Here, we explore some other sessions of Cowboy Bebop and their music. While we would
love to go on about what made each episode special, but we feel this shrine is not the place
for it. Though the high budget for music very obviously enhances the show as a whole, a lot
of what made certain scenes and sessions really click was more of the choreagraphy or writing.
Certainly, Hard Luck Women's (episode 24) ending scenes would not have been as moving
without the 'wrapping up' soft music in the background, but the magnitude of the events
themselves and the use of the setting sun and the barren planet was far greater. On the other
side of entertainment, Toys in the Attic (episode 11) was extremely funny on it's own,
though the music helped it along, the point (something everyone should walk out of Cowboy
Bebop knowing if they already don't) was key and the images really made the ending parody.
However, some times Cowboy Bebop is able to truly blend action and feeling by using a
juxtaposition of music and scene. We will explore some of these sessions here:
- Asteroid Blues (episode 1) -- It had been so long since I had seen the first
episode, I did it a great disservice in forgetting it. My distaste for gore and scary
eyeballs of course would turn me away from the seeing the episode with "Bloody Eye" more than
I had to. I must say though, that again Cowboy Bebop does the 'chase scene to solemn music'
effect that I aplauded in Ganymede Elegy. Maybe the fact that I felt more for Jet than
Catalina/Katarina made me remember episode 10 more, I can't say. This chase, however, lacks
the vocals that I was also fond of. Perhaps the effect was just perfected nine episodes
later. (8/17/2000)
- Ganymede Elegy (episode 10) -- ELM (found on No Disc) is the name of
the piece that plays while Jet chases his ex and her boyfriend with his Hammerhead. The
scene, is of course, a chase scene. The music, is a soft male singing sad tones without words
in a slow and solemn piece. Unlike Green Bird, this scene keeps the sound
effects. Though it is action, the music really brings out that none of the parties involved
are as overcome by adrenaline as they are by sadness. (6/2/2000)
- Jupiter Jazz (Parts 1 and 2) (episodes 12-13) -- We've been asked by several people
if we could do another page of Jupiter Jazz, so I feel we should write something. I
really think Jupiter Jazz's strength was not in it's further exploration of the Red Dragon
plot line, or in it's music, but in it's circular method of story telling and it's usage of
the Native American mysticism, which sets up for the later point in The Real Folk
Blues. The music used for the ending, the second time the elder remarks on Gren's
journey, seems fitting actually, in theme with the elder himself. However, this is just one
of many times Cowboy Bebop uses cultural music to provide the proper mood and
setting. (6/2/2000)
- The Real Folk Blues (especially part 2) (episodes 25-26) -- I must admit, that this
was beautifully done and perhaps one of the most nicely done scenes was completely with out
any musical background. Julia's fall was gorgeous, the black and white birds flying the
opposite direction really signified a lot about Julia herself. The musical juxtaposition can
be found later in the episode, when Spike and Shin wreak havoc on the Red Dragon headquarters
in order to get to Viscious. Then again, as many times before, Cowboy Bebop uses a new
song, perhaps not quite a juxtaposition, to end the episode. A gorgeous song, with choir
singing and then more of the deep female Real Folk Blues ending kind of voice and take
on life, provided a nice closing to the series. (6/2/2000)
This page was created by
Keys
Page created 6/2/00
Page last updated 8/17/00
Cowboy Bebop, Green Bird, and all images, sounds, and other
related atributes are copyright to Bandai Entertainment and Yoko
Kanno. They were used without permission in hopes to further
the appreciation of them. We apologize for any infringement
and will take this site down at their request.
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