Cowboy Bebop: Blue
Anime: Cowboy Bebop
Album: Cowboy Bebop: Blue
Musicians: Various artists; Mai Yamane, Soichiro Otsuka, Gabriela Robin, Steve Conte, SYDNEY, Sister R, Emily Bindiger, Aoi Tada; The Seatbelts
Composer/Lyricist: Kanno Yoko (composer); Lyricists: Tim Jensen, Tomoko Tane, Gabriela Robin, Brian Richy
Release Date: 1 May 1999
| Cowboy Bebop: Blue – Kanno Yoko Tracklisting  1. Blue *Bold titles - recommended listening |
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OVERVIEW
I recall Cowboy Bebop: Blue as being among the first soundtrack I experienced to feel and listen like an actual album. Perhaps this impression had been created by the vocalization of so many tracks, but what is known is that unlike many other OSTs, (including the first two Cowboy Bebop soundtracks) Blue presents itself as being entirely unique. Credit should be given to the production of the disc; even the very order of tracks was given much attention, all in sake of compiling an album, not a soundtrack.
There are no flaws in this album with almost every song being quite enjoyable. Though “N.Y. Rush†lacks cohesion, it is far from horrible, but does not warrant a recommendation. Nonetheless, Cowboy Bebop: Blue has its defining qualities, such as that jazz/blues sound in the instrumental tracks or Aoi Tada’s performance in “Wo Qui Non Coin,” which make it nothing like any other soundtrack.
THE GOOD
Blue
Honestly beautiful and honest, the track succeeds in enlightening, capturing a mood of transcendence. The vocals are impeccable and carry the song to a distinguished corner of our hippocampus—“Blue†is not something to be forgotten.
Mushroom Hunting
We all love funky songs, especially those with a subtle sense of humor. The strong bass, as whimsical as the saxophone, plays out well with the rants of “Let’s kick the beat!†and “Mushroom hunting!â€. It’s hard to deny the memories invoked, and the reminiscence of the correlated Cowboy Bebop episode comes forth. But of course, that is not to say that this song does not standalone well.
Go Go Cactus Man
Kanno’s inner comic prevails again in the very next track with a song containing “boing†noises, horses, and whistling. Its caricatured atmosphere feels like a good parody, making it remarkably distinguished. It may not be a song to dance to, but it is a song to love.
Chicken Bone
As with every track, there is a twist of innovation. “Chicken Bone†is memorable in its quirky lyrics and addictive beat. We can’t get enough of the random cues, though: “Destroy!â€, random laughter, and muffled voices. A seemingly noncomplex song with its ‘Cajun sauce,’ “Chicken Bone†is actually full of subtle detail.
Adieu
Emily Bindiger, with her casual yet smooth vocals, brings to this song its tranquility, its sadness, and its beauty, as she does with “Flying Teapot.†It’s impossible to imagine this song without Bindiger’s trance-inducing singing. A great love song needs the right atmosphere and lyrics, which Bindiger further accentuates here. The soft piano and soothing lyrics are only magnified in greatness by her voice.
Call Me, Call Me
Kanno’s shift away from a comedic overtone had been observed through “Adieu”. That shift is further solidified by “Call Me, Call Meâ€. The noticeably poignant orchestral work absorbs the listener into a maelstrom of emotion, which is very characteristic of Kanno’s works. It is tempting to sing along with Steve Conte, almost to sympathize with him. That is what makes a song “beautifulâ€.
Wo Qui Non Coin
Aoi Tada is quite the little talent. Besides being Ed’s seiyuu, she is an accomplished singer as demonstrated here. Fluent in French and Japanese, her tone and vocals bring an innocence about the song, a touch of magnificence. The unforgettable melody of the acoustics reflects the high value of this album as a whole, not a track, or even a note, can be forgotten.
The Rating: 9
Reviewed by: Tamashii
