang's leader Umberto Robina (Danny Trejo) in their fight against the Haitians. After destroying the Haitians' drug factory, Umberto becomes Tommy's partner in the drug trade. Tommy also earns the respect and friendship of Mitch Baker (Lee Majors), a leader of a biker gang, whose bikers work alongside the Cubans to become protectors of Vercetti family business. Tommy also expands his empire by purchasing assets in nearly bankrupt companies and turning them back into competitive businesses.
Eventually, Sonny discovers that Tommy has gained complete control over Vice City's drug trade without cutting the Forelli family in. Enraged that Tommy has become independent and is hustling him, Sonny sends high-ranking Forelli members to forcefully collect money from Tommy's assets. Tommy quickly disposes of them and decides to sever his ties with the Forelli family. Sonny arrives at his estate with a small army of mafiosi and demands his mob tribute under the threat of force. As Tommy attempts to give the tribute in counterfeit money, Sonny reveals that he set Tommy up fifteen years prior, resulting in his prison sentence. Lance also reveals his partnership with Sonny, admitting to having informed Sonny about Tommy's activities in Vice City. Angered at this betrayal, Tommy chases and ridicules Lance before killing him for his treachery. Heading through his estate, the gun battle eventually culminates in Tommy killing Sonny and his remaining army once and for all. When Ken arrives, he is shocked and worried by the events, but Tommy reassures him that everything is fine; having finally established himself as the undisputed crime kingpin of Vice City.
Rockstar North began to develop Grand Theft Auto: Vice City in late 2001, around the time of Grand Theft Auto III's release. While initial development only involved creating 3D models, executive producer Sam Houser said "it really kicked off at the beginning of 2002" and lasted about nine months. After the release of the Windows version of Grand Theft Auto III, the development team discussed creating a mission pack for the game that would add new weapons, vehicles, and missions. Upon further discussion, the team decided to make this concept a stand-alone game, which became Vice City. The game was announced on 22 May 2002, during the Electronic Entertainment Expo. It was Rockstar North's most expensive game at the time, with a budget of US$5 million. On 5 September 2002, the company announced that the 22 October release date had been postponed until 29 October to meet product demand. By 15 October 2002, development of Vice City stopped as the game was submitted for manufacturing.
The game is set in 1986 in fictional Vice City, which is based heavily on the city of Miami. Vice City previously appeared in the original Grand Theft Auto (1997); the development team decided to reuse the location and incorporate ideas from within the studio and the fanbase. They wanted to satirise a location that was not contemporary, unlike Grand Theft Auto III's Liberty City. The team wanted to choose a location that had various similarities and differences to New York City—the inspiration of Liberty City—eventually leading them to Miami, which producer Leslie Benzies describes as "a party town, all sun and sea and sex, but with that same dark edge underneath". Sam Houser called it "the grooviest era of crime because it didn't even feel like it was crime ... it was a totally topsy-turvy back-to-front period of time". The team intended to make Vice City a "living, breathing city", for the player to feel like "life still goes on" while the character is inside a building.
The game's look, particularly the clothing and vehicles, reflect its 1980s setting. Many themes are borrowed from the major films Scarface (1983) and Carlito's Way (1993), the latter for its characterisation and portrayal of nuanced criminals. The television series Miami Vice (1984–89) was also a major influence and was regularly watched by the team throughout development. Art director Aaron Garbut used the series as a reference point in creating neon lighting. In recreating a 1980s setting, the team found it "relatively painless" due to the distinct culture of the time period and the team's familiarity of the era. The art team was provided with large volumes of research, as well as reference photographs from other members of the development team. The team organised field research trips to Miami shortly after the development of Grand Theft Auto III, splitting into small teams and observing the streets.
Story and characters 
Main article: List of Grand Theft Auto: Vice City characters
The team spent time "solving [the] riddle" of a speaking protagonist, a notable departure from Grand Theft Auto III's silent protagonistClaude.Ray Liotta portrayed protagonist Tommy Vercetti. Liotta described the role as challenging: "You're creating a character that's not there before ... It's so intensive". When recording the role, the team used blue screen in order to allow Liotta to visualise "how it's gonna move". The team ensured that the player felt "real affinity" for Tommy, making the narrative a key development interest. Dan Houser described Tommy as "strong and dangerous and prepared to wait for the right opportunity to arrive". Director Navid Khonsari recalled Liotta frequently complaining on set and found him difficult to work with as a result. "In some sessions he was ... into it, but then sometimes ... he was very dark and couldn't work", said Sam Houser. Following the game's success, Liotta reportedly claimed that he was underpaid for the role.
The majority of the game's animations were original, with very few borrowed from Grand Theft Auto III. For the characters, the team used motion capture and stop motion animation techniques; cutscenes use the former, while gameplay movements use a combination of both techniques. The team encountered difficulty in animating motorcycle animations, due in part to the variety of models. Pedestrian character models use skins in Vice City, allowing the artists to produce more realistic characters. There are 110 unique pedestrian models throughout the game world alongside roughly 50 story characters; each character is rendered using twice the amount of polygons and textures found in Grand Theft Auto III. This also impacted the character physics, improving gameplay aspects such as weapon-hit accuracy. Some character models and scenarios were inspired by films such as The Godfather (1972), and the game's presentation was inspired by action television shows of the 1980s. The interplay between Tommy Vercetti and Lance Vance was crafted to be similar to the relationship of Miami Vice's Sonny Crockett and Ricardo Tubbs.
Sound design and music production 
The game features 8,000 lines of recorded dialogue, four times the amount in Grand Theft Auto III. It contains over 90 minutes of cutscenes and nine hours of music, with more than 113 songs and commercials. The team was interested in the challenge of creating the game's soundtrack, particularly in contrast to Grand Theft Auto III's music, which Sam Houser described as "clearly satirical and its own thing". In developing the radio stations, the team wanted to reinforce the game's setting by collating a variety of songs from the 1980s and therefore performed extensive research. The radio stations were published by Epic Records in seven albums—known collectively as Grand Theft Auto: Vice City Official Soundtrack Box Set—alongside the game in October 2002.Vice City contains about "three times as much" talk radio as Grand Theft Auto III. Producer and talk show host Lazlow Jones stated that the small percentage of station listeners that actually call in are "insane"; in Vice City, the team "bumped it up a notch", emphasising the extremity. Dan Houser felt that the talk stations give depth to the game world.
Grand Theft Auto: Vice City was released to critical acclaim. Metacritic calculated an average score of 95 out of 100, indicating "universal acclaim", based on 62 reviews. It is Metacritic's highest-rated PlayStation 2 game of 2002, and the fifth-highest rated PlayStation 2 game overall, tied with a number of others.[c] Reviewers liked the game's sound and music, open-ended gameplay, and open world design, though some criticism was directed at the controls and technical issues.IGN's Douglass Perry declared it "one of the most impressive games of 2002", and GameSpy's Raymond Padilla named the experience "deep, devilishly enjoyable, and unique".
Reviewers generally considered the missions an improvement over Grand Theft Auto III, although some noted occasional awkwardness and frustration. IGN's Perry wrote that the game's missions give the player "a stronger feeling of being inside a story within a world that truly exists".Game Informer's Matt Helgeson found the missions to be more complex, and AllGame's Scott Alan Marriott felt that the storyline was improved as a result. Marriott also found the lead character of Tommy to be more engaging than Grand Theft Auto III's Claude; IGN's Perry felt that Rockstar "found the right person and the right choice", and Edge wrote that Tommy "sweats charisma", commending Ray Liotta's performance.
The game's open world design was praised by reviewers, many of whom felt that it contained more detail and felt more alive than its predecessors. GameSpy's Padilla made favourable comparisons between Vice City and Grand Theft Auto III's Liberty City, noting the former's level of detail.Game Revolution's Ben Silverman wrote that the game's depth is "unparalleled", praising the world's realism and detail, while AllGame's Marriott commended the "ambitious scope in design".
Marriott of AllGame named Vice City an "unforgettable listening experience", and Perry of IGN declared the music as "the most impressive list of songs in a game". Many reviewers commended the game's radio stations and talk radio, and many felt that the game's collection of licensed 1980s music fit the tone and time period of the world. The voice acting also received praise;GameSpot's Jeff Gerstmann named the cast of characters "colorful and memorable", and IGN's Perry found the voice acting "among one of the best of its kind". Game Revolution's Silverman felt that the acting "gives the story credence".
Many reviewers found that the game offers a better variety of vehicles than Grand Theft Auto III, and found them easier to control; GameSpot's Gerstmann named the driving "more exciting and dangerous", and IGN's Perry found the motorcycle's controls pleasing. In addition to the vehicle handling, reviewers noted improvements in the targeting and shooting mechanics, although still recognised issues. Helgeson of Game Informer wrote that "targeting is improved to the point where combat can actually be fun".
Some reviewers recognised an improved draw distance over Grand Theft Auto III, although many identified frame rate drops during hardware-intense sequences. The changes in character models polarised reviews; while GameSpy's Padilla and IGN's Perry noted the improvement in character models,Eurogamer's Tom Bramwell considered it "maddening to see that character ... models haven't been smartened up at all". The game's artificial intelligence and long load times were frequently criticised in reviews, and many reviewers noted the awkward camera angles and environment during gameplay.
Microsoft Windows version
When Vice City was released to Microsoft Windows in May 2003, it received similar critical acclaim. Metacritic calculated an average score of 94 out of 100, indicating "universal acclaim", based on 30 reviews. It was the highest-rated Windows game on Metacritic in 2003. Reviewers liked the visual enhancements, and were generally positive towards the control improvements.
The port's visuals received a positive response from reviewers. AllGame's Mark Hoogland praised the improved car details, environment textures, and weather effects; GameSpot's Greg Kasavin echoed similar remarks, noting occasional frame rate drops. GameSpy's Sal Accardo commended the draw distance improvements, identifying very few texture issues. IGN's Steve Butts found the port's system requirements to be reasonable, unlike Grand Theft Auto III, and praised the faster load times. Eurogamer's Martin Taylor was critical of the visuals, stating that the higher resolutions "aren't kind to the overall visual quality", and criticising the hardware requirements.
The control changes of the port were generally well received. Most reviewers found the targeting and shooting mechanics to be improved with mouse and keyboard controls; Eurogamer's Taylor called them "far more fluid", and GameSpy's Accardo wrote "there's simply no substitute for aiming with a mouse". However, the driving control changes were widely criticised; IGN's Butts called it "crap". AllGame's Hoogland found the controls to be "more forgiving" over time.
When Vice City was released on mobile devices in December 2012, it received "generally favorable" reviews. Metacritic calculated an average score of 80 out of 100, based on 19 reviews. Reviewers liked the enhanced visuals, but criticism was directed at the touchscreen controls.
The port's visuals were well received. Destructoid's Chris Carter felt that they "[suit] the neon and bright pastel veneer", and wrote that the "new lighting effects and smoothed-out engine really allow the game to pop like it never has before". IGN's Justin Davis praised the updated character models, lighting, and textures, and Touch Arcade's Eric Ford noted that the "visuals are improved but not in a drastic manner".NowGamer found that the mobile display improves the visual enjoyment of the game, despite the issues with the original game. Tom Hoggins of The Telegraph identified some issues with character models, but stated "the city looks terrific".
Most reviewers criticised the port's touchscreen controls. Pocket Gamer's Mark Brown found them "not ideal", but noted that this was also the case in the original game, while Digital Spy's Scott Nichols felt that the game "only complicated [the controls] further". IGN's Davis was thankful for the addition of customisable controls, and wrote that they "make the experience much more controllable", and Touch Arcade's Ford greatly appreciated the developer's efforts to "make the situation bearable". Destructoid's Carter spoke favorably of the controls, despite noting awkward character movement, while The Telegraph's Hoggins found the controls "far more accomplished" than Grand Theft Auto III's mobile port.
Within 24 hours of its release, Grand Theft Auto: Vice City sold over 500,000 copies. Within two days of its release, Grand Theft Auto: Vice City sold 1.4 million copies, making it the fastest-selling game in history at the time. It was the highest-selling game of 2002 in the United States; by 2004, the game had sold 5.97 million units, and by December 2007 it had sold 8.20 million. By July 2006, it had sold 7 million copies and earned $300 million in the United States alone. Next Generation ranked it as the highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country, beating Grand Theft Auto III and Grand Theft Auto: San Andreas. In February 2005, it was re-released as part of PlayStation's Greatest Hits selection, indicating high sales. In Japan, Vice City sold about 223,000 copies in its first week and over 410,000 by January 2008. The game earned a "Diamond" award in the United Kingdom, indicating over one million sales. By March 2008, the game had sold 17.5 million units worldwide, making it one of the best-selling PlayStation 2 games.
Grand Theft Auto: Vice City received multiple nominations and awards from gaming publications. It was named the Best PlayStation 2 game at the 1st British Academy Games Awards, the Golden Joystick Awards, and from Entertainment Weekly, IGN, and GameSpot. It was also awarded the prestigious Ultimate Game at the Golden Joystick Awards. The game was awarded Best Action/Adventure Game from the British Academy Games Awards, GameSpot, and IGN. The game's sound also received several awards and nominations: it won Best Music from GameSpot, and was nominated for Best Sound, and it won the award for Sound at the British Academy Games Awards. It won Design at the British Academy Games Awards and was nominated for Best Graphics (Technical and Artistic) by GameSpot. The game was the runner-up for IGN's Reader's Choice Overall Game of the Year and was nominated for GameSpot's award for Best Story. It was awarded Best PC Game at the British Academy Games Awards.
Similar to its predecessors, Vice City generated several controversies. It has been labelled as violent and explicit and is considered highly controversial by many special interest groups. Peter Hartlaub of SFGate noted the game's "mindless violence", but simply attributed it to the developers' attempt to achieve accuracy. Jeremy Pope, who worked on various Rockstar games including Vice City, vowed never to work on violent games again due to their portrayal in mainstream media. In Australia, the game was pre-edited to receive an MA15+ classification; an uncensored version was released in the region in 2010, retaining its classification.
In November 2003, the Haitian Centers Council and Haitian Americans for Human Rights staged a protest in New York publicly criticising the game, contending that it invited the player to harm Haitian immigrants and claiming that it depicted Haitians as "thugs, thieves and drug dealers". In response, Rockstar issued a press release apologising and acknowledging the concern, but insisted that the violence should be taken within the context of the game, which also contains violence towards other ethnic groups. When New York mayor Michael Bloomberg threatened distributor Take-Two Interactive with legal action, the company apologised and removed offensive statements from future copies of the game. In January 2004, North Miami's majority Haitian-American council filed an ordinance to ban the selling or renting of violent games to anyone under 18 without parental permission. The proposal, apparently sparked by Vice City, was supported by North Miami mayor Josaphat Celestin, who stated "We don't believe the First Amendment was written to protect those who want to incite violence". The case was later downgraded from federal court to state court.
On 7 June 2003, 18-year-old Devin Moore shot and killed two Alabamian police officers and a dispatcher before fleeing in a patrol car; he was later apprehended. In statements to police, Moore reportedly said "Life is like a video game. Everybody's got to die sometime". A $600 million lawsuit was filed against Rockstar Games, Take-Two Interactive, Sony Computer Entertainment, GameStop, and Wal-Mart, claiming that Moore frequently played Vice City and that his experience with the game led him to commit the crimes. The plaintiffs' attorney, Jack Thompson, claimed the graphic nature of the game caused Moore to commit the murders. Thompson removed himself from the case Strickland v. Sony in November 2005 after being scrutinised by the judge for unprofessional conduct. In March 2006, the Supreme Court rejected an appeal by the defendants to dismiss the case.
In September 2006, Thompson brought another $600 million lawsuit against Cody Posey, Rockstar Games, Take-Two Interactive, and Sony Computer Entertainment. The lawsuit claimed that 14-year-old Posey played the game obsessively before murdering his father, stepmother, and stepsister on a ranch in Hondo, New Mexico. Posey's defense team argued that he was abused by his father and was taking Zoloft at the time of the killings. The suit alleged that the murders would not have taken place if Posey had not obsessively played Vice City. The case was dismissed in December 2007, as New Mexico held no jurisdiction over Sony or Take-Two.
On 27 July 2017, the Psychic Friends Network sued Rockstar over the character named Auntie Poulet who shares similarities to the late psychic Miss Cleo who was actually voiced by Miss Cleo.
Mike Snider of USA Today wrote that Vice City "raised the bar for video games", citing its interactivity, violence, and soundtrack.Kotaku's Luke Plunkett and PC Magazine's Jeffrey L. Wilson both named Vice City the best game in the series, with the former naming it the "perfect Grand Theft Auto experience". The readers of Official UK PlayStation Magazine named Vice City the fourth-greatest PlayStation title ever released.Vice City also appeared on Japanese magazine Famitsu's readers' list of top 100 games in 2006; it was one of the only Western titles on the list. Art director Aaron Garbut felt that, alongside its predecessor Grand Theft Auto III and successor San Andreas, Vice City led the trend of open world games.
Ports and remakes
Grand Theft Auto: Vice City was released for Microsoft Windows on 12 May 2003, supporting higher screen resolutions and draw distance, and featuring more detailed textures. A GameCube release was planned, but later cancelled. For its release on the Xbox in December 2003, Vice City was bundled with Grand Theft Auto III in a compilation titled Grand Theft Auto: Double Pack. The Xbox port features custom soundtrack support as well as improved audio, polygon models, and reflections over the previous ports.Double Pack was later bundled with San Andreas in a compilation titled Grand Theft Auto: The Trilogy, released in October 2005.The Trilogy was also released for OS X on 12 November 2010. For the game's tenth anniversary in December 2012, War Drum Studios ported Vice City to several iOS and Android devices.
Broadway’s new cult favorite Hamilton switches up the script on American history from a hip-hop POV. Chronicling the life of former United States treasury secretary Alexander Hamilton as told by “America now,” according to its star, Lin-Manuel Miranda. To ensure that the creators nailed the contemporary storytelling, the show’s composer and producer enlisted the help of The Roots’ Questlove.
After migrating from Off-Broadway to the Great White Way in August after a very successful run, Hamilton has hosted special attendees like Carmelo and La La Anthony as well as Madonna and President Barack Obama. For those who can’t quite make their way to the Big Apple for the two-hour production can also enjoy the sounds of Hamilton with the hefty two-part, 46-track soundtrack.
Here’s VIBE’s play-by-play of the Hamilton LP.—Monesha Woods
The album’s intro song details Hamilton’s upbringing and growing pains. The song’s booming instrumental, which features dramatic pauses and guitar strings, outlines the various struggles he faced including his mother’s sicknesses, his father’s departure from his life as well as his relentless desire to be a part of governmental affairs.
“Aaron Burr, Sir”
This track sees the introduction of Aaron Burr, one of Hamilton’s closest friends. The song features a subtle reggae vibe as the slow tempo and beatboxing enhances the pair’s discussion of their family lives and aspirations over liquor. The track also includes a late introduction of John Laurens, Hercules Mulligan, and Marquis de Lafayette, who meet the duo at the bar. Though their meeting was unlikely, the five men would go on to play significant roles in the Revolutionary War, something the track valiantly sets up.
The third track is set to an instrumental reminiscent of the ’90s as Hamilton, Mulligan, Laurens, and de Lafayette chop it up about their relentless pursuit of success for the rights of all. Despite individual and societal adversities, they detail their plans for victory so that winning is one size fits all.
“The Story of Tonight”
This track features the four friends playing each other’s hype man in the name of freedom, something “they could never take away.” Hamilton, Mulligan, de Lafayette and Laurens take turns celebrating the special moment of now.
“The Schuyler Sisters”
“The Schuyler Sisters” introduces the trio of sisters, Angelica, Eliza, and Peggy, who quickly get the guys hot and bothered. The siblings outline what they;re looking for in a fellow as each of the men tell ‘em they have just what they’re looking for.
The fifth song is a blatant argument as Hamilton goes head-to-head with Samuel Seabury, a loyalist adverse to the American Revolution. As Hamilton digs into the man he says his dog “speaks more eloquently than,” listeners are able to take in the quiet yet contemplative instrumental.
“You’ll Be Back”
Let King George tell it. His Highness tells his colonists that they will indeed be back as they attempt to leave in pursuit of better things. Though most of the songs on the soundtrack are hip-hop in nature, this one is a sunny, playful take on the airing of grievances in what could be considered Beatles-style.
“Right Hand Man”
The soundtrack returns to its initial 1990s feel as Hamilton details George Washington’s need for a ride-or-die while his battle for New York territory runs into a plethora of issues. By song’s end, the historic pair meet in an effort to accomplish their different but similar goals.
“A Winter’s Ball”
Hamilton & Co. talk shop about bagging women, specifically one of the rich Schuyler sisters. Though these women were told to stay far away from the men, “A Winter’s Ball” spotlights the men’s fervent belief to get the ladies they desire.
“Helpless” finds Eliza Schuyler falling for Alexander Hamilton. Hamilton’s eventual wife does her best Beyoncé impression to detail how he stole her heart as Hamilton pledges to be faithful to his main chick, though he may not have the material wealth she is accustomed to.
Angelica Schuyler raps as fast as Busta Rhymes on the LP’s eleventh track, bringing flashbacks of her first conversation with Hamilton. Schuyler reveals how wishes she hadn’t “sized” him up because she has feelings for him, emotions that are now null and void after he married her sister, Eliza. “Satisfied” is a love song perfect for today’s FM rotation with its contemporary feel and lyrical content.
“The Story of Tonight” (Reprise)
Hamilton and his pals celebrate and tease him on his wedding day, pointing out that if Hamilton can tie the knot, they can, too. They also toast to his accomplishments: “No matter what she tells you, let’s have another round on us!”
“Wait For It”
Aaron Burr lifts his own spirits up on “Wait For It.” After watching his friend, Alexander Hamilton, succeed both professionally and personally, Burr assures himself through song that his time is coming as he sings, “Life doesn’t discriminate between the sinner and the saint.”
Hamilton tries to boss up while keep his fighting spirit in tact under Washington’s command. The track is set to a quiet, methodical beat, which appears to stress the amount of planning that went into each move.
“Ten Duel Commandments”
Here, Notorious B.I.G.’s “Ten Crack Commandments” influences the fifteenth track, that features Hamilton and the crew outlining the rules for battle over a strong percussive beat. Like Biggie, the men exude dominance for their life-or-death duel.
“Meet Me Inside”
“Meet Me Inside” is a very obvious confrontation between Washington and Hamilton as the latter expresses his frustrations over his superior’s ability to remain coolheaded and reserved. Known to be rash, Hamilton argues with Washington about a battle that just took place over a hard-hitting beat.
“That Would Be Enough”
Hamilton’s now-pregnant wife, Eliza, expresses how appreciative she is to have love, life and family in “That Would Be Enough.” The love song features a guitar and piano to support the sweet words Eliza sings to her husband.
“Guns and Ships”
“Guns and Ships” sounds like a nod to classic Eminem song as Hamilton, Lafayette, Burr and Washington discuss the war and the effort that goes into fighting one. It’s also the speediest record on Broadway with 19 words per second.
“History Has Its Eyes On You”
The nineteeth track marks a monumental moment for Hamilton as he finally lands his promotion to command by George Washington. To ring in the momentous occasion, Hamilton passionately sings, “History has its eyes on me.”
“Yorktown (The World Turned Upside Down)”
This song chronicles the last major battle of the Revolutionary War at the Battle of Yorktown. Earlier cut “My Shot” is infused in this track over a tough beat, where listeners can hear the perseverance of the soldiers in war.
“What Comes Next”
“What Comes Next” is a King George solo, where he ponders his next move after the last battle of the Revolutionary War has been fought.
Burr and Hamilton sing this fatherly ballad to their children, Theodasia and Philip. “Dear Theodasia” gives the dads a chance to reflect on their childhoods whilst contemplating how to be better with their own kids.
Hamilton and crew being back the reggae style for the last song of the first act of the musical. This song chronicles Hamilton’s life from war’s end to his promotion to Secretary of the Treasury over an instrumental that Bob Marley would probably be proud of.
“What’d I Miss?”
The first song of the second act features a hearty welcome for Thomas Jefferson, who had been occupied with his roles as governor of Virginia and ambassador to France. After a much hyped return, Jefferson asks over a 1960s swing-style beat what has taken place since his absence.
“Cabinet Battle #1″
The rap flair makes a comeback in “Cabinet Battle #1.” Modeled after a rap battle, the meeting of the minds includes Washington, Hamilton, Jefferson, and Madison finds the squad trying to devise a plan to attack the financial crisis that is bogging the state down.
“Take A Break”
In this song, Eliza encourages her husband to cool out and spend quality time with the fam. The song is a ballad until their nine-year-old son, Philip, beatboxes to daddy dearest about his likes, dislikes and wants to his father’s delight.
“Say No to This”
“Say No to This” is the vivid description of Alexander Hamilton stepping out on his wife. In this song, Hamilton makes it clear that he doesn’t want to cheat on Eliza with Maria Reynolds but he can’t resist, all over a ’90s slow jam, Usher-style. This was considered the first major scandal in United States history.
“The Room Where It Happens”
“The Room Where It Happens” chronicles the Compromise of 1790 as told by Aaron Burr over a snazzy, jazzy beat almost to tease his VIP status: “No one else was in the room where it happened.”
Here, the Schuyler sisters take the backseat on politics. Hamilton, his wife and son alongside Burr also go in about the changing political dynamics over a 1970s-styled beat.
“Cabinet Battle #2″
The battle continues on as Hamilton and Jefferson disagree on how to go forward in the war between Britain and post-Revolutionary France. Set to a Harlem Shake-ready beat, the disagreement finds George Washington trying to moderate and diffuse tensions between the two.
“Washington On Your Side”
“Washington On Your Side” tries to get Jefferson charged up by having him look at Hamilton and his relationship with Washington through a hateful lens. The conversation begins with policy issues but quickly branches into personal grievances as the two sing, “It must be nice,” for Hamilton to have Washington’s support.
“One Last Time”
“One Last Time” is the tale of Alexander Hamilton writing George Washington’s address on politics before he resigned as president. Washington sings his heart out about national concerns over a sunny instrumental before he hangs it up “one last time.”
“I Know Him”
King George confusingly reflects on Washington’s resignation over an instrumental made for happy circumstances, which is the complete opposite of the content in “I Know Him.”
“The Adams Administration”
“The Adams Administration” details the chaos that erupted post-George Washington. In the song, Alexander Hamilton and John Adams are viciously arguing over a classical instrumental.
Burr, Jefferson, and Madison accuse Hamilton of financial embezzlement on “We Know,” prompted by Hamilton’s ex-mistress, Maria Reynolds. The story unfolds over a fast-paced instrumental, as Hamilton struggles to maintain his innocence.
The accusations force Hamilton into a public admission of infidelity with Maria Reynolds. As he reflects on his success, the “Hurricane” instrumental rages on, as a mirror to Hamilton’s life.
“The Reynolds Pamphlet”
“The Reynolds Pamphlet” soundtracks the aftermath from Hamilton’s proclamation of innocence. Still, the song showcases his vivid admission of a three-year affair with Maria Reynolds as welll as the re-entry of Hamilton’s sister-in-law, Angelica Schuyler, who trekked from London to support her sister Eliza.
“Burn” is a contemplative ballad sung by Eliza Hamilton as she reacts to her husband’s cheating. The sentimental song features Mrs. Hamilton expressing her pain and heartache following the publication of The Reynolds Pamphlet. “By clearing your name, you’ve ruined our love,” she sings.
“Blow Us All Away”
Philip Hamilton is a grown man now and rash like his father. To prove it, he duels with a man, George Eacker, who said some less than positive things about his father. Philip and the man, scheduled to battle in New Jersey, argue over a lighthearted beat as they prepare to throw ‘bows.
“Stay Alive (Reprise)”
Philip is talking to his dad in the reprise of “Stay Alive.” The sentimental track features the younger Hamilton contemplating his injury over a melancholy instrumental.
“It’s Quiet Uptown”
On a hushed instrumental, both Alexander and Eliza Hamilton are grieving their son’s death. They reflect on everything that has happened over the course of their lives together as Alexander tries his best to apologize to his wife. “If I could trade his life for mine, that would be enough,” Alexander Hamilton said.
“The Election of 1800″
This song discusses the bitter 1800 election that featured Burr vs. Jefferson on the Federalist ballot. Though the election was contentious, the happy-go-lucky beat offers a sharp contrast to their verbal sparring.
“Your Obedient Servant”
“Your Obedient Servant” is an almost facetious depiction of Burr and Hamilton’s relationship from Burr’s POV. The serious back and forth banter is set to an almost circus-like instrumental.
“Best of Wives and Best of Women”
“Best of Wives and Best of Women” is set to the same melancholy instrumental as “It’s Quiet Uptown.” The song is simply a conversation between Hamilton and wife Eliza, while showing their improved relationship.
“The World Was Wide Enough”
In “The World Was Wide Enough,” Burr and Hamilton battle as planned. It is in this scene that Burr dramatically kills Hamilton after he details how it is that his former friend became his foe while the percussion thumps.
“Who Lives, Who Dies, Who Tells Your Story”
The last song of the play is “Who Lives, Who Dies, Who Tells Your Story.” Eliza Hamilton steers the song as she reflects on her life, her marriage to Hamilton and their legacy, which includes the opening of New York City’s first private orphanage. The song is set to a reflective yet dramatic instrumental as Hamilton’s friends and family close the play with the posing of a simple yet deep question, “Who tells your story?”