Tenchi Muyo! Ryo-Ohki Ongaku Hen 1

PICA-1003 

'92.08.25

 

I remember a different version of the cover.  Mihoshi was in place of Washu.  I find that odd, that all characters are shown before the release of the first episode, which comes out a month later.  It's a good way to get a feeling the characters before they go on screen.  Though, I'd rather have them come out as a surprise, then have this come out.  Anyways, there is a lot planned for the future with this CD.

 

One would expect an OST to mainly consist of, well, ORIGINAL MUSIC!! There are 8 short dramas, couple character songs, few instrumentals, and OP/ED themes in their full glory.  Chisa Yokoyama, Sasami's Seiyuu, sings the ending theme. Composed by Ikuru Fujiwara, the man behind most Pioneer/AIC theme songs.  He does an excellent job of capturing the fun in the anime in this one song.  Chisa's voice is actually not that annoying.  I can listen to this song without any qualms.  Even when compared to the amazing English versions.

Unfortunately, the original OAV theme opener does not lay anywhere on this disc, but we do get the Original Version and the Re-Mix Version.  Oddly, they place the remix first and the original last.  The original, of course, stays true to the opener, only getting into the main arrangement immediately.  Some haunting vocals have been added. Love hearing the bass.  Drums are masterful.  The jingles and japanese acoustic give great flavor.  Just when you think its over at 1:50 it loops, but doesn't give the feeling of repitition.  As Nagaoka, improvises it even further.  The remix version, is not necessary, and kind of can be a turn-off.  The drums are more ethereal here, as well as other instruments.  I was expecting more use of synthesizers, but all instruments sound authentic on this one.  The piece does feel a little slower.  I actually I am happy with the turnout. 

I've avoided the character songs for to long.  If not for this review, I wouldn't have embraced how well done these songs are.  Ryoko's seiyuu, Ai Orikasa, takes the mic in Daiichi Hakkensha Blues.  The smooth rythym posed in this song goes along with the cover.  As in, it gives off the whole jazz club feeling.  Nagaoka and Oriakasa should go together more often.  She does express her seduction as the character would in this song. 

Away from the R&B section, Yumi Takada, poses as Aeka, and sings us a ballad.  Seikou puts the Juraian themes in this song.  Piano, harps, oboe and snare drums occupy the entire track.  Takada is accompanied by some male vocals at the end.  All leading to a triumphant finish. 

Both Takada and Orikasa follow Masami Kikuchi in a duet, only with three people.  Ueno No Koi No Monogatari continues the rythym and blues theme.  I guess jazz and R&B is not so bad when in the hands of Nagaoka.  Ryoko and Aeka bicker with each other, trying to out sing one another.  The song almost falls apart hilariously at the end. 

Now for the radio dramas, constructed by none other, lady Nahoko Hasegawa.  It's worth actually getting into these voiced adventures.  Out of the Tenchi dramas, these are my favorites, because she truly expresses the characters in a unique way.  Hayashi Hiroki even sketches out the scenario for each drama.  Giving an extra method to understanding the dialog for non-Japanese speakers.

Mini-Drama 1 sounds like they are at bar.  Again, accurately depicted in the sketch above.  Ryoko is daydreaming or something and Aeka breaks the fantasy.  Then Aeka gets drunk as well, and she gets into her monologue.  Things get wild with some rapid footwork.  Aeka gives some shock therapy that tickles Ryoko. 

Ryoko's Theme follows.  A great representation of the character.  In one of the many Tenchi books, Seikou states that Ryoko is his favorite character.  It certainly shows here.  The track is filled with a strong beat, synthesizers depict Ryoko's fiestiness, and at the same time her lonliness. 

Second mini-drama, is a short Ryoko monologue.  Tenchi and Sasami are spying on her.  Trying to keep quiet and laugh at Ryoko's thoughts.  Ayeka gets the third mini-drama, for the full 30 seconds.  Then in the fourth, it's both of the girls, discussing something.  Aeka looks for Tenchi's attention, but does not respond.  She then yells for a response.  Ryoko laughs at the relationship.  Tenchi seems very overpowered here, but at least he says somethings.  Sasami is picked on for some reason. 

The middle of the OST has some long instrumentals.  The first is the Ryo-Ohki Summoning, or Sneaky Tenchi theme.  Bass, violins, and some acoustics quietly fill in for two minutes, before some percussive instruments take charge for another two minutes.  It feels tense as it should, and the synth helps add character.  Aeka's theme follows.  Might take some time to actually like.  Percussion and ethnic Japanese strings set the mood for the piece.  Acoustic rythyms and pace establish the peaceful and proper nature that is Aeka.  The opposite of Ryoko.  Don't skip this theme, becuase then the character can't be fully understood.

The Destruction of the Saito Bridge, begins with synthesizers and a beat, signifying that something is emerging.  The intensity builds, before some snare drums and ticking sounds give it speed.  The oboe moves in for the evolution of the BGM.  Guitars start getting pressed on to show the gravity of the situation.  At two minutes the action begins.  Oboe, clarinet and strings represent the fall of the ships.  An epic track that deserves the repeat treatment.

Mini-drama 5, has Tenchi on the edge.  Sasami and Aeka try to play karaoke.  Sasami comes out of no where laughing in the sixth drama.  Tenchi is running again. 

Another Aeka BGM insert.  This sweet piano/oboe ballad is very welcoming, but is put to shame by the next BGM.  The instrumental gem, Royal Teardrop of Jurai.  I'm not even going to describe how powerful this ensemble is.  A majestic symphony.

In the 8th drama, Ryoko sings her song which wakes up and annoyes Aeka.  Whereas, in 7, Ryoko and Aeka are sneaking in the middle of the night and cross each other.  They do battle. Aeka seems to be doing some damage.  Sasami is awoken, wakes up Tenchi, and he has a fit by the girls destruction.  They simmer down and pout about it. 

Kajishima provides the character illustrations.  Artwork that I cannot find in any other Tenchi media. The Washu uniform is sleek.  Wish it was used in the anime.  Pioneer does not mess around when it comes to extra's, but where is the music.  The booklet is complete with images and descriptions.  In my opinion, over the top design.  Booklet barely fits in the case.  Package: 10/10

What is provided here is beyond complaint.  The cuts between the tracks were off.  It was as if it was all recorded in sit.  A split second of the drama echoes into the BGM song.  The BGM song carries on into the drama.  With only 6 actual BGM's, it's hard to really grade the musical world of Tenchi.  There could have been the Tenchi and Sasami themes at least.  Aeka's themes may bore the listener, but they are quite essential.  The rest of the soundtrack is a party, and Ryoko alone is a fiesta.  Album: A...

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+