Customer Reviews

Cowboy Bebop: Future Blues

5 star:		(14)
4 star:		(6)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

Yoko Kanno delivers her final, exquisite contribution to was is Cowboy Bebop in the form of Future Blues. No music from the series comes through to the movie, but all the moods are still here. From the action jazz to the bluesy rock, and all the old players are here. In many ways I think the proverbial wheel was reinvented and improved for the movie, and in all the best ways.

24 Hours OPEN is an interesting muzak meets massacre track with bad store music offset by gunfire and screams. I think the muzak track in playing during the opening scene in the convenience store.

Pushing The Sky is a return to the classic Mai Yamane gender crossing rock from the original series soundtracks. This is the song playing as the final plans get put into action toward the climax of the film.

Time To Know ~ Be Waltz is a throwback to the softer upbeat jazz tracks from the series. At a bit past the halfway point the song kicks into hip lyrics on top of the song. This was played when Ed and Ein go off searching the city.

Clutch is another throwback to classic Bebop action jazz style. This was played during the fight scene between Spike and Elektra.

MUSAWE is one of the tracks played on the Moroccan street. A fusion between ethnic music and jazz follows the fusion between the style of Bebop when it encounters the culture on the street.

Yo Pumpkin Head is another track along the lines of 24 Hours OPEN in that the music is accompanied by the ambient sounds of a large festival. This was the track played during the parade.

Diggin recalls more memories of the oft futile searches for information from the series, something of a western style song set in the future universe of Bebop. I'm not completely sure but I think Steve Conte is doing the vocals. This was played as Spike wanders the city encountering some familiar faces and the pulse of the city.

3.14 is, well, Aoi Tada (Ed) singing typically Eddish things as she searches for information at the beginning of the movie. I just want to know how Ed memorized pi to that many decimals. :)

What Planet is Bebop action jazz up to full strength as Spike faces off against the military in an aerial dogfight that leads from the Martian wastes to inside the city area.

7 Minutes is best described more as a plot song than a song on it's own. It holds it's weight as well as any track from any Bebop OST, but as the song leads from rock into a racing choral track and back it carries it's full power when accompanied by the action onscreen. And yes, it is seven minutes long.

Fingers is sexy piece with a deep beat and soft piano. It was played during the opening intro sequence. This piece demonstrates some classic Yoko Kanno, standing as an emotional backdrop on which the movie was painted.

Powder is played as the character and plot elements of the film come together in the final climax. I want to tell you more, but if you haven't seen the film I don't want to give anything away. ;)

Butterfly is probably one of my all time favorite songs from all Bebop music. To my knowledge I don't think it was in the movie itself, but in spirit and story it fits in theme perfectly. A sorrowful and romantic piece that I could listen to for hours.

No Reply is another film I don't think made it to the movie, but carries the same emotional weight as Butterfly. Steve Conte delivers his usual exceptional performance just as some of the greatest moments in the series.

Dijurido is a beautiful piano vocal piece sung by previous Bebop contributor Gabriela Robin. The instrumental was in the movie as Spike sits on the beach with Jet, but the full vocal version did not appear.

Gotta Knock a Little Harder is played as the adventure comes to a close. A steady rain falls on the still crowds of the city. Traffic in all forms is at a dead standstill. All natures and ages of aircraft buzz above the city. The morning comes in a mist, and life goes on just as it always does. I think this is in every way for the movie was Real Folk Blues was to the series. Truly Mai Yamane at her best.

No Money is a solo vocal piece from the Moroccan street. While Gotta Knock a Little Harder was the definitive end to the movie, this is very much the wind-down song to the soundtrack.

Are You Living in the Real World?

Right. Great soundtrack, I highly recommend it.

We seem to have a little issue as to different versions of this soundtrack. I'll break it down for you:
There are TWO OFFICIAL VICTOR RELEASES:

VICL-60756 (Regular Version)
VIZL-54 (Special Edition with Cowgirl ED OST disc)

The special edition with the Cowgirl ED OST disc is a FIRST EDITION pressing, and it has the following tracks on the bonus disk:

01. Goodnight Julia (different version then on the 4CD box set)
02. Papa Plastic

03. Telephone Shopping
04. Kabutoga ni kodai no sakana (The Horseshoe Crab, the Ancient Fish)
05. Slipper Sleaze
06. 23 Hanashi

Now, I don't know how you can make sure you get this copy. I bought this off Amazon, and only recieved the 1 CD version.

There is also a version of this soundtrack published by the bootlegging company EverAnime which has 2 CDs, the first CD being the same as CD 1 in the official release, and the second CD having both the AskDNA mini-album (avaliable on Amazon), and the Cowgirl ED OST disk on it. (I own this bootleg aswell as the official 1 CD release)

I personally don't like bootlegs, but you can make your own judgement call on which version you would like to buy.

Hope this clears up some of the confusion.

Holy toledo this album is absolutely amazing. All of Yoko Kanno's stuff for Cowboy Bebop, and most of her stuff in general, is mind-blowingly varied, creative, and engaging, but this is the jewel of the crown. It's the pinnacle of the Seatbelts as a music collective, and it features a deep and wonderous sampling of all the group is capable of. When playing this disc for friends, I feel a need to say, "And this is the same band" at every track, because they're all so different.

The album--which is the soundtrack to "Cowboy Bebop: The Movie"--opens with "24 hours open," a strange circus-esque carnival of chaos which is both amusing, disturbing and highly forgettable. But from there the album takes off. "Pushing the Sky" is aggressive, echoing anthem rock. "Time to Know" is a flute-tinged waltz with what appears to be Japanese rapping at the end. "Clutch" is some of the best freeform jazz I've ever heard. "Musawe" sounds like Arabian folk. "Yo Pumpkinhead!" is a big band extravaganza (from the Martian Halloween parade, for those who have seen the movie). "Digging" is bluesrock. And so on. Nearly every song is from a different genre ("7 Minutes," an orchestral techno metal number in 7:4 time, qualifies for several) and nearly every song is a masterwork of said genre. "Fingers" is flowing piano/fingerpiano dub. "Butterly" is a gorgeously subdued ballad. And "Gotta Knock a Little Harder" is an awesomely crafted pop anthem reminiscent of Annie Lennox at her very best.

And that's just the first disc. The bonus second disc has 11 more songs, which range from ambient electro ("Chapter 23") to stomping scavenger pop ("Ask DNA," which might owe its existence to Beck's "Where It's At"). A few of the songs, particularly on Disc 2, are from the show, not the movie, but these are all so good that they fit right in and you won't care. I cannot say enough about this album. It's one of the greatest triumphs of music I've ever heard, a tribute to 100 years of American musical tradition and a fair amount of Japanese music as well, and an outstanding release in its own right. It is worth whatever you have to pay for it.

I am ecstatic that so many people have come to love bebop for the brilliant and aestheically pleasing masteropiece that it is. However, this review is designed for those who are not as in tune with the series as the knowledgably endowed gurues writing killer reviews.

Yoko Kanno would best be pooled with Takako Minekawa in her Japanese pop roots. Takako most resembles Kanno in her most recent releases done with the obscure dj, cornelius. Kanno is could be be described as an abstract acid jazz japenese rogue pop artist, since acid jazz is almost the currency of popular music in Japan.

This cd is far more complex than any of Kanno's other works, which means that invariably I would recommend her earlier works before tackling this one. However if you feel up to the task, and you love the genres described above, by all means listen to this asap.

The Bebop sensibility is an intercultural phenomenon that not only bridges the previously stated cultural influences but also different genres and sub-genres of music. Kanno, for me, is perfect as a soundtrack writer and producer since the visuals conjured from her music are both explosive and dynamic. Science fiction could not be off any better with Kanno at the aural helm.

Beautiful smooth piano sections, noire vocals, and transcendant sensibilites make this cd a jettison valve to an imaginative multiverse.

In this album, Yoko Kanno continues her wonderful works. I own all of the Cowboy Bebop OSTs, and this one rates up there with my favorite one, Blue. The songs range from quirky (yo pumkin head), to sad (no reply) to a real country beat (diggin') Also, some great jazzy stuff. The cd also contains a hidden track of Rain-the Mai Yamane version heard in the series episode Ballad of Fallen Angels. I have the limited edition cd, which also contains the cd single of six previously unreleased songs from the series. I don't think many people carry these, but it's worth it to look around for it. However, just this cd is worth getting. If you like Yoko Kanno or Cowboy bebop, you must get this cd. You won't regret it!

Cowboy Bebop is my all-time favorite anime series, and it's partly because of the great music that accompanies each segment.

However, I bought this cd (actually, the set of two cd's) for one particular song: COSMIC DARE (PRETTY WITH A PISTOL). This is the third track on the second disk. If you've seen the movie, this is the song that Faye selects on her radio as she's flying over the highway following traffic. She even nods and taps her fingers along with the rhythm of the song.

You can put this song on repeat and nod along as well :)

Cowboy Bebop - Future Blues

For me, the greatest appeal of the first Cowboy Bebop disc (O.S.T. 1) is that all of the pieces (except the abysmal "Rain") work well together and form a cohesive whole. No Disc approaches the sounds of Cowboy Bebop from multiple perspectives and from various bands. There are more actual songs (music with lyrics) on No Disc than on O.S.T. 1. At first, I didn't like this approach, but the music grew on me with time. Not every piece or song is as complete as those of O.S.T. 1, but there is plenty of great music to write about. The third original soundtrack album, Blue, follows No Disc's lead and offers more songs and fewer instrumental pieces. As on No Disc, Blue has some hits and misses. Future Blues is a fine finale to this soundtrack series. I take a quick peek at each track below.

"24 Hours OPEN" is hilarious, if disturbing. The piece sounds like a violent crime occurring at Chucky Cheese, and someone left the security camera on. The goofy elevator music is mixed with random gunshots, people screaming, and sirens blazing. The worst, however, is when the people stop screaming, because you know everyone's dead. Nice way to start your album.

"Pushing the Sky" is an excellent hard rock song. Mai Yamane's low, smoky voice works perfectly here. The guitar work is reminiscent of Slash from Guns N' Roses, a definite plus.

If you sped up the tempo of the theme song from "The Love Boat" and inserted a rap over the top, you'd have something similar to "Time to Know--Be Waltz." Sounds crazy? Sounds great!

"Clutch" is a fast jazz piece with a lot of great solos. Expect nothing less from The Seatbelts.

"MUSAWE" is a jam session, and like most jam sessions, it doesn't really go anywhere, but I like it anyway.

"Yo Pumpkin Head" is a syncopated big brass exploration. The energy of the piece is great in itself, but I must admit that this is the first piece of music I've ever heard that incorporates a crowd as a musical instrument. Must be heard to be appreciated.

I've hated prior Cowboy Bebop songs featuring the vocals of Steve Conte. "Diggin'," however, is a vehicle that finally works well with his otherwise thin, weak voice. The blues-country guitar work rocks, indeed. The song gets a bit long in the middle, but it's still a good one. The lyrics are good and in keeping with the themes of the Cowboy Bebop series.

"3.14" is a Japanese a cappella song featuring the girl-like voice of Aoi Toda. It's not a complete piece, is in Japanese, and so it has a novel quality to it that doesn't last.

"What Planet Is This" is a fast, rock jazz piece with a fantastic sax solo. The Seatbelts don't disappointment here, and they mix it up in the middle to give the piece shape.

"7 Minutes" is a genre-blasting tour de force. It's almost impossible to characterize. I suppose the word "fusion" comes to mind. Great piece all around.

The piano work in "Fingers" drives this spacey sounding. There's also a kalimba (finger piano) at work here, which offers a twinkling accompaniment. The chorus is underplayed and gives the piece some sway.

"Powder" is a chorale song and doesn't interest me much. I appreciate the talent that went into the performance, but the song doesn't strike me.

"Butterfly" features the sultry vocals of M. The accompanying jazz guitar and piano work well. It feels like a complete song, which doesn't always happen on Cowboy Bebop soundtracks.

Steve Conte's vocals are so-so in "No Reply." The song sounds like an early 1990s ballad when everyone started rejecting the synthesizer and started using full, live orchestras. It's too sappy for my taste.

"Dijurido" doesn't really go anywhere. The vocals are rather flat. In the middle of the piece, the strings explore a tune that reminds me of Disney's Fantasia when the splinters of broom are being reanimated into many smaller brooms.

"Gotta Knock a Little Harder" starts slow, but it's worth the wait for the blues piano and awesome vocals to kick in. Rockin' piano songs are rare nowadays.

I don't see the point in "No Money." It's essentially a half-sung poem.

Mai Yamane's take on "Rain" is vastly superior to Steve Conte's rendition on the first Cowboy Bebop soundtrack. When Conte sings it, I find the song impossible to listen to; when Yamane sings it, I believe her.

Future Blues is a nice conclusion to the Cowboy Bebop soundtrack series. It's amazing that a 26-episode anime could give birth to such varied, experimental, and inspired music. I recommend buying Future Blues used. The retail price is robbery. But do get this album if you are a Cowboy Bebop or The Seatbelts fan.

My review can only echo that which has already been said. The music on this soundtrack is amazing and I love every minute of it. I recommend this CD to just about everyone who can enjoy a wide variety of music. A lot of it has a jazzy feel to it that makes it so wonderful and unique. I also suggest you buy "Ask DNA" by The Seatbelts, which has some more music from the Cowboy Bebop movie that isn't on this CD. They're both great, and I promise you will enjoy them!

Let me just get this out before I begin: Its missing 2 main songs. "Ask DNA" which is the opening theme and also "Cosmic Dare" which is a song played near the beginning of the film. In order to hear theses songs you have to buy a (I think its a mini disk) seperate soundtrack. Other than that this soundtrack is very very good. It features some western, Arabic and of course, Jazz. It delivers the same feeling as the other songs produced by Yoko Kanno and the Seat Belts. If you have seen Knockin on Heavens Door you will see how well this music fits with it.
Yoko Kanno has created yet another masterpeice.

The reason I'm not giving the score 5/5 is simply because it isn't complete. In order to get the title track that starts the movie in the title sequence, you need to get the single album. This one also includes the rest of the vocal tracks not found on the soundtrack, especially "Pretty With a Pistol" which plays over Faye's first scene in the movie.
Heaven's Door is a great mix of jazz, rock and source-music sounding material. "Musawe" and "No money" are examples of the latter with arabic vocal stylings and harmonies. The tracks "Time to Know", "Clutch", "Yo Pumkin Head" and others are more in line with the Yoko Kanno scores from the television series we know and love, with "What Planet is This?" being the stellar standout of the pack. This is the score that accompanies Spike's awesome aerial escape from a pursuit by military jets.
The rest of the score is a mix of ballads and hard-rock. My favorite track of these has got to be "Pushing the Sky". This hard-edged track underscores the final fight sequence between Spike and Vincent, a fight which ends in a manner that you might not expect.
All in all, totally worth the price. As a bonus, you get a mini-album hidden in the CD-case of five newly released tracks from the t.v. series. If only for this disc alone, I would have purchased this title. Man, think of it, you get a mini disc titled "Cowboy Ed OST". Too cool.