BRAVE10 Special Soundtrack CD Brave Strike!

Enclosed in BRAVE10 Vol.5 DVD/Enclosed in BRAVE10 Vol.5 DVD/BD (ZMBZ-7745/ZMXZ-7735) 

Wow, what a cover!  Not that the cover makes a soundtrack.  As stated above this CD is packaged with the fifth DVD volume of the Brave10 series.  I was not too impressed by the teaser trailer when it first came out a year or so ago.  The music didn't fit the time setting, however, it works with the fast paced action.  Yet here I am, reviewing the music, despite how uninspiring it was in the demo.  To be honest, I don't physically own this.  I haven't even bothered to obtain it.  Fortunately, someone uploaded it on youtube, thanks to user Zax Kuroyami. 

 

 

01	メインテーマ	1:46
02	艶男。-adeosu-（INST） -animation Ver.-	1:55
03	英姿颯爽（エイシサッソウ）	1:53
04	天衣無縫（テンイムホウ）	2:00
05	気炎万丈（キエンバンジョウ）	1:52
06	暗雲低迷（アンウンテイメイ）	2:44
07	明鏡止水（メイキョウシスイ）	1:56
08	泰然自若（タイゼンジジャク）	2:41
09	不撓不屈（フトウフクツ）	2:20
10	平穏無事（ヘイオンブジ）	2:45
11	光彩陸離（コウサイリクリ）	2:33
12	精霊飛来（INST） -animation Ver.-	1:44

Disc length 26:09

Main theme is a rocking opener with a nice melodic ballad.  He does go over the top though, in the later half's acoustic melody.  The percussion could use a little boost so that it can be heard, as they are well performed.

Fukusuke wrote track 2, while track 12 is composed by three fellows known as gennbu, koujin, and sayroo.  Never heard of them, but OK, no need to bother and research them.  They are instrumentals, probably meaning they were songs?  Anyway, Nagaoka treats the composition with ethnic Asian strings, and a hip beat.  The final track gives a funky guitar solo opener, followed by a bass, leaving off with a satisfying finish. 

My first run through the music provided, didn't leave much of a mark in my few brain cells.  However, now that I'm thoroughly listening to it, the quality is much higher in some of these pieces.  Mostly in the slow, melancholic ones though.  For instance, in tracks 4, 6, 8, 10, and 11, all have movie quality music in them.  Emotional, moving, riveting, and powerful as well.  This whole soundtrack is one of Nagaoka's most generic, yet a few listens can really make anyone understand any of his works. 

I especially like the touching theme for Heion Buji, track 10.  A harp paired with violins and oboe that is dying to bring tears to whomever listens to it.  The following track is more suddle in approach, but manages to get sweeter in the middle of things, before it soars with its melody.  Track 8, Taizen Jijaku, and 7 as well, is worth listening to, as I find it hard to explain just how it can change a mindset.  Track 4 is rather the most generic of them all here, but in its own right, an excellent slice of life theme.

Third track rocks its own ballad, like in the main theme, only being more original.  Nothing spectacular there, in fact, its just passable at least.  Kienbanjou, track 5, is a little more on the upside of the continued rock influence.  Seikou does get serious for this track, but the jingles do throw it off bit.  In track 6, a change of tone with the anxious violins, stalking piano keys, and mysterious cello leading the other strings. 

The highlight of the soundtrack is track 9, which is a more elaborate and paced version of the main theme.  However, I still don't like the acoustic wind work, though the touch of flamenco is new.  Now, I am out of tracks to cover, as I was imagining I haven't started. 

Being a special release, I'd say this is a fair and deserving grade.  As I stated before, for one of Nagaoka's most bland and low key efforts, it has many glimmers.  He's used some styles here that were very new and fresh.  Only a few pieces are able to sink into right away, but that is what makes this musician unique.  I have to listen to each composition a few times just to understand the style. 
Album:B+
There is no grade for package, as I do not own it.  Someone who's already collecting the series, is going to be happy to have this very small sample of the series music.  However, for us who just want the music would have to spend nearly $100 to own it.  At least, its not only for the music, I'm sure the other content can be consumed.  Had it been a full soundtrack, giving up a Benjamin wouldn't feel bad. 
 

My Boy Friend

Included in the forth volume VHS of the Hoshineku Full House series is this little single.  Published by the Walkers Company Inc.  Vocals again from the talent group known as LISP, which have not appeared again till recently only on another soundtrack done by Nagaoka.  I'm not sure if they are the same people though.  A chorus joins in this time, name MILK, but no details on what the name comprises of.

01	My Boy Friend	4:28
02	そしてすべてが終わり	4:37

Disc length 9:05






My Boy Friend takes the lead as being the fun song with its amazing opener.  Certainly a huge touch of jazz is inserted for this one.  LISP stand out more and each singer can be heard even when singing together.  Despite the girly title, I don't feel it as being singled out for the female audience.  Second song is composed by Hitomi Kuroishi, so it feels a little more conservative in terms of music and pace.  Drums, vocals, and bass guitar are pretty laid back, which give off a romantic love feeling without pushing it too far as such. Both songs are pretty similar to each other, and definitely have a different tone then the singles from vol. 3.   Nagaoka's own composition and arrangement for the first song is certainly stronger then his last in vol. 3, Dancin' Twilight. 


Remember, this is the artists first real gig, at least as a solo artist.  Before this it was a few image albums that seemed to be like he was shadowing or interning as for experience.  I did not expect much difference in song making here, but behold there are some marked improvements.  Specifically in Nagoaka's control of the vocals.  Same vocalists but they feel more matured here and while the three vocalists of LISP sing over each other for most of the songs, each singer has a chance to take a few verses individually.  There is no fear of high notes being struck bad or at all, and no problem with the cute sounds of the synth board overlapping the vocals.  So I'm intrigued by how well Mr. Nagaoka has leveled his instrumentation and vocalists.  I still place Honeymoon as the best song of the four.  There is fortunately enough consistency between all of them.  Both single discs are worth the place in anyone's collection large or small.  

Tekken 6 for PSP Original Soundtrack - EP

Searching for more of Junichi Nakatsuru's music, it has lead me to this download.  I've never played the game, and I probably won't in any future, but there is no reason to not try the music.  This set of music was composed for the PSP release of Tekken 6.  Six tracks for only two dollars and 99 cents is a real bargain.  Why pay a dollar just for Nakatsuru's contribution when I can own the entire collection?  Here is what good that come out of that. 

01	Blue Wall-Akitaka Tohyama	3:14
02	Broken Ties-Tetsuya Uchida	1:46
03	Spider- Tetsuya Uchida	2:06
04	Rebirth- Yoshihito Yano	2:30
05	Synthetic Pulse Installation-Tetsuya Uchida, Yoshihito Yano	3:36
06	Side Winder-Yoshihito Yano, Junichi Nakatsuru	2:12

Disc length 15:24


Tohyama opens up with a techno beat in Blue Wall, and the flavor of the arrangement doesn't start until about 45 secs with some string-like instruments.  He then takes us back into the loop with the standard beat and electronic flips of sound. The second time around feels more accomplished.  Akitaka doesn't really push for any type of flare.  I don't think he really pushed his personality here.  It is a laid back kind of piece, keeping the same mood and beat throughout the three minutes.  The track is at least passable, but I don't know how techno music can create a fighting environment. 

Broken Ties is a hip rock tune with some nice vocal lyrics added to it.  Even with the rock elements, it doesn't mask the fact that its mostly techno-electronic sounds.  This track may feel repetitive, but it will over before that it grows annoying.  I've never experienced Tetsuya Uchida, but this is a good start.  Spider continues in a rock fashion, though he can't keep from the electronic sounds like Tohyama.  At least Spider does not loop.  The opener feels like menu music, but the rest of the track changes tone. 

Uchida is aided by Yoshihito Yano in Synthetic Pulse Installation, which is not too different from Akitaka's offering.  It is definitely more industrial in style.  The techno beat and sounds can be bothersome.  For two composers working together, one would expect to be lost in style, but I can sense none in this one.  It is the worst of the bunch, as it feels like a collection of sounds, hence the name of the track.  Somehow, they don't manage to completely turn off the listener.

Yano seems to fuse Uchida's rock style with Tohyama's trance in Rebirth.  Some guitar riffs like in Uchida's tracks, fill in the background, along with the bunches of synthetic sounds and hints vocals.  Yano has kept it simple, which should be the case for music that can be entirely synthesized.  However, Nakatsuru aids Yano in Side Winder, the best of the tracks.  The opener is dark and broody, almost devoid of any electronic synth.  Nakatsuru basically took Yano's Rebirth(with some of Uchida's guitar riffs) and gave it a rehaul.  The entire track changes rythym, giving the soundtrack a fresh feel.  Along with the ambietic synth, there is the guitar riffs, some electronic guitar-like rythym flows through, and the track doesn't fade off like the rest of them.

This album is very concise.  While the composers were at different ends of the spectrum, in terms of music style, the overall sound is kept similar.  Either there was electronica, rock, or the fusion of the two.  Uchida stood out to me the most for his attemptive creativity and guitar fusions.  As expected, Nakatsuru really offered a unique take on Tekken's techno-cratic style.

Being a digital download, I would like a better effort in terms of packaging.  Sure the music at a discount price is enticing, but what about a credits picture, or actual credits on the list of music.  Composer comments, bios, how the album came to be, etc.  There should also better album cover artwork.  It's too generic.  And being that it is a digital download, it doesn't get a packaged grade. 

Album:C-
Three bucks for six tracks(decent or indecent), I think is still worth the dip in the wallet.  I am satisfied, greatly in what I've heard.  What's lowering the grade, is the lack of, well... actual music.  The entire album seems to be done by sitting back, with only real assertion by Uchida.  There isn't enough volume pumped into the score.  Only Nakatsuru twists things up for a short period of time.  In my parting words, I would still make the purchase. 

暗黒神伝承 武神:劇中音楽集 Takegami OST

Ah, finally!!  I've been wondering if this soundtrack exists.  I'm glad I found it.  Not rare or expensive.  In fact, I think this CD is highly overlooked.  It exists, and this is my attempt and spreading the knowledge. 

22 tracks?  It should be expected  not to expect everything.  Our composer is the sound producer here, unlike in Kabuto.  So here we go. 

Opening track has Terumi giving her prayer to the Eight-Headed Dragon.  It was not given in the anime.  Nice flute music in the background, then rolls the eerie intro music.  Not a good start, they should have had that separated.  At least offer the BGM in a separate piece.  It was some good wind work.  Other than that, this is the best start.  Fortunately, it only happens for this instance.

1. 開かれし伝説の扉
2. 淡き想いに…
3. 闇からの胎動
4. 武速文献
5. 翡翠輝く時
6. 朱砂の王と地の龍と…
7. 五坊陣
8. 古しえの記憶
9. 悲しみを抱き止めて…
10. 逃亡
11. 龍目紋の龍
12. あつい想い
13. 天空の巨人
14. 去り行く女性の温もりは…
15. 八百比丘尼
16. 婚姻説話
17. 水蛯子
18. もう一人の巨人
19. 神々の戦い
20. 武神
21. エピローグ
22. 天翔 

I'm going to go even further with the opening sequence track.  Ethnically rich in Asian themes.  I wish the breaking sound in the film was included from the film.  After the tense intro music, a melancholic piece follows.  The piano sounds dated, or out of tune, but is probably was done purposefully.  An oboe accompanies the piano, adding more sadness.  Dark bass chords are struck at the  begining.  Then get darker nearing the end.  I remember feeling the pulse of the bass in the show.  Here it seems like just a sound.  The next two pieces are just as eerie and dark as the first.  Track 3 has evil night jingle.  Superb sound effects that gives you the chills.  Track 4 starts with woodworks and broken keys.  Electric guitar and windworking carry you through this isolated piece.  

The above can be quite disturbing.  Track four can be most irritating, but thats for normal minds.  Their dark and brood themes can be haunting.  Best to be enjoyed when alone.  I'm really happy with the inclusion of track 5.  A rock arrangement, infused with the gothic themed show.  Again, I was not feeling the percussion on this piece.  

Track 6 is the main fight theme.  Starting Koichi's realization, some acoustic flutes, then the percussion hits.  Though it was much more effective on screen.  Woodworking signifies the emergence of the monsters.  Quite a long piece, but needs to be louder.  

I'm guessing the tracks are in order of appearance.  That ends the first episodes tracks, and they've missed many unfortunately.  Second episode opener is here.  I missed it in the show, or I thought it was just sound effects.  Glad to have it.  Heavy drums and odd sounds give new flavor to the show.  Track 8 excellently spinkles with piano keys.  A great arrangement of the keys, that soon follows with a vocal.  Nothing different from the anime, but sounds even better here.  An uplifting yet emotionally low track follows it.  Track 10 is Koichi's escape.  Very enticing.  Its short, but the bass and acoustic guitar and flute changes the tone of the CD.

The first action piece of the second OAV.  Even more ethnic music.  Love the strings and flute here.  Gets one ready to fight a dragon.  The action has yet to start, but gets you ready for it.  Sound production has truly gone up in one episode.  A short intermission from actual soundtrack.  A short drama piece, track 12.  Either it's Koichi's or Juinbo's seiyuu.  I like it, the music used makes it a blessing with what he's saying, yet a burden that it is not a stand alone track.  It opens with harps, and then adds the dark piano keys with the jingles of track 3.  

Episode 2's action piece, in short, is amazing.  I don't recall any music from this episode, but it's all laid out excellently here.  I was really expecting Seichiro's and Sayo's Love and Escape theme.  Though what's offered here is making me forget that.  For track 14 and 15 comes back to the anime's dark theme.  The childrens chant is a welcome in 14.  Track 14 gets you down, but 15 goes even further.  My favorite melancholic ending theme in triumphant mp3 form.  Chinese fiddle strings with powerful acoustics that chorally fill the ears, reaching beyond the soul.  Great addition of the pounding drums.  Whether heard off the show or on this OST, these two tracks are going to make you cry.  And keep on wanting to cry. 

Given how both episodes ended on a bad note, and 2 ended even worse.  Ep. 3 is does not continue in such a manner.  Again, I don't recall any of the music standing out here.  Though, production values seemed to have gotten even better again.  It's opener is odd, but used the alien sounds to accurately depict the strange life form that was the subject of this story.  It is truly an aesthetic piece.  Violins sweep, flute alienates the listener, bass violin takes over, accompanied by chilling vocals all to trumbling close.  

Track 17 jumps to the female monster chase fight/scene.  This one sounds like techno, but uses mostly traditional instruments.  Track 18 is another superb action piece.  So well done, that I felt the size of the monster that approaches the city.  Truly gets the feeling that something big is coming.  All to a climactic end.

HoLLLLLYYY Helllll!!!!!  Track 19 alone puts all of Nagaoka's music to shame.  It blasts open with crazy drums and tense cello sweeps.  The gong/bell sound is perfect rendition of how epic this battle is.  More violins and strings show the intensity between the warriors.  Amazing drum orchestration makes for a perfect track.  

Next is the full ending to the first and last episode. Don't expect to hear it the same way off the anime.  It's more fleshed out here.  Bass guitar interlude in the minute and a half mark is beautifully composed.  Excellent high point struck, and well crafted ending.  Another drama piece after this, but the BGM is more of a music box deal, so I'm not mad it's not alone.  

The final track is another prized track among the prize that this OST presents.  The tragic song of the Susa/Koichi sacrifice.  Cause how can they make a song and not have it available.  When listening to this, don't expect to know the lyrics because the first verse was not used in the anime.  佐藤 幸世 or Sato Hiroyuki is the vocalist, whom I guess was a popular anime singer of that time.  Nagoaka gets her vocal chords to work in sync with the already emotional composition.  She hits the high pitch note, as is normal with Japanese Seiyuu, but does not even feel like it.  A very mature song, thankfully.  Love the whipping sound as the percussion.  Here is a taste of the previous few tracks.  Put some headphones on and listen carefully.

                                  

The packaging here suffers.  Though it is normal for Victor to just have a few pages, or just a panphlet.  The album cover is attractive, but more of that could have been inserted.  The only extra provided here is commentary by the creator/director Osamu Yamasaki.  Whom, I will be giving bio coverage of, eventually.  Though, the man in question, Mr. Nagaoka had no lines to speak.  That's ok, his musical voice is good enough.  Package Grade: 4/10

 

I really had a difficult time reviewing this OST.  That's because I have no education on what the sounds or instruments really are.  Even so, this soundtrack is so amazing, that I still can't find the right words to describe it.  Absolutely, NO track can be done with out.  Many BGM's are missing.  Though, what is here, cannot be denied.  Koichi's theme was probably left out, becuase it was upbeat and happy compared to the entire soundtrack.  I still think that this soundtrack could have been completed.  While the compositions are without peer, the sound was very weak.  Especially for the first episode.  They must have heard of Bass boost at that time.  It might be the greatest music, but it needs to be heard.  OST Grade: S++

Seek this treasure out!!!!!

JASDF 801st. Tactical Training Squadron: Music-Pod

Released on December 16, 1994 by BMG Victor Inc. and Lipop Record.  Catalog no.: BVCH-615

Ah, yes, another rare gem.  I would like to mention that I do have an extra copy(as of March 2012), for I can't find it on any site.    I couldn't wait to obtain this cd.  Only a few popped up for sale.  One way to tell this soundtrack is worth it, is the second is not.  Nagaoka has done the first three episodes of the OAV, mainly because there was a year before they continued it and another composer was picked up.

The second OST and remaining four episodes were done by Norimasa Yamanaka.  Whom, has done "Legend of Lemnear" and Hayashi's "Explorer Woman Ray", but she's well known for "Appleseed".  Her CD has been sitting there for a mere 300 yen since 2010, until recently.  Either, the seller had given up, or somebody felt sorry and decided to take it off his hands.  Poor Yamanaka.  Though, I will eventually try it.  After seeing it so long for sale, while Nagaoka's CD was fought for, I wasn't in a rush to get her take on the series.

Being impatient to receive this soundtrack, I looked up the show on youtube and wasn't impressed but by a few action pieces.  The opener was and still is one of the most attractive themes I've heard.  Though, the action pieces were making it a more painful wait.

01-01 虹になりたい(オープニング・テーマ|フル・バージョン)

01-02 801TTSのテーマ

01-03 オンボロ隊舎

01-04 科特隊801

01-05 更衣室ラプソディ

01-06 大怪獣ピョゴラ

01-07 夢,ふたたび(羽田のテーマ)

01-08 TAKE OFF!

01-09 EMERGENCY

01-10 めざせ!ブルーインパルス

01-11 スクランブル!

01-12 ウキウキMORNING

01-13 春風に吹かれて

01-14 WEEKEND OF 801TTS

01-15 静寂の午後

01-16 破局へのドッグファイト

01-17 黄昏のランウェイ

01-18 石動のテーマ

01-19 揺れる想い(三鷹のテーマ)

01-20 回想

01-21 傷心の三鷹

01-22 BLUE SKY DREAM

01-23 BLUE SKY DREAM #2

01-24 太陽があたためた気持ち(エンディング・テーマ|フル・バージョン)

01-25 虹になりたい(ラジオ・バージョン)

01-26 太陽があたためた気持ち(ビデオ・バージョン)

01-27 太陽があたためた気持ち(オリジナル・カラオケ)

01-28 おまけ#1 T-4/アイドリング

01-29 おまけ#2 T-4/フライパス

Let's start at the end of this disc.  The last two tracks are the sound effects to the aircraft.  It is credited to Nagaoka, surprisingly, but then again he is a sound designer.  It was not necessary, but it's a nice addition.  I don't think they were designed.  They do sound like authentic fighter planes, though listening through the tracks, it seems as though they were arranged.

I feel Victor Entertainment went above and beyond on this soundtrack.  Not only do we get sound effects to the aircraft, but also Nagaoka's first complete CD.  There is not a damn piece missing from the show.  They've even included the full opening and closers along with the ending karaoke, so you can enjoy them in their full glory.  But that's not all, you also get the short aired version of the songs.

Mayaka is the vocalist for the opener.  She does resemble Ai Orikasa's voice, though, but with a groggy voice and a high pitch.  The only problem I had with the opener is the drums.  They were altered on this cd.  I liked it a lot better in the show.  Here the drums sounded... less percussive.  Still, it doesn't take away from this excellent composition.  Seikou normally doesn't make great openers, or openers at all.  Mayaka's voice does hit the high note too high sometimes, which make it irritating, but makes up for it when she holds a note at a low key.  There is a jazzy feel to this rocking piece but you won't catch it right away or at all.  Nagaoka makes an excellent finish with his improv on the guitars.  This is J-pop at its finest.

Most of BGM's are short and rather stale.  The 801 TTS theme(track 2) is just as its titled.  Track 3 has a lazy bass guitar and some percussion, with laid back comical piano.  After that, we have nicely arranged jazz tune with some attitude.  I find it a more appropriate theme for the character Arisa Mitaka.  Number 5, again, your typical jazzy, slice of life, comical tune.

All the above are similar, yet do their job well.  It is the type of music that should play when nothing exciting is happening at an organization such as this.  This is standard fare for Nagaoka.  There just isn't enough time to grasp you and get you addicted to the cd with these short pieces.  None the less, sets the character and tone of the series.  Also, they sound like his work on the Tenchi series, but not to that level.  Actual sounds have been updated, as the beats can be felt and heard this time.

Track 6 is where this OST can enslave the listener.  Opening with militaristic snare drums, with some jazzy brass, followed by some ethnic Japanese woodwork and strings arrangement.  Even with the loop, it does not sound repetitive.  I love the gongs and crashing symbols, all the way to the end, leading to a excellent finish.

Miyuki Haneda's theme comes up and puts the emotional depth of the OAV on ground.  Seikou's piano is ever powerful and unique.  Violins carry the piece through, with the touch of acoustic guitar.  Soon after this track is done putting the feelings out there, we are treated with what I've been waiting for. ...

The stars of the soundtrack, Take Off! and Emergency!  These two pieces made the already boasting scenery that much more enjoyable.  The former is intense with percussion, yet just us uplifting with aerial guitars and brass.  Crashing symbols that touch the soul at the finish.  The later, also begins intensely, as the name suggests.  Wild casting of the drums open up the track, but then quickly recoups with bass guitar.  Then jumps back into the beat, and builds even heavier and more quickly on the dire situation at hand.  These two tracks alone are reason to buy this soundtrack at more than full value.

Following the gravity of the cd, is an anthemic track.  Nothing all that special, but it makes you feel as the danger has been averted and the good guys win.  Scramble brings us back to what makes this CD worthwhile.  Synthesizers bring out that sense of thrill and danger, as if you are actually going on a pilot mission.  Guitars make the serious sound with the addition of a great beat and well used brass.

 Fukifuki Morning is another slice of life theme.  It's more upbeat, with acoustic and bass guitars, along with progressive synthesizers.  Track 13 has some sweet melodic strings and oboe.  Weekend of 801tts, is standard character themes.  The only thing keeping it interesting is the use of percussions.  These are some of Nagaoka's weak points, but they are still more than passable.

15th track is reminiscent of Miyuki's theme, but more quietly adding other instruments to the synth.  Such as, the acoustic guitar again, and attractive keys.  Now back to another action track that begins with a fun beat.  Drums are arranged impressively here as well.  Then brass, guitars, and symbols take cover making for a catastrophic feeling.  The ending is held with an extra note of evilness.  A romantic theme follows the previous.  Though short and great, it is hard to actually get addicted to it.  Another minute long, acoustic theme follows that.  Wind sounds fill the background, giving a feel for the theme of the show.

Arisa's sad theme is just that.  Very similar to Washu's Heartache, but again, not arranged to that level.  Still these are Nagaoka's strength.  Even in failure to do better before, it's still better than everyone's best.  This track just fills the heart up with melancholy and joy.  Right after that, is my favorite sad piece, Memories, if my translation is correct.  Pianos instantly awaken the soul, then soon adding the acoustic guitars and synthesizers, finishing back with the dark keys.  One after another, Seikou Nagaoka pulls out another powerful piano piece.  This one tends to Arisa as well.  For a girl that is bold, sure gets the softest music.

Both Blue Sky Dreams are nicely done and arranged, but with a more bluesy feel to them.  Synthesizers may take away the grandness that the pieces are.  The first is the piano arrangement and it holds its own at two and a half minutes.  The second piece is shorted, increasing the pace of the previous with drums.

Concluding the BGMs section, I don't think its Nagaoka's best work.  It is very well balanced, though.  There is enough action, character interaction, emotion, and comedy to be weighted evenly.  Both his action and melancholic tracks were wonderfully done, which are the best here.  Below his best were the other ones, but I blame them on their briefness mostly.

Ai Orikasa and Aya Hisakawa sing the ending theme, The Sun Warms My Heart.  Although,  not as great as the opener, it is just as catchy.  I get the feeling of being on the beach with the Hawaiian themed rhythm.  Aya's voice similar to Ayeka's seiyuu, Yumi Takada.  Making this cd feel like another(possibly secret) Tenchi product.  i don't think the song was altered from the video like the opener.  If so, it's not affected so. The shortened version is just as good.  Both can listened through with a breeze.  The full versions end just as quickly as the short.  I wish the opening theme karaoke was included, as it is even harder to find the singles.

I didn't have scans this time, because I don't deem it necessary.  There is nothing extra to show, except the staff praising and interviewing the composer.  It is just text heavy too upload, unless somebody requests so.  Excellent cover designs.  Two pages of track titles, four of story coverage, two of character descriptions, one page of song lyrics, and finally credits.  Comes with CD sized sticker of the Airbats logo.  Package gets 8/10.

There is absolutely no reason not to have this soundtrack.  Unfortunately, the reason for that, few composers can get a high percentage of well produced music, such as this one.  Excellent songs, full, short, and karaoke, sound effects, and an actually completed collection of music.  This album gets an B+

Trust / A confession of TOKIO

Since only the TV version of Trust was available on the original soundtrack of He is My Master, I had to get the full version.  Not only was there just the one song, but another original and the karaoke.  Though I don't think the other song was based off of the TV series.  

01	Trust	4:18
02	A confession of TOKIO	4:34
03	Trust (instrumental)	4:18
04	A confession of TOKIO (instrumental)	4:32

Disc length 17:42

The new song is arranged by Hideyuki "Daichi" Suzuki and composed by Hiroshi Uesugi, though its probably not that important.  Daichi himself, has done a huge number of arrangement on many anime and game titles.  This song was done near the beginning of his massive career and it shows his skill.  A confession of TOKIO,  is probably the more attractive of the two, simply because of the opener.  Rocking base and electric guitars fill the airs, smoothly corresponding with Masami's voice.  Drums are strong and none of the other instruments clutter over each other. 

A tribute to the gals of He is My Master.  

I'm not stereotyping, but TOKIO follows typically in the J-pop genre.  Trust, however, is a bit more difficult to categorize.  Being an opener for anime, the chorus is too childish for popular music.  Pop music itself has been tending to children lately anyway.  Masami composes this piece, and Mr. Nagaoka completes it for her, making it an overall great piece.  Instrumentally, I do like it just as good as the other, and better.  Masami's lyrics works great and effectively with the backing guitars performed by Nagaoka.  

Seikou Nagaoka may not be the best song writer, but what gives him an edge over other J-Pop artists is his improvisations.  After the second verse in the song, when the electric guitar takes the lead, is what makes his arrangement worth listening to.  The drawback is, like I said before, the chorus that is slightly overdone.  Vocals were done just right for TOKIO.  I also think Masami's vocals were more mature in TOKIO, although in Trust, her solo was spectacular.  Thankfully, she doesn't bother hitting such a high note.  

Album:A+                     Package:6   

Both songs are a great asset to anyone's collection.  Masami Okui doesn't have the high-pitched voice that is standard of the anime industry.  That alone should be enough reason to own this.  I'm glad that the karaoke versions were included, as they were both great instrumentally.  Nagaoka especially gets kudos for his performances.  The only thing is that the background chorus' were left in there, though it shouldn't be much in the way of enjoying a vocal-less song.  In terms of package, I don't know why they would waste an entire CD, for it could have fit on a CDS.  

HONEYMOON, FOR THE MOON / DANCIN' TWILIGHT

 As I delve deeper into the giant music library of Seikou Nagaoka, I come across this lonely single.  Sitting on the hands of someone who clearly has no reason to hold on to it, I grab it off his hands.  As far as I can tell, this is Seikou's first venture as a solo artist.  He is the sound producer here, yet wasn't for his works on the Kabuto soundtrack, which happened a year later.  Judging by the cover, I assumed that these songs would be cutesy.  Being afraid so that I deafened my ears for what was held on this 8cm disc. 

01	HONEYMOON, FOR THE MOON	4:09
02	DANCIN' TWILIGHT	4:41

Disc length 8:50

First second playing, was a delightful percussion ringing through my mind.  Soon those annoying high pitched tones join the drum line, though are not that disturbing.  Synthesizers can be easily picked up, yet still the sound quality of the snazzy brass is quite enduring.  Lisp's vocals are actually do not screech, giving a smooth listening overall.  Each of the vocalists get their turn for their solo.  I am extremely satisfied with this song.  I can highly recommend collecting this single just for this one.  He does not perform so well with songs, but does an amazing job keeping the overall tone together.

 

Noburo Ishiguro has written the lyrics for these lovely songs.  Looking into the name, I see he's the creator of the anime for this series.  Not just holding that title, according to animenewsnetwork, he is basically the entire staff.  From director, writer, animator, design, along with few other members of course. 

 

Second song does not fare so well.  It's entirely a new beast, in its own regard.  Vocal performances are much more deep and relaxing.  Dancin' Twilight is a sweet ballad, and at times can be even better than the other song.  Although Honeymoon was composed by Kazunori Seki, Mr. Nagaoka can always transform someone else's writing for the better.  However, he seems to fall short for his original music sheets, but short by a spectacle. 

 

Seikou shows no signs of holding back in starting his career.  I still feel that his style has not changed compared to his recent releases.  That can be good thing, as well as bad. 

There was no bother to include karaoke versions.  It would have been a great addition.  The price of "NOT FOR RESALE" would indicate that this is a bonus.  Be happy just to have the songs. I hope to find out if there is more work that Nagaoka has done for this anime, Hoshi Neko Fullhouse.  Which at animenewsnetwork, credits the series composer to someone else.  So, most likely Nagaoka has done a few songs. 
Album:A-
 Singles don't really deserve a package grade from me.  Their price isn't all that demanding, although compared to the digital releases of full albums today, it is. 

Ryu ga Gotoku: Kenzan OST

Being picky can be dangerous for oneself.  When I like something, I tend to block out its anything similar.  That thinking is wrong.  Since I am attached to a particular thing, eventually and naturally, I'm going to get bored of it.  I have made a home for something, but there is a need to go out and experience something new.  

The reason for my monologue should be found relative in this paragraph.  Now, having played Sega/Nintendo's F-Zero GX and being exposed to its exhilarating soundtrack, I was glad to be introduced to a new musician.  Even though just about every track can be set on replay, it was time to explore something new.  Like what I had done with Soul Calibur's main composer, Nakatsuru, I will do the same here.  

Hidenori Shoji is the reason for my purchase here.  Only listening to his racing themes, did not prepare me for what was available here.  It was hard for me to skim through.  I was about put this up for sale, but I'm glad to stick it out.  Meanwhile, the supporting composers are Hiroyoshi Kato, Hideki Sakamoto, Keisuke Ito, and Yuri Fukuda.  

Ryua Ga Gotoku: Kenzan 

Released: March 5, 2008

Published by: Wave MasterCatalog: HCV-0381

CD Tracks

01 Roar of Ryu the Elder
02 Mourning
03 Shame
04 Danger
05 Mirroring Oneself
06 Mark That Drifts
07 Water & Melon
08 Non Blade Sword
09 TAKUMI
10 Blood Maker
11 The Leading Role
12 Brand-new Japanesque
13 dive to the mess
14 Dance Music from Ancient Japan
15 100 Execution
16 Immorality
17 Dull Color Fangs
18 For Will
19 Sneakin' Drive
20 baile con la mariposa
21 Swordplay
22 The Melody Played by a Patriot
23 Gion's Bowling
24 Playing in the Tatami Room
25 Thistle Shop
26 Dreaming Shop
27 Masochism
28 TSU-N-DE-Receive You
29 Platonic Love?
30 Demand The M-Shape
31 Ultimate Worldly Desires-feat.Tears Of Father- 

I'll start with the opening track and the smallest contributors.  Shoji's opener is very atmospheric.  Similar to his menu themes for GX.  It is chilling entry,  that soon sets on fire with the following tracks.  Jumping to the last track, composed by Yuri Fukuda and arranged by Hiroyoshi Kato.  Not what I would expect coming from a game set in feudal Japan.  It's a very upbeat, funky, dance, trance, techno,  Kidz Bop kind of tune.  I'm liking just by listening to it for this review.  However, it is more appropriate for a dance competition.  

Tracks 27-31, by Kato-san, are basically similar to each other.   Masochism, though same music as Tears of Father, is infused with the ambience of Shoji's opener.   The last tracks don't stray to from typical club music.   I don't find them particularly important, or belonging.  

Keisuke Ito does well in taking us back in time with ethnic Asian string arrangement in Thistle Shop.  Very laid back and soothing for the first minute, though he falters a little bit after.  Kato also plays with the fiddle in track 24, but Keisuke had more flavor.  Instead of striking the strings, Ito sweeps in with violins in Dreaming Shop.  The titles alone help make it easy to take in the music.  This track does not connect so much, and barely gets the feeling of dreaming across.  Maybe its for the best that he did not get any more tracks in.  

The real and best music lies within the rest of the tracks.  Mourning and Shame are handled by both Sakamoto and Kato.  The sound affects in Mourning can be creepy, and some ethnic sounds thrown in there.  Enough to twist reality, as if watching Serial Experiment Lain.  A minute into the piece is accompanied by a taunting beat and thicker bass.  Shame uses the previous creepy sounds, only with percussion, and the percussion can be frightening as well.  

Hideki Sakamoto goes alone in Danger.  This piece starts with shocking and electrifying percussion, alongside tense strings.  The strike of the thunderous gong and drums is what really attracts me.  Sakamoto's best, I must say.  In the Leading Role, we get some tribal beat and vocals.  Reminiscent of Crash Bandicoot themes.  The flute and woodwork are played out nicely with the tribal chants.  Water & Melon begins with unique funky guitar and gets some acceptable arrangements with electronic guitar.  Just about a minute in, Sakamoto starts rocking out the piece good.  For what little he has offered, he's doing as good as Shoji.

Kato gets solo and serious in Swordplay.  Like Sakamoto's Leading role, but without the tribal chants.  The beat is heavy with the drums, but then stops at about a minute for the emotional side.  For about 20 seconds, it feels like being in a war film,  and soon the percussion picks back up, keeping the melancholic melody.   Marking the Drifts is similar, but only consists of percussion and flute.  I guess I have my blogging efforts to thank for the chance to listen to others voices.

http://www.gamesetwatch.com/2009/07/ryuu_ga_gotoku_kenzan_interview.php

Above is a link to an interview with all the composers involved on this soundtrack compilation.  How they decided not to have the sound restrained to the games setting.  Personally, I would have liked Shoji to have challenged himself and the sound team to be restricted.  Even so, it is good to read while listening to the soundtrack.  

Mirroring Oneself sets itself well in the time era of the game.  Ethnic Japanese strings, flute and drums slowly calm the mind, for what is about to come from Shoji.  He starts building slow with Non Blade Sword.  Moving rhythm and beat, with a touch of jingle bells.  Takumi picks up further, with the heavier percussion of the previous and haunting keys, synthesized sound.  Hints of the tribal Indian chants occur, adding the overall atmosphere of this collection of music.  

Then the majority of Shoji's work consists of pump and drive metal.  Brand-new Japanesque is a funky jazz version of Blood maker, filled with spanish flare and guitar rhythm.  Dull Colored Fang follows in the shame fashion as the previously mentioned.  Electronic bleeps and bloops are just the rage in these tracks.  Baile con la Mariiposa differentiates by use of spanish guitar.  Flamenco is influenced well in this track.   Dance Music from Ancient Japan takes from Hiroyoshi's dance mania tracks, but stays true to the games theme with tribal chants and a more appropriate beat.  With all of the above mentioned, it does not stray to far from the racing genre.  

Diving further into Hidenori's electronic heavy music, we get 100 Execution, a gritty piece that does well for a couple listens.  Immortality has a very interesting beat, opening up with some hindu chants and soon paired with electronic vocals throughout the track.  Freakishly opening with odd guitars fading in, dive to the mess offers some more dark and fast paced music.  Sneakin drive opens with the fiddle, but soon is overloaded with ripping guitars and bass.  Even with guitars, this piece's overall decibels are among the lowest on the cd.  That is not a bad thing at all, as it gives room for the brain to breath.  For the last thirty seconds, the track slows down considerably.  Gion's bowling, is a rather simple track, giving the player the ability to focus on the game at hand.  Not worth getting attached to though.

For Will and the Melody Played by a Patriot are among Hidenori Shoji's best.  His emotions come out high and are well spoken in these two pieces.  The drums work alongside well with the brass and violins, in For Will.  Patriot, however, is the real gem, as percussion rolls in heavily, followed by sweeping strings, and fade in loud brass.  Then back to a solo percussion, followed by more powerful arrangement of the strings and brass.  It is evenly balanced with a beat and a melody.  

Package:3/10

This album's presentation is weak.  Cover is accurately designed, but it is very basic.  Does not scream, "Come and listen to me!!!"  The insert is only a pamphlet, as it consists just track names and the front/back covers.  Though the back(scanned below) is very attractive, and who can resist anything dragon related.  No interviews, commentary, staff input, etc to read off of.  It's just strictly music.  If I played the game, maybe that wouldn't matter to me.  

Thankfully, my purchase didn't turn out to be a waste at all.  Only a couple of tracks are not memorable, and at most, a third of the collection is passable for the ears.  Strong and enjoyable efforts from the supporting musicians, that I look forward opening my ears to again.  Sakamoto and Kato's style's helped make me appreciate Shoji's even more.  The entire sound team had created a CD filled with hip moving rhythm.  Sakamoto's classical style was most fitting for the games setting, unlike Kato's trance beats.  They did a nice job together, but it was Shoji's tracks alone that had the most juice.  He had everything the other composers had, but with a soul.  

Album:B+