#kaoru wada

プリンセスチュチュ15周年コンサート「金冠町音楽祭」(21周年突入)

@kinkangakuen

𝕀𝕟𝕦𝕪𝕒𝕤𝕙𝕒 𝕡𝕣𝕖𝕞𝕚𝕖𝕣𝕖𝕕 𝟚𝟝 𝕪𝕖𝕒𝕣𝕤 𝕒𝕘𝕠 𝕥𝕠𝕕𝕒𝕪!!!

40 tracks including almost all characters' themes, minus Tōtōsai's, Hōjō's and (quite strange) Naraku's. (Maybe I wasn't paying attention? It's TOO strage. We will see after my second listening).

Surprisingly enough there's Jakotsu (🥳) but not Ghastly brothers (😔). Suikotsu's theme is also present but, if you remember, it has 3 different moments, the first is quiet, the second more anxiety-inducing, the third is ominous. This cd version has only the latter.

Bright spots: Like a Storm, Kikyō's Heart, A Bit of Kindness, A Difficult Situation. (I'm mentioning only these 4 for the simple reason that they are the ones I was most unsure I would find).

Anyway 5 are missing, and this just... stings, for we are talking about those 5 that you shouldn't even be allowed to not include in a best of cd: Sorrow's End, Beautiful Memories, Searching for the Shikon Jewel, One Day in the Village and Living Buddha Hakushin.

Even so though... I treasure this object, I hold it as the most sacred relic, truly. What kind of Inuyasha fan you are if you don't have at least one cd of the legendary, epic ost.

Uncommon choice of colours for a disc of Inuyasha, but it certainly looks hypnotic. My complete approval.

Now. What follows from here on out, for every page uploaded in the present post is the translation I could get from Google Lens (with some amends on my part). Anyone with language proficiency who'd like to add/rectify things can freely do it in comments or reblog.

"Half-Demon Inuyasha" and the song when Miroku opens a hole in the wind. It's cool - Rumiko Takahashi

Inuyasha is still going strong! - Kappei Yamaguchi [Inuyasha]

Thank you for always supporting Inuyasha. Let's continue to make Inuyasha even more popular together - Satsuki Yukino [Kagome Higurashi]

Left page:

Inuyasha, which began airing in October 2000 and has had three soundtrack albums released over the course of about four years, has become my most important masterpiece. Now that the TV series has finished, I'm able to produce a greatest hits album, which could be considered a culmination of the series, and I'd like to take this opportunity to express my gratitude to the wonderful staff and cast who came together to create such a unique work as Inuyasha, as well as to all the music fans who have given such great support to the soundtrack, which is usually an unsung role.

Through this best album project, I was able to look back on the four years I've been involved with Inuyasha, and I often found myself overwhelmed with emotion as I realized how many events have taken place both in my personal and professional life.

I was asked to compose the music for Inuyasha when I was still working on the music for the previous Monday 7pm series, The Kindaichi Case Files. I was immersed in melancholy at the end of Kindaichi, which had been running for three and a half years, so it was difficult for me to switch my mindset.

Right page:

I remember thinking, "I'm a big fan of suspense music, but the new show Inuyasha is a very broad genre, combining period pieces, monster stories, romance, and action". And since it was based on an original work by the popular author Rumiko Takahashi, I was extremely enthusiastic about the project.

When I started composing, I was given over a dozen volumes of the original manga and read them all in one go, and decided on the direction of the music at that moment. The first one I composed was for Hanyō Inuyasha, and I was able to come up with that melody motif right away without any hesitation. Usually, when I create a motif for a soundtrack, I often agonize over it and it takes quite a long time, but Inuyasha was different.

This is my composition style and. musical approach to Inuyasha.

Midpage headline: For a new beginning

It was simply because the two were in the same spectrum. I compose pure music (so-called contemporary music) for orchestra and chamber music, and the theme of the pieces is "awakening the heart through Japanese sounds." This "Japanese sounds" and "awakening" were a perfect match for the music of Inuyasha.

I created over 120 songs for the TV broadcast, and among them I was able to reduce my musical output to pure music, while also using modern techniques for Inuyasha. This kind of thing is hard to do in prime-time anime, but in the case of Inuyasha, I think it created a great synergistic effect that I was able to demonstrate.

Well, I had a lot of trouble deciding on the songs this time, but I was able to make it based on requests from the staff and cast, as well as my homepage.

The songs were selected through a selection committee, taking into consideration requests collected on the program. When I looked at the selected songs, each one brought back fond memories, and I was reminded of the scenes that were used in the program.

Of course, we couldn't leave out the themes of each character, including the five regular cast members, but surprisingly (?) the most popular request was Kagura the Wind User. Sango's songs were also popular among the staff, and among the characters, she had the second most arranged versions recorded after Inuyasha. The TV version of the main theme from the first theatrical film, Affection Touching Across Time, was also very popular, so when composing the song, we recorded it with the image of the final episode in mind.

As a special bonus track on this best album, this TV version includes the most requested song, Hanyō Inuyasha as well as a newly composed theme song for the Three Demon Men, Inuyasha Fuyakashi, Sesshomaru, and Naraku. Recorded in Russia's largest studio with a large orchestra of approximately 80 people, and featuring flute player Shigeyasu Fujisaki from Japan, it features a powerful bonus track.

At the beginning, I wrote that this is a best album that is a culmination of our work, but our journey with Inuyasha continues. This album is a "culmination for a new beginning," so please enjoy this best album until we see (or hear) it on TV again!

Composer Kaoru Wada

All of Kikyō's songs are beautiful and wonderful. I would love to play a role where I appear with such beautiful music playing in the background (lol). Even though she speaks in a mature manner, when I hear this theme, I feel warm and fuzzy and think, "Piho* is still a child after all." It's so cute and I love it - Kumiko Watanabe [Shippō]

(*I'm not sure about the translation here 🤔)

The staff and cast are like family, and the work is filled with love. Everyone, please continue to support the Inuyasha family! And you, reading this, are also part of the Inuyasha family (lol) - Kōji Tsujitani [Miroku]

In Kohaku, Sango and Kirara: The Secret Flower Garden, the final scene was set to music, and there were no lines spoken on purpose... I was blown away. I'm grateful that they created an emotional theme song that captures the kindness and strength of Sango - Houko Kuwashima [Sango]

Thanks to everyone's support, we are able to enjoy performing. Please continue to support Inuyasha - Ken Narita [Sesshōmaru]

One day, I happened to go to a nearby video rental store. As I was spacing out, I heard heavy music and dialogue that sounded like a period drama. Was it a Kurosawa film? Or a recent V-cinema? I was curious... and it turned out to be Inuyasha. The music and sound effects were unlike anything I'd ever imagined for an anime, and I thought this was a strange one - Yūichi Nagashima [Jaken]

I think it's a work that gives courage. It has its own feelings. I'm sure the feelings will be conveyed to everyone... - Mamiko Noto [Rin]

All of Inuyasha's music is wonderful, but I'll never forget the strange feeling I had when producer Suwa told me in the episode where Kikyō is killed by Naraku, "Your death will be a big hit." It was like I was happy, but also sad... - Noriko Hidaka [Kikyō]

(My note: good thing to have at least a pair of messages from Mamiko Noto and Cho aka Yūichi Nagashima, considering that we couldn't have even the smallest crumb of art of the Sessgang in this booklet. Also: how strange is it to actually witness Sesshōmaru saying to support Inuyasha lol).

In episode 100, The Truth Behind the Nightmare: The Battle in the Forest of Sorrow, each character faces their own weaknesses and overcomes them. I thought this was a step up for the second season of the Inuyasha anime - Michihiko Suwa [Producer, Yomiuri TV]

I have many memories of the first season since the series began airing. The episodes in which Miroku appeared (episode 16) and Sango appeared (episode 24) were episodes in which Rumiko Takahashi's manga came to life and had sound! These were the episodes that really made me feel the joy of adapting an original work into an anime - Tomioka Hideyuki [Sunrise Producer]

The Seven Squad left a lasting impression on me. They were set up as dead people, not monsters, and although they were evil, I found the sadness they harbored interesting. Inuyasha and his friends' journey to pursue Naraku still continues, but I would be happy if you could listen to the music and think about Inuyasha and his friends' exploits so far - Yasunao Aoki [Director]

We took great care to preserve as much of the nuances of the instrumental composition unique to Inuyasha, such as the powerful attack of the shamisen and the powerful bass of the odaiko drum - Yasushi Nagura [Recording Coordination]

The Inuyasha TV series began airing on October 16, 2000.

The music for the opening scene of episode 1 is Death Battle..

Consistent with the original story, which began with a clash between Inuyasha and Kikyō, the Inuyasha anime also begins with a tragedy.

Unlike the film version, music for television was not scored from a storyboard, which was a visual blueprint.

It was produced in advance according to a series structure for the time being, covering a year's worth of content.

The music prepared for each theme was actually waiting for the moment it would encounter the animated footage.

Yōkai-nii Sesshōmaru is music that evokes the image of the seductive and elegant Sesshōmaru.

It perfectly matches the first scene in episode 5, where Sesshōmaru buries the grave guardian wolf and destroys the warlords.

The scenes Bad Priest Miroku and Wind Void used in episode 16 also beautifully portray Miroku's dual nature with their wit and thrilling action.

Exterminator Sango used in episode 24, portrays the centipede extermination scene at the beginning, where she is a young girl but is very skilled.

Midpage headline: Inuyasha TV Series: A Rendezvous of Visuals and Music

Kikyō, the Unlucky Shrine Maiden is also used in episode 23, a sad song about the reunion of sisters Kikyō and Kaede after 50 years.

The music section, created in the second year, features music that expresses new characters such as Kōga and Kagura, as well as the added battle song Soaring Sango further enhancing the depth of the battle action.

Many songs from the Seven Squad story were prepared for the third year's music edition, but among them, The Seven Squad Leader Bankotsu Appears and We Are the Seven Squad were used in episode 110, the scene where Bankotsu makes his first appearance, and in a previous episode where all seven members are gathered together, giving momentum to the episode.

On the other hand, Inuyasha also had many memorable scenes in which music was composed to match the visuals.

The highlight is episode 167 (the final episode*).

To Love's End was played during the scene where Kagome bravely supported Inuyasha while her feet were dipped in acid.

Afterwards, the two join forces and perform a series of moves called Like a Storm that shatters the demon's stomach.

The ascent from the beautiful melody to the exhilarating orchestral music is a key point in the drama and is unforgettable.

*Meaning the final episode of the first series, because The Final Act at the time (2005) hadn't come out yet.

[Picture of Inuyasha and Kagome from the cover of the DVD of episodes 126-128 and inspired by a scene from episode 126, Transform Heartache into Courage!].

Vertical headline: Inuyasha's journey continues to this day.

About the Soundtrack Best Album

When a meeting came to a close on the recording site of the soundtrack for the film Inuyasha: Fire on the Mystic Island, which was released in theaters in December 2004, the phrase "best soundtrack" was mentioned, and this project began.

Since then, we have been able to catch up with Wada, who has been busy at the production site.

There were many discussions about this album, especially about the weekly songs.

We have decided to narrow down the songs to be included with the cooperation of the original author, Rumiko Takahashi, cast members familiar to fans, and key staff members who are the driving force behind the Inuyasha production team.

Honest comments about memorable scenes and music from the TV series and movie series.

A heartfelt message to everyone who has picked up this CD...

We received your comments and used them as a guideline to create scenes that would overlap with Inuyasha and his friends' exploits.

A meeting was held to select the songs.

Wada's website has also received many supportive comments and song selection requests from many people.

I would like to take this opportunity to express my sincere gratitude to everyone who cooperated with us. Thank you very much. This album also includes bonus tracks that no one has heard before.

Along with the numerous comments published in the booklet.

Please enjoy the carefully selected Inuyasha soundtrack.

By the way, have you read the latest issue of Weekly Shonen Sunday? Yes, I have.

Inuyasha continues his journey with his precious companions.

As their bonds deepen and their hearts grow...

Finally, Yomiuri TV Producer Suwa said,

I would like to conclude this section by sharing a message with you all.

"All of us on the staff are serious Inuyasha fans.

I look forward to enjoying the "Inuyasha World" created by Rumiko Takahashi together with everyone.

It would be wonderful if we could continue to create new anime series based on Inuyasha."