While no song outright disappoints, it can’t be said that every song brims with the same quality found in the above tracks. In the same vein, “Car 24” is likely the disc’s only true toe-tapper and is a feel-good romp with some very nice scoring that features what sounds like a bass clarinet.Īside from these tracks, though, I wish Kanno had stuck more consistently with the superb 17-piece big band they assembled for these sessions. “Too Good, Too Bad” is a pleasing little number that features a solo by the band’s baritone sax (a rarity) and is overall a decent listen (with a serious similarity to the jazz standard “Chameleon”). With much of the insanity coming from the wailing (and exceedingly difficult) harmonic subtones in the saxes, the song is as much a showcase of skill and instrumental control from all members as it is a convenient sonic device to clear your sinuses. The song is a maelstrom of sound it nears unintelligible cacophony at certain instances, and what sweet racket it is. The excellent trombone solo is of note, as are harmonized sax solis that feature very sophisticated parallel 10th harmonizations in the lead alto and tenor.Īlso used in chase scenes is the explosive “Bad Dog No Biscuits,” which will come and go like a tornado in your ear canal, leaving you little time to ponder anything else aside from figuring out what the heck just happened. The melody flies at a breakneck pace and has some superb call and response components in the traditional big band style. Though not quite as impressive as “Tank!,” “Rush” is still a highlight of the album and is appropriately exciting for a song that was primarily used to underscore chase scenes.
If you’ve only ever heard the 1½ minute TV edit of this particular tune, I would almost say the disc itself is worth it for the full-length hi-fi version of this one song.
Your face will explode when the band drops out for the sax break, again after the sax solo is over, again in the screamer section when the lead trumpet hits a stratospheric G#, and again after the second sax break, during the final chord. Hopefully, you have several extra faces handy, because when the main theme comes in after the recitative, your face will explode. When the thumping (and now iconic) acoustic bass line comes in after the screaming opening, your face will explode. “Tank!” is likely one of the most exciting, energizing songs ever set to animation, and it makes for an excellent opener the song is sheer ecstasy from beginning to end.
Though the album has hints of material being written under a time limit and a budget, I stand firm that the good parts of the disc are enthralling enough to recommend the album to anyone who is a fan of jazz or just tired of the same old pop idol drivel in anime these days.Īt the forefront of this release is the bold, in-your-face big band sound, exemplified in the opening track “Tank!,” which arguably has become as well-known as the series itself. It’s difficult to recall an anime soundtrack that has had as much widespread appeal as that of Cowboy Bebop, garnering fans that have never even seen the series and inciting high school jazz bands the world over to perform horrible covers. This brings me to the album at hand, the eponymous Cowboy Bebop, one of no fewer than ten discs of OST releases under the Cowboy Bebop name released since 1998. For many, though, Kanno’s efforts on Cowboy Bebop are what put her on the map. Many anime that have featured her compositions have gone on to become classics, which include series like Escaflowne and several iterations of Macross and Ghost in the Shell: SAC. Review: Yoko Kanno almost needs no introduction, as her name is synonymous with quality soundtracks in the anime community and around the world.