Uematsu. It spans two discs and 67 tracks, covering a duration of 2:08:30. It was released on December 7, 1992 by Square and NTT Publishing with the catalog number N33D-013~4, and re-released on November 26, 1994 and October 1, 2004 by NTT Publishing with the catalog numbers of PSCN-5015~6 and NTCP-5015~6, respectively. A single was released in 1992 titled Final Fantasy V: 5+1, consisting of the "Opening Theme", "Main Theme of FINAL FANTASY V", "Harvest", "Dungeon", and "Battle 1" tracks from the soundtrack, as well as the previously unreleased "MATOUYA no doukutsu" ("Matoya's Cave") from Final Fantasy. It was published by NTT Publishing and had a catalog number of NO9D-012 and a length of 14:46. A single named Final Fantasy V Mambo de Chocobo was also released, containing the "Mambo de Chocobo" track from the game, as well as three unused tracks from the game and a compilation mix track. The single was released by NTT Publishing in 1993; it covered a duration of 16:14 and had a catalog number of NO9D-016. Nine tracks from the soundtrack were included in a bonus CD titled Music From FFV and FFVI Video Games that shipped with Final Fantasy Anthology on October 5, 1999, along with tracks from Final Fantasy VI. The soundtrack was again released as part of the Final Fantasy Finest Box by Square Enix on March 28, 2007 under the catalog numbers FFFB-0002-3 along with the OSTs of Final Fantasy IV and Final Fantasy VI after the game was ported to the Game Boy Advance. The soundtrack album sold over 135,000 copies. Critical opinion of the soundtrack was mixed. Some reviewers, such as Ben Schweitzer of RPGFan, found it to be of medium quality, saying it "suffer[ed] from occasional compositional problems" and noted that others refer to it as simply "in the middle" of the soundtracks of Final Fantasy IV and Final Fantasy VI, though he stated "I don't know why I love Final Fantasy V's music" despite this. Schweitzer praised the "Main Theme of Final Fantasy V" ("Ahead on Our Way") as "a truly stirring piece of music" and "triumphant, hopeful, and yet almost longing at the same time," but stated that "Uematsu's compositional style hits a sort of early plateau here." Other reviewers disagreed, with Jason Strohmaier of Soundtrack Central finding it to be an underrated album, while Jeremy Althouse of Soundtrack Central felt that it was on