Ben Roberts writes about Willow for the NES, its Zelda influences, and its tunes:
Musically, I was in love from moment one. There was almost nothing in the game recalling James Horner’s evocative, emotional score (filled with enough shakuhachi and anvil to meet anybody’s exotic instrument quota) except for a brief nod to the main leitmotif of the film during the game’s end credits sequence. However, from the overworld’s harpsichord and flute to Nockmaar’s bleak string quartet sound, composer Harumi Fujita (of Needleman and Geminman stages from Megaman 3) developed a unique and impressive soundscape for the game. Considering the recently popularity of video game tribute bands, I’m surprised that I haven’t heard any of these tunes covered yet.
The Advantage did cover a theme from Willow as part of a medley on their album Elf Titled.