Netflix to Begin Streaming the Cowboy Bebop Anime Worldwide on October 20, 2021

Netflix has announced that it will begin streaming the Cowboy Bebop anime worldwide on October 20, 2021.

The series follows the motley crew of the spaceship Bebop as it travels throughout the solar system in search of the next job. The anime inspired Cowboy Bebop: The Movie in 2001. FUNimation Entertainment released the series on Blu-ray and DVD in North America in 2014, and screened the film in the United States in 2018, the 20th anniversary of the original series.

Netflix will begin streaming a live-action series of Cowboy Bebop on November 19, 2021. The live-action series is scheduled to have 10 episodes.

Source: ANN

Don’t Panic Games and Mana Project Studio Will Launch Cowboy Bebop: The Role-Playing Game Based on the Anime Series in 2022

Mana Project Studio and Don’t Panic Games, in partnership with Sunrise, are proud to introduce to you Cowboy Bebop, the Role-Playing Game: the official tabletop role-playing game of one of the most beloved anime of all time.

Cowboy Bebop, directed by Shinchiro Watanabe, is one of the most famous anime series of all time. Broadcast in 1998 in Japan and all over the world in the following years, it has had a cult following so great to this day that the live-action remake will be one of Netflix’s major launches worldwide in November 2021.

In Cowboy Bebop: The Role-Playing Game, players will live through their own stories of bounty hunters in space, in a jazzy universe blending Western, Film Noir, and buddy cop movies, accompanied by one of the best anime soundtracks in history.

The game will be designed by the award-winning Italian authors Fumble, who won the prestigious Italian Game of the Year award in 2020 for Not The End.

It will reach Kickstarter in 2022 and hopefully hit shelves by the end of the year. Its initial launch will feature English, French and Italian languages.

“As a pioneer of Japanese animation in Europe and an early role-player, I have always dreamed of living adventures in the universes of famous anime. We are overjoyed that Sunrise, with whom we have worked for many years, has entrusted us with making this first experience possible,” comments Cedric Littardi, founder of Don’t Panic Games.

Cowboy Bebop is part of those anime that made up our cultural background. As fans of the anime, we are thrilled to be able to work on this project, a unique opportunity to design on both the themes of CBB and its strong visual identity. Our goal is to share our passion for Cowboy Bebop with you with this game!” says Michele Paroli, founder and lead designer of Mana Project Studio.

A leaflet presentation will be available exclusively during the Essen SPIEL game fair at the Don’t Panic Games booth 2D116.

In the coming months, those who have signed up at https://news.manaprojectstudio.com/cbb-rpg will gain the opportunity to pioneer the game system during its playtests.

FUNimation Entertainment Gets Nostalgic for Cowboy Bebop in Fall 2021 With a Celebration of the Classic Anime Series

More than 20 years ago, Cowboy Bebop landed on screens on cable television and enthralled Western audiences for its unique storytelling, animation and ambitions. Cowboy Bebop was action and drama, mystery and romance, attitude and edge, comedy and carnage, and just incredibly cool.

Now, FUNimation Entertainment invites fans old and new to join the streaming service to celebrate the iconic series with all 26 episodes available on FUNimation in the United States and Canada. And now in Latin America (Brazil, Mexico, Colombia, Chile and Peru), the entire series is available on FUNimation in both subtitles or dubbed, in English, Spanish and Portuguese.

Cowboy Bebop is the jazz-inspired, genre-bending story of Spike Spiegel, Jet Black, Faye Valentine, and Radical Ed: a ragtag crew of bounty hunters on the run from their pasts as they hunt down the solar system’s most dangerous. With a renowned soundtrack by Yoko Kanno and captivating visionary direction by Shinichiro Watanabe, Cowboy Bebop has been a cultural inspiration and juggernaut for audiences around the world, including celebrity fans like Keanu Reeves and the late Robin Williams.

In addition to inviting fans for a retro rewatch, FUNimation will be honoring the legendary anime series with a variety of online/social media, home entertainment, collectibles and licensing tributes, including:

  • On the FUNimation Blog, fans can celebrate the legacy of the series with one another, get creator insight and more, whether it’s your first time aboard the Bebop or your 100th
  • The complete series box set on Blu-ray is available on FUNimation
  • For fans who want to further their Cowboy Bebop experience, FUNimation has a full licensing program around the series, including:
    • Exciting new offerings from Funko later in 2021
    • A new apparel line from Chalk Line in time for the holidays
    • New posters from Trends International coming in 2021
    • Resin statue figurines from First4Figures, including Jet Black, with more to be added at FUNimation
    • Pick your favorite Cowboy Bebop design and customize your debit/credit cards with CUCU Covers
    • Bioworld has launched customized apparel and accessory products unique to retailers Hot Topic, Box Lunch, Spencer’s, Atsuko and more
    • More apparel, wall scroll, plush, and small accessory releases from Great Eastern Entertainment
    • Removable and reusable wall decals from Fathead
    • Six limited edition vinyl figures from Youtooz
  • In the spirit of Halloween, Hot Topic will be hosting some Halloween Watch-A-Longs of some spooky episodes of anime on their Anime and Beyond Discord server. Cowboy Bebop will be a part of this with Session 20, “Pierre Le Fou,” on October 8, 2021

Cowboy Bebop helped legitimize anime as a varied, sophisticated, cinematic medium for a generation of fans,” said Asa Suehira, Chief Content Officer at Funimation Global Group. “The series isn’t driven by sci-fi spectacle but by the characters and relationships on display. That’s what made it an instant hit in Japan and in the United States. And the music is just off-the-hook cool.”

Follow the official social handles of Cowboy Bebop on Facebook, Instagram or Twitter.

Cowboy Bebop is produced by Sunrise.

My Favorite Anime Opening Themes From the 1970’s, 1980’s, and 1990’s

It’s been quite a while since I last did a Top 5 list, but I came up with an idea for one and decided that I wanted to write this up and share it. This time around, this is a listing of my six favorite anime opening themes that came out between the 1970’s and 1990’s. Yes, I couldn’t limit it to just five.

Instead of publishing the list as a Top 5 (or Top 6) list, I will be sharing my favorites by organizing them in alphabetical order. I will be using the song titles to alphabetize the list.

For whatever reason, WordPress is not allowing me to embed YouTube videos into my post. Instead, I have made the title of each song a link to a YouTube video.

Hironobu Kageyama – “CHA-LA HEAD-CHA-LA” (Dragon Ball Z)

Most readers should recognize this song as the first opening theme for the Dragon Ball Z anime. It’s hard to believe, but this theme song first came out in 1989, when the first episode of Dragon Ball Z premiered in Japan.

One thing I can say about this song is that it doesn’t sound dated at all. You can’t hear it and immediately go, “That sounds like something that was written and recorded in the late 1980’s.” It sounds just as fresh now as it did 31(!) years ago. And I can’t neglect to mention that this song is extremely catchy.

Yoko Takahashi – “A Cruel Angel’s Thesis” (Neon Genesis Evangelion)

When I watched the first episode of Neon Genesis Evangelion, this song grabbed me the first time I heard it. I love how catchy and upbeat this song is, but it doesn’t prepare you for the content of the series or how the story evolves over the course of the series. LOL!

In all seriousness, though, I like how the song starts out kind of slow and minimal, and then it explodes into such an upbeat and catchy tune. Unlike “CHA-LA HEAD-CHA-LA,” though, “A Cruel Angel’s Thesis” does sound a bit dated when you listen to it now. While this sound worked for an anime theme song in the mid-1990’s, you wouldn’t hear something like this as a theme song in today’s anime. Sounding dated doesn’t make it a bad song, though.

Etsuko Nishio – “Don’t Make Me Wild Like You” (Ranma 1/2)

This was the first opening theme song for the Ranma 1/2 anime when it premiered in Japan in 1989. Sonically, this song works so well with the images that accompany it. Also, the sound of this song perfectly captures just how crazy and chaotic the Ranma 1/2 anime can get.

Of all the opening themes for the Ranma 1/2 anime, this one is by far my favorite. Sure, it sounds dated, but it’s still incredibly catchy and fun. You can’t help but move in time with it when you hear it.

Sasaki Isao & The Royal Knights – “Space Battleship Yamato [Opening Theme]” (Space Battleship Yamato)

This is the opening theme for the first Space Battleship Yamato anime in Japan, and this is the oldest song to appear on this list. Of course, I first heard this in the American version back in the early 1980’s when I watched Star Blazers as a kid. Years later, when I got to hear the original Japanese version, I loved the song even more.

Both versions utilize the same music, which has a sound reminiscent of a military march fused with a 1970’s disco feel. Between the English and Japanese versions, I prefer Sasaki Isao’s vocal performance over the English singer. Isao has a great voice, and you can hear why he continues to be a voice associated with the Space Battleship Yamato franchise all these years later.

Seatbelts – “Tank!” (Cowboy Bebop)

This anime theme song, composed by Yoko Kanno, is a standout for so many reasons. For one, it’s a jazz sound instead of the usual rock or pop sound associated with anime opening themes. And second, it’s an instrumental, which is on the unusual side for an anime opening theme song.

But it’s not just those differences that make this stand out. It’s also a great and catchy song in its own right. It’s really not surprising that “Tank!” is considered to be a standout anime opening theme song.

Hiroshi Kitadani – “We Are!” (One Piece)

“We Are!” is a song strongly associated with the One Piece franchise and has had several different versions used as an opening theme during its run, but the original version by Hiroshi Kitadani remains my favorite. It’s hard to believe that this song, along with the first episode of One Piece, premiered in Japan in 1999(!).

This song gets the viewer pumped and excited for what’s to come in the series. It’s just so catchy and so memorable, and it easily gets stuck in your head. Not that I’m complaining about this being an earworm, though. If I have to get a song stuck in my head, “We Are!” is one I wouldn’t mind hearing over and over.

Additional lists:

Right Stuf Announces Vinyl Soundtrack Albums for Attack on Titan and Cowboy Bebop

Right Stuf announced at its panel at the Otakon.Online digital event that the site has the Attack on Titan Season 1 Vinyl Soundtrack up for pre-order in both deluxe and standard versions. Both are set to go on sale on October 26, 2020, and the numbered deluxe versions—which are limited to 1,000 copies—include three smoky-finished 190mg colored records in special collector’s book packaging with two pages of liner notes.

Right Stuf also announced that it has an exclusive opaque marble vinyl (one blue and one orange) version of the Cowboy Bebop Vinyl Soundtrack. This one will also be exclusive to RightStufAnime.com and goes up for pre-order starting August 6, 2020, followed by release on November 6, 2020.

Source: Crunchyroll

Music From Six Anime Series Is Available on Streaming Services

549 theme songs and soundtrack tunes produced by FlyingDog for Sunrise’s anime series such as Cowboy Bebop, Vision of Escaflowne, Brain Powerd, Code Geass, Betterman, and City Hunter are now available on major streaming/subscription services as of July 24, 2020.

Supported streaming/subscription services:

  • Amazon Music Unlimited/HD
  • ANiUTa
  • Apple Music
  • AWA
  • Google Play Music
  • KKBOX
  • LINE MUSIC
  • mora qualitus
  • RecMusic
  • Rakuten Music
  • Spotify
  • YouTube Music

Album list

  • COWBOY BEBOP Original Soundtrack
  • COWBOY BEBOP Vitaminless
  • COWBOY BEBOP NO DISC Original Soundtrack 2
  • COWBOY BEBOP Original Soundtrack 3 BLUE
  • COWBOY BEBOP Knockin’on heaven’s door Ask DNA
  • COWBOY BEBOP Knockin’on heaven’s door O.S.T FUTURE BLUES
  • COWBOY BEBOP Tank! THE! BEST!
  • Vision of Escaflowne Original Soundtrack
  • Vision of Escaflowne Original Soundtrack 2
  • Vision of Escaflowne Original Soundtrack 3
  • THE VISION OF ESCAFLOWNE ~lovers only
  • Escaflowne: The Movie Original Soundtrack
  • Brain Powered ED theme “Ai no Field”
  • Brain Powered Original Soundtrack
  • Brain Powered Original Soundtrack 2
  • CODE GEASS Lelouch of the Rebellion O.S.T.
  • CODE GEASS Lelouch of the Rebellion O.S.T. 2
  • CODE GEASS Lelouch of the Rebellion R2 O.S.T.
  • CODE GEASS Lelouch of the Rebellion R2 O.S.T. 2
  • CODE GEASS Lelouch of the Rebellion Character Song Best
  • CODE GEASS Lelouch of the Rebellion R2 Sound Variety R18
  • CODE GEASS Lelouch of the Rebellion CODE BLACK+
  • CODE GEASS: Akito the Exiled O.S.T.
  • CODE GEASS: Akito the Exiled O.S.T. 2
  • CODE GEASS: Lelouch of the Re;surrection original soundtrack
  • Betterman OP Theme “Yume no Kakera” c/w ED theme “Chin~requiem~”
  • Betterman Original Soundtrack 1
  • Betterman Original Soundtrack 2
  • City Hunter Bay City Wars/Million Dollar Conspiracy Original Soundtrack

Source: Crunchyroll

Los Angeles’ Secret Movie Club Hosts Anime Buffet Series in 2020

In 2020, the Los Angeles-based Secret Movie Club is hosting screenings of some of the most beloved anime of all time, as part of their Anime Buffet programming slate, which will run from January through April 2020. The Anime Buffet slate is scheduled to include such films as Ghost in the Shell, Perfect Blue, Paprika, Millennium Actress, Metropolis (2001), The Girl Who Leapt Through Time, Vampire Hunter D, Grave of the Fireflies, and Tokyo Godfathers. Screenings will alternate between two different locations: the Vista Theater in Los Feliz, the historic single screen theater built in 1922, and the Club, Secret Movie Club’s new downtown location.

“Secret Movie Club loves to make new discoveries with its programs. Japanese anime is so big and complex, so we wanted to do a series that showcases how diverse these movies are,” said Secret Movie Club Founder Craig Hammill. “As programmers, it’s easy to get lazy and and just show the great Studio Ghibli and Miyazaki films, which we love, but we wanted to go deeper. This series gives us the chance to do a mini-retrospective of the work of anime legend Satoshi Kon, as well as a screening of Vampire Hunter D, an early anime masterpieces that pushed the artform with adult content, and the emotionally profound film Grave of the Fireflies and the popular Cowboy Bebop (which is almost sold out already). We look at these series as journeys. And really look forward to going on this anime journey with our audience.”

Attendees can purchase limited edition Secret Movie Club posters for every screening at all events, which feature new art by contemporary illustrators. Each film is preceded by a brief talk from Secret Movie Club founder Craig Hammill and a trivia question for the audience.

COWBOY BEBOP:THE MOVIE

(2001, Sony, dir by Shinichiro Watanabe, 35mm, 115mns)

Friday, January 10, 2020 @ 11:59 p.m. PST, The Vista

In 2071, earth has been ravaged by catastrophe. Humans have colonized other planets and the universe is a new Wild West. A group of Bounty Hunters travel on the spaceship BeBop in search of quarry and rewards. When a contagion gets released in a truck disaster on Mars, our heroes-Spike, Jet, Faye, Ed, and Ein (a dog with human-grade smarts due to artificial enhancement) go off in search of the culprit and the reward that goes with it.

“One of the great things with Japanese anime, as with all cinema and art, is how each set of creators imbue the genre with their own personal style and stamp,” said Craig Hammill. “Cowboy Be Bop, as its title itself implies, is a mashup of sci-fi, westerns, Hong Kong action movies, and an improvisatory iconoclastic jazz rhythm that make the viewing experience a total blast and totally singular.”

VAMPIRE HUNTER D

(1985, Sentai Filmworks, dir by Toyoo Ashida, 80mns)

Friday, January 17, 2020 @ 7:30 p.m. PST, The Club, 1917 Bay Street, 2nd Floor, LA, CA 90021

The movie centers on Doris Lang, the daughter of a werewolf hunter, who gets bitten by 10,000 year old Count Magnus Lee one night. She then meets a strange vampire hunter, who only goes by the name D, and employs him to take on the long-lost vampire lord and try to help her from becoming a vampire herself.

Vampire Hunter D is one of the earliest examples of Japanese anime that was made explicitly with teenagers and adults more in mind than children,” said Hammill. “Made for the then emerging direct to video market, Vampire Hunter D had a smaller budget than its feature film peers. But in a strange way, this freed up director Toyoo Ashida to make a more exciting, violent, sensual animation. Ashida has gone on the record as saying his intent with the movie was to make something thrilling that tired students could enjoy during study breaks rather than make an anime that further exhausted them. Full of genre mash-ups, amazing art and design, and storytelling, Vampire Hunter D definitely serves as a prototype and torch in the darkness for future directors like Satoshi Kon, who will take anime into ever more complex, adult, shadowy realms.”

GHOST IN THE SHELL

(1995, Lionsgate, dir by Mamoru Oshii, 85mns)

Saturday, January 18, 2020 @ 11:59 p.m. PST, The Vista

Often the cyberpunk genre, which would come to full flourish here in the United States with the Wachowski’s The Matrix, can be traced most directly to two Japanese anime parents: 1988’s Akira and 1995’s Ghost in the Shell. Often considered one of the greatest Japanese anime movies of all time, Ghost in the Shell dives head first into the darker, deeper waters of more adult sci-fi.

It’s 2029 and the human body can be augmented with “smart” prosthetic cybernetics. The most recent innovation, and the most terrifying, is a cyberbrain, which allows humans to now go online/get hooked into the internet, straight through their neural pathways. Our hero, Motoko Kusanagi, is part of an elite squad that fights crime in “New Port City” in Japan. Currently, they are kept busy by an arch criminal known as “The Puppet Master” who appears to have the ability to hack into these “cyberbrains” and get folks to assassinate, kill, commit crimes. As Motoko further explores what’s going on with both the Puppet Master and the innovations in cybernetics, she stumbles across a revelation that goes to the very heart of our philosophical understanding of what makes us unique individuals: what constitutes our “soul.”

PAPRIKA

(2006, Sony Pictures Classics, dir by Satoshi Kon, 35mm, 90mns)

Friday, January 31, 2020 @ 11:59 p.m. PST, The Vista

If Hayao Miyazaki is synonymous with a kind of all-ages wildly imaginative Japanese anime, then director Satoshi Kon is synonymous with a Japanese anime that dares to go to the very limits of what any kind of cinema can explore in terms of human psychology, fear, desire, imagination. And he does it in the most creative and miraculous of artistic ways.

Paprika is one of his wildest mind-bending creations of all. In the near-future, there is a device called the “DC Mini” which allows Dr. Atsuko Chiba to enter the dreams of her patients (using her alter-ego “Paprika”) to help try to discover the root of their fears, anxieties, and hang ups. But the problem is that the “DC Mini” is still in prototype mode with no restrictions or safety barriers whatsoever. And if it gets into the wrong hands (which of course it does), it allows the thieves to enter dreams for more sinister and nefarious reasons.

METROPOLIS

(2001, Sony, dir by Rintaro, 113mns total, 35mm, Japanese with English subtitles)

Saturday, February 1, 2020 @ 10:45 p.m., The Club

Written by Katsohiro Otomo (writer/director of the classic anime Akira), Metropolis shares much of its DNA with that seminal anime classic including a central character who is rocked to their psychological core by the realization of their “super human” abilities and an impending apocalypse that threatens the entire foundations of a huge city.

MILLENNIUM ACTRESS

(2002, 11 Arts, dir by Satoshi Kon, 82mns, Japanese with English subtitles)

Wednesday, February 12, 2020 @ 8 p.m. PST, The Club

Millennium Actress tells the emotional story (in a decidedly surreal and modernist way) of famous actor Chiyoko Fujiwara, who tells her life story to documentarians and explains she only ever became an actress in the hopes of being recognized by an artist/political rebel she fell in love with as a teenager and never saw again. As Chiyoko tells her story, it becomes hard to tell what’s her real life, what are movie scenes she starred in, and where fiction/reality meet and diverge.

Special Note: There will be three originally written 3-4 minute monologues performed by three actresses ahead of the screening running a total of 10-12 minutes.

PERFECT BLUE

(1997, GKIDS, dir by Satoshi Kon, 35mm, 81mns)

Friday, February 21, 2020 @ 11:59 p.m. PST, The Vista

Kon fully commits to an anime that is as rich, dark, and complex as any Scorsese, Kubrick, Lynch, or Bergman movie. But with the added benefit of being able to cinematically represent psychological states of mind in a way that is often impossible in live-action cinema.

“If you want to see anime that absolutely succeeds in expanding the playing field of what cinema can do, come join us for Perfect Blue,” said Hammill.

THE GIRL WHO LEAPT THROUGH TIME

(2006, FUNimation, directed by Mamoru Hosoda, 98mns; English dubbed version)

Saturday, March 14, 2020 @ 10:30 a.m. PDT, the Vista

The Girl Who Leapt Through Time tells the story of young teenager Makoto Konno who discovers a magical object in her high school that allows her to leap through time and prevent situations that caused her great embarrassment. This premise, as with all good premises fully explored, deepens into a meditation on wish fulfillment versus reality. Makoto, first using the device for frivolous things, comes to realize that the device has its price. And that she is not the only one using it…

GRAVE OF THE FIREFLIES

(1988, GKIDS, directed by Isao Takahata, 90mns; Japanese with English subtitles)

Saturday, April 4, 2020 @ 10:30 a.m. PDT, the Vista

One of the absolute greatest animes ever made, Grave of the Fireflies, directed by Isao Takahata, deals with siblings Seita and Satsuko, who have to rely on each other to survive after they’re separated from their parents during the American fire-bombing of Tokyo in the late stages of World War II.

Tickets can be purchased here:

https://www.eventbrite.com/d/ca–los-angeles/anime-buffet-secret-movie-club/?page=1

Secret Movie Club is a group project among the founders and the audience. Audience suggestions are taken and often used. Secret Movie Club aims to celebrate the wonderful experience that comes from watching the world’s greatest movies in great movie theaters with great audiences.

Production on the Live-Action Cowboy Bebop Is Put on Hold for 7-9 Months Due to John Cho’s Injury

Netflix has put the production of its live-action adaptation of Sunrise’s Cowboy Bebop anime on hold due to lead actor John Cho injuring his knee on the New Zealand set.

The Deadline website reports that the accident happened on the last take of a “routine and well-rehearsed scene” a few episodes into the 10-episode production, and that Cho has returned to Los Angeles for surgery and rehabilitation. Deadline adds that Netflix decided to keep Cho instead of recasting, and will wait until late Spring or early Summer 2020 to resume production so Cho can rehabilitate.

The series stars Cho as Spike, Mustafa Shakir as Jet, Daniella Pineda as Faye, Alex Hassell as Vicious, and Elena Satine as Julia.

Source: ANN

Cast Announcement for Netflix’s Live-Action Cowboy Bebop Series

Netflix has announced that cast of its 10-episode live-action series adaptation of the 1998 Cowboy Bebop television anime. The announcement describes the series as a “TV drama.” Netflix also provided character descriptions with the announcement.

John Cho is Spike: Haunted by visions of the woman he loved and lost, Julia, Spike’s criminal past slowly catches up to him — putting him and the Bebop crew in the crosshairs of the solar system’s most lethal criminal organization, the Syndicate.

Mustafa Shakir is Jet: Jet holds tight to his honor and optimism, acting as a father figure to his misfit crew, always seeing the best in his partner, Spike… until it’s too late.

Daniella Pineda is Faye: She’s always on the search for the person with the key to her identity. In the meantime, she’ll fake it till she makes it.

Alex Hassell is Vicious: Once he was Spike’s best friend, now he’s his mortal enemy and is obsessed with taking him down.

Entertainment news website Deadline has also reported that Alex Garcia Lopez will direct the first two episodes.

Source: ANN

Anime Soundtrack Review: Cowboy Bebop O.S.T. 1

Cowboy Bebop O.S.T. 1 is a 17-track CD that includes the opening theme song, as well as 16 of the musical pieces from the anime. The music is performed by Yoko Kanno and The Seatbelts.

Cowboy Bebop O.S.T. 1
Publisher: Victor Entertainment
Release Date: May 21, 1998

The disc opens with “Tank!,” the iconic opening theme song for the Cowboy Bebop anime series. It’s thematically jazz in style, and it’s very catchy. As soon as you hear it, you instantly recognize what this song is. It’s a perfect opening song for the CD.

The seventh track on the CD is “Space Lion,” the song which was used as the ending theme in the episode, “Jupiter Jazz Part II.” It’s the longest song on the CD, but it’s just as recognizable to fans of Cowboy Bebop as “Tank!” is. It’s primarily an instrumental piece, but it’s very much on the melancholy side.

The fourth track is “Bad Dog No Biscuits,” and it’s a very catchy track. Apparently, it opens with a cover of Tom Waits’ “Midtown” before going into its own interpretation. To me, it’s one of the more memorable tracks on this CD, alongside “Tank!” and “Space Lion.”

“Rush” wears its jazz influence on its sleeve. That’s not a bad thing, though, since I have an appreciation for jazz music. To be honest, this is something I could hear on a jazz radio station, like the one I was a DJ at back when I was in college. While it may not be as catchy as “Tank!” or “Bad Dog No Biscuits,” it’s still a great song.

“Spokey Dokey” has a strong emphasis on the harmonica, which fits in with the “cowboy” portion of the anime’s title. This is another piece of music that sounds familiar to viewers of Cowboy Bebop when they hear it.

“Cat Blues” brings the disc back more toward the jazz side of the musical score. There’s a good arrangement here, and you can’t help but bop along with the song as it plays.

“Cosmos” is one of the slower songs on the disc. While it’s more on the jazz side, it’s not the upbeat jazz that appeared earlier on the soundtrack. For the sequencing of the disc, this is in a good spot, because the five previous tracks were all upbeat numbers. This, along with the next track, “Space Lion,” help to slow down the tempo and let the listener take a break musically by hearing something a little different.

“Waltz for Zizi” immediately follows after “Space Lion,” and it stays in the slower side. Is it just me, or does part of the music almost sound like “It Came Upon a Midnight Clear”?

“Piano Black” starts picking the pace of the music back up, right around the time I was starting to get a little tired of all the slow material back-to-back. “Pot City” is more of midtempo jazz number, with a strong focus on horns.

“Too Good Too Bad” is a more uptempo number, and it also has a strong emphasis on the horn section. While I can’t place where exactly I remember hearing this, it sounds very familiar to me.

“Car 24” is a more playful song, and it sounds like something that was intended for a more lighthearted scene. “The Egg and I” is also a more playful number, and I can’t help but move along to it as I listen to it.

“Felt Tip Pen” has a bit more of a country and western feel to it when compared to most of the songs included on this soundtrack CD. But since some of the show has a bit of a “wild west” feel to it, it shouldn’t be surprising to occasionally have a piece of score music more in this vein.

“Rain” is a song with lyrics that are sung by Steve Conte. This is a case where I believe the Japanese singer’s version was included in the anime. But this version is still very well done, and Conte has the voice to pull this off. The liner notes for the CD have the lyrics for this song printed in them.

“Digging My Potato” is another song with a heavier focus on the harmonica, and it’s more on the slower side. The CD concludes with “Memory,” which is probably the piece of music you hear the most in the series outside of “Tank!” This slower song almost sounds like you’re listening to a music box, and it’s a piece you hear right at the beginning of the first episode. You also hear it during important moments of introspection. The version of it here is specifically used when referring to Spike Spiegel’s past.

I have a strong admiration for Yoko Kanno’s work, and this CD highlights just how versatile of a composer she is. I can’t say that any of the songs included in this release are weaker than any of the others. The sequencing decisions that were made help to make this soundtrack an enjoyable listen, and it sounds like the songs flow naturally from one to the next.

If you’re a fan of Cowboy Bebop, I would highly encourage you to add Cowboy Bebop O.S.T. 1 to your music collection if you haven’t already.

Additional posts about Cowboy Bebop: