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Awesome Music / JoJo's Bizarre Adventure

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When a minor villain makes a great guitar solo à la Eddie Van Halen, you know this series is gonna have some awesome tunes!

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Season One: The Animation (Phantom Blood (Part 1) and Battle Tendency (Part 2))
  • The first episode ends, and instead of the usual J-pop, we get "Roundabout" by Yes. (TV version here; complete song here.) Awesome. So awesome, in fact, that it in and of itself became a meme. The best part is in episode 14, where the middle of the song is used instead. So, when the credits arrive and you hear the iconic lyrics beginning with "I'll be the roundabout...", you'll definitely start singing along.
  • The second episode starts, and for the opening we get Sono Chi no Sadame! (JOOOOOOOOOOOOJO~), the kind of Ultra-Manly song we seldom see today outside of tributes to the Eighties. Even better: after being replaced by "Bloody Stream" for Battle Tendency, this song returns for the final battle between Joseph and Kars, as Joseph, driven by instinct, uses the Red Stone of Aja to trigger a volcanic eruption and launch himself and Kars up into the sky; sending the latter into orbit.
  • From the third episode of Phantom Blood comes "A Fine Fellow Shows Up", a short and underrated, yet no less awesome track that combines the elegant piano with deep, bass-boosted industrial tones to convey an aura of mystery and the uncomfortable feeling of uncovering dark, awful truths. It is a track heavily associated with Robert E. O. Speedwagon, and fittingly, it plays when he unexpectedly appears from the shadows to expose Dio's guilt in poisoning Jonathan's father and condemn Dio as the monster he truly is.
  • Just hearing "Destiny", AKA Jonathan's theme, tells you all you need to know. How you should beware the wrath of a good man like Jonathan, who is about to beat you and look cool doing so.
  • The Battle Tendency arc has a great soundtrack in general. It was done by Taku Iwasaki, who is practically a CMOA factory, complete with tracks by Lotus Juice. Yes, THAT Lotus Juice:
    • "Bloody Stream" by Coda. Not as manly as the first OP, but it makes up for it by being FABULOUS, and capturing the Fun Personified shift in tone.
    • The bridge section of "Roundabout", that only plays after certain episodes of Battle Tendency. Even more awesome and fitting when something suspenseful happens at the end of the episode.
    • "Pierrot Headroom", a chaotic track that takes some of the lyrics of "WELCOME TO THE WORLD" and sprinkles it all over the place, particularly at the halfway point. Too bad it's used for only one episode.
    • The Pillar Men get an absolute banger of a Leitmotif in the form of "Awaken", which emphasizes their immense age and power.
    • Stroheim's theme, "Propaganda", somehow manages to take the Übermensch writings of Also sprach Zarathustra and turn them into heavy-hitting lyrics that speak volumes to Stroheim's Patriotic Fervor.
    • "Fend Off", for the awesome scene where Joseph and Kars run off a cliff to chase the Red Stone of Aja in Switzerland. Also plays when Joseph fights Wamuu.
    • "Il mare eterno nella mia anima", an absolutely heart-wrenching opera piece more than fitting for what is probably Battle Tendency's biggest Tear Jerker moment. CAEEEEESAAAAAAAAARRR!
    • "Burning Colosseum", for when Wamuu unleashes his ultimate technique, the Holy Wubstorm.
    • "Avalon", for Kars' ascension to the Ultimate Life Form. With how tense it is on top of giving a sense of Kars' sheer power through its orchestra, choir and dubstep, it's the distilled embodiment of Mass "Oh, Crap!" in musical form.
    • I'm In Control, Joseph's Leitmotif, perfectly suits his Indy Ploy nature. When it starts playing, whoever's up against him is screwed.
  • Season: A wonderful farewell song that suits as an epilogue to the first season.

Part Three: Stardust Crusaders

  • The OP for Stardust Crusaders, "STAND PROUD", is just as excellent as the other two openings, while being SEVERAL TIMES AS MANLY. It's a badass, fast-paced, and uplifting song that encourages the protagonists to keep going and triumph over the ultimate evil if they "STAND PROOOOOUUUUUUD!" — all while the drums thunder on rapidly to evoke the shotgun-like sounds of Star Platinum's Rapid-Fire Fisticuffs.
  • And the new ED theme? None other than "Walk Like an Egyptian" by The Bangles.
  • Jotaro Kujo's main theme, aka "Stardust Crusaders". For the first two episodes, it's only heard at the end of the episode, whether during the "next episode" trailer or the credits before "Walk Like an Egyptian" took its place. However, after that, it effectively becomes Jotaro/Star Platinum's theme tune. The moment the two-metre tall high-schooler lets out a "Yare-yare..." and the guitar riff of this song cuts in, someone's days just got well and truly numbered. It helps that it sounds like a guitar-heavy remix of the OVA's opening theme, serving as a musical link between the two. And, when Part 4 (Diamond is Unbreakable) rolls around — eleven in-universe years later - the now twenty-eight year old Jotaro still gets his beatdowns and general awesome moments accompanied by this song! Perhaps the best appearance of this track is during the final confrontation between DIO and Jotaro on the bridge. DIO, having had his legs broken by Jotaro, tries to kick Jotaro using THE WORLD, and Jotaro counters by having Star Platinum punch THE WORLD in the knee. Star Platinum's fist cracks, and there is a moment of silence as DIO laughs, expecting Star Platinum to be destroyed and Jotaro, subsequently, to die. Then THE WORLD's leg cracks, and "Stardust Crusaders" has a Triumphant Reprise as THE WORLD shatters to bits and the vampire screams "WHAT THE HELL?!". This is easily one of Yugo Kanno's best works, given he was able to compose this masterpiece alongside the rest of Part 3's OST, and beyond.
  • "Virtuous Pope", an uplifting, heroic tune which plays for Kakyoin's and Polnareff's times in the spotlight. When this plays, you just know that the tables are gonna be turned on the bad guys.
  • "Setting Off". While it may feel a bit out of place for JoJo, it's nonetheless beautiful and calming.
  • Hol Horse's theme, "Wind in the Wilderness", an awesome combination of spaghetti western, Indian music, and techno.
  • And, from the second half of Stardust Crusaders, we have "Sono Chi no Kioku ~end of THE WORLD~", which features the bands behind all three of the previous openings. Awesome CG visuals, a rocking song and an ending of a triple ORAORAORA may make this the manliest opening in anime history. And that's the tip of the iceberg.
  • Also from the second half, Pat Metheny's "Last Train Home" is a perfect way to come down gently through the Awesomeness Withdrawal.
  • "Villain Concerto", the Oingo Boingo Brothers ED that appeared in the titular duo's debut episode. Not only does it replicate the hilariously terrible and creepy art style of Boingo's manga stand really well animated, but it's incredibly catchy as well. Both voice actors turn out to be great singers, especially Oingo. Notable also for being quite popular on the Japanese iTunes after it first aired, being number 20 at one point.
  • "Fool of Sand", just in case you forgot that Iggy is the coolest Boston terrier in the world.
  • "Space of a Lone God", Telence T. D'Arby's theme, highlights just how creepy this man and his... "collection" is.
  • "Shoot Towards the Decisive Battle", a tense theme that plays during and leading up to Avdol's death at the hands of Vanilla Ice, and when DIO is approaching Joseph and Kakyoin's crashed car.
  • "Time of the Decisive Battle" plays during some of the most intense confrontations in the season — such as when Jotaro uses Star Platinum to block DIO's attempt to decapitate him at the last second, and launches his Stand at the master vampire...all the while, the latter can only stare in shock as after being in control for most of the fight, he's FINALLY about to take the full wrath of Star Platinum head on.
  • "Requiem" is a massive Tear Jerker of a piece with a slow paced, heavenly choir and organ that plays when Polnareff watches Avdol and Iggy's souls ascend to heaven after Vanilla Ice is defeated.
  • "Awakening Darkness of The World" plays several times during the final episodes, notably during the first time we see the true power of ZA WARUDO in all its glory, featuring an epic reprise of DIO's theme from Revival of Darkness. What's more, there's a part in the song where the beginning of Jotaro's theme can be heard for a split second - a clever hint that Jotaro's stand powers mimic Dio's. And then it appears again in the final episode of Part 4 when Kira is finally defeated as the entire Duwang Gang faces him, Koichi stops him from using Bites the Dust, Jotaro freezes time, and Reimi and Arnold finally get their revenge. Again, a dead dog manages to use the battle theme of an immortal vampire Stand user and be that badass.
  • "Demon's Awakening" sometimes plays when a new stand is introduced. The strings give off a sense of power and regality, while the jazz guitar and bass can only be described as "sexy". Intense yet paradoxically also very chill, full of swagger, and featuring instruments commonly associated with the desert, the song almost sounds like the auditory equivalent of Part 3's own storyline.

Part Four: Diamond is Unbreakable

  • The first OP for "Diamond is Unbreakable", "Crazy Noisy Bizarre Town", tones down the hotblooded tone the previous OPs were famous for, but more than makes up for it by sheer catchiness and a more funky tone. Now with the EDM version.
  • The second OP for "Diamond is Unbreakable", "Chase", eschews the funkyness of the previous OP in favor of a "90s Rock" feel, perfectly encapsulating the extreme shift in tone that "Diamond is Unbreakable" undergoes during its second half. The acoustic version gives a more low-key, Beatles-esque tone to the song, which gives off a more calm and sad atmosphere than the song heard in the OP.
  • Adding to the list of fantastic OPs is "Great Days", with a more uplifting, hopeful tone after the intensity of "Chase". This was followed up in the final episode with the Units Version, which involves every single OP singer returning to lend their voices as JO☆UNITED to the final song of the season.
  • Okuyasu Nijimura's leitmotif is a fantastic theme which combines some metal and electronic music with his Stand's signature sound effect.
  • Yoshikage Kira's leitmotif, which is played whenever he appears on-screen, is an interesting piece that manages to both be whimsical and mysterious, while still managing to be dramatic and creepy at the exact right moments when the episodes call for it. It is the perfect tune for building up to the moments that really cement him as the main villain of the part. The remixed version of said leitmotif that plays when he is impersonating Kosaku Kawajiri is a noticably darker and more menacing version of the theme to play up the fact that he is not the normal man that he appears to be on the surface, and rather something way more horrifying. Bonus points for the track's opening chords resembling Harry Nilsson's "One", which is entirely relevant to Kira's desire for a life of solitude.
  • Koichi's theme, Courage, starts off reserved, gaining more and more instrumentation as it goes on until it's a bombastic orchestral piece to rival Josuke's theme. Perfectly encompasses Koichi's character arc.

Part Five: Golden Wind

  • The first OP we get for Golden Wind, "Fighting Gold", does not disappoint by giving us a more fast-paced intro piece sung by Coda that's only rivaled by "Sono Chi no Kioku" in sheer intensity.
  • The second OP, Traitor's Requiem, is a more dramatic piece that shows the heroes' unwavering courage in the face of the seemingly unstoppable King Crimson represented through a determined track following an oppressive opening. Oh, and there's an official English version. The King Crimson version of the opening is even more awesome with King Crimson opening up a segment of erased time where Diavolo gives a Breaking Speech in, admittedly janky, Italian about how You Can't Fight Fate right before the final verse, transforming it from merely a determined statement to an outright Shut Up, Hannibal! to Diavolo's fatalist mindset. The addition of a choir backing the final verse helps. Finally, the Requiem version of the opening has Giorno doing a menacing pose right before he stabs the Stand-creating arrow into Gold Experience, with the defiant "Hell no!" line directly in time with the full appearance of Gold Experience Requiem.
  • The first ending theme this time around is "Freek'n You" by Jodeci, a relaxing and downright seductive R&B tune. Which might be strangely fitting considering the amount of Ho Yay in this series.
  • The second ED, Modern Crusaders by Enigma. Unlike the seductive and hysterical Mood Whiplash inducing Freek'n You, Modern Crusaders pumps the viewer up for Bucciarati's group to rise up against The Boss and seize greatness by the reins.
  • All the members of Team Bucciarati have their own themes.
    • Giorno's theme is orchestral and high-intensity. Called "Il Vento D'oro"note , it is saved for his awesome moments. It even includes pieces of DIO's theme from Part 3! The usage of the piano solo from near the end has become the basis of the "epic piano/Giorno's piano/JoJo piano" meme, and by some weird extension the S🅱innala meme.
    • Bucciarati's theme, "Nella Cerneria"note , is an energetic tune which pumps up some of the most intense moments, combined with clean unzip sounds of Sticky Fingers.
    • Mista's theme, "Proiettile"note , is an absolutely banging techno track incorporating Mista's gunshots that is agreed upon by the fandom to sound like the kind of music you'd hear at a gay bar.
    • Narancia's theme, "Aero de Caccia"note , has a sense of urgency accompanied with manic violins which ramp up in tempo the further the track progresses which fits Aerosmith's destructive capability and speed.
    • Abbachio's theme, "Riproduzione"note . The music, as expected from Abbachio's rewind powers, sounds like it's being played in reverse, but you can also hear snippets of the others' themes in it as well. Tone-wise, it shows why Abbacchio's Stand is called "Moody Blues".
    • Fugo's theme, aptly named "Virus", is a terrifying piece which hits the point that you do not want to encounter Purple Haze one-on-one. It sounds a lot like a theme song for a slasher movie villain combined with Atum sound effects from Stardust Crusaders, and opens with a real-life biohazard alarm.
  • The memetic "torture dance", accompanied by an awesome song, matching the visuals perfectly like a mini music video. When the full version (fittingly titled "Canzoni Preferite"note ) was released, fans were not disappointed.
  • "La Strada Guista"note , a melancholy requiem played in honor of Narancia on his death.
  • "Magnetica"note , the theme of Risotto Nero. Absolutely ominous and absolutely metal, it establishes that the leader of La Squadra should not be fucked with.
  • Diavolo's theme, "Un'altra Persona"note , might be one of the most ominous pieces of music ever written. A terrifying, droning dirge of alternating rising and falling notes performed by a men's choir with the accompaniment of a pipe organ, it immediately gets across the menace of King Crimson and how absolutely fucked its victims are.
  • "Permanenza"note , as played during the infinite deaths of Diavolo. Not as ominous as Diavolo's theme, but the piano, strings, and reversed guitar riffs can guarantee to send chills down your spine.
  • "Vita"note  plays when Gold Experience undoes King Crimson's time erasure, and Diavolo's Villainous Breakdown as GER moves in for the kill.
  • An alternate version of Giorno's theme plays once when Gold Experience is first seen using its ability in battle, and again when it transforms into Gold Experience Requiem. It can be considered Gold Experience's theme, and it's basically the musical equivalent of Giorno telling the enemy that they're fucked.
  • "Cavaliere"note . A resolute crescendo of string instruments that echoes "Virtuous Pope" turns melancholy towards the end, played as Polnareff makes his last stand against Diavolo and dies.
  • "Un Sogno"note  is an inspiring and uplifting brass and strings piece representing Giorno's ambitions. Its reprise, "Determinazione"note , is a heart-wrenching piece that plays when Bucciarati's spirit wishes Giorno luck before departing. It sounds like something Hans Zimmer would compose.
  • "Figlia"note  is an upbeat, yet badass EDM piece that accompanies Trish taking down Notorious B.I.G.
  • "Pensare"note  is, as the name suggests, a reserved, yet unsettling piece that accompanies any scene of analysis or characters' inner thoughts, and it makes a triumphant return when Diavolo finds himself in the world of Gold Experience Requiem. The other version of this track, "Meravigilia"note , has more instruments and evokes a sense of mystery and wonder.

Part Six: Stone Ocean

  • Even before the anime's release, people were already singing the praises of Jolyne's theme, "Theme of Stone Ocean", and for good reason. Think "Il Vento D'oro", but with added elements of rock, jazz and even classical music, and to top it off, it borrows elements from Jotaro's theme.
  • For the first opening theme of the SO anime series, we have "STONE OCEAN", performed by ichigo (vocalist of Kisida Kyodan & The Akebosi Rockets). In a musical take on the good ol' Like Father, Like Son trope, this theme borrows cues from "STAND PROUD" (and has both the same composer and lyricist for this theme), especially noticeable with the guttural final note of said theme. But instead of having a hard metal-like vibe, it instead takes the punk rock route to reflect upon Jolyne Cujoh's character, and easily captures the grungy, chaotic feeling that Part 6 has to offer.
  • Enrico Pucci's theme, "Priest", comprised of foreboding church organs that progressively increase in tempo, is an utterly unsettling song that flat-out embodies the feeling of, "the end is near." It's not as malicious as Diavolo's theme, but perfectly captures the sense of self-righteousness and well-intentioned extremism that Pucci defines. Even better, the fanbase's first introduction to the song was through it accompanying footage of Tomokazu Seki, Pucci's voice actor, making a Grand Staircase Entrance onto the set. Whitesnake gets its own rendition of the theme, aptly titled "Whitesnake", which plays up the dangerous-sounding instruments to emphasize how monstrously vicious Pucci's Stand is.
  • The song chosen for this part's credits, Duffy's "Distant Dreamer", is an incredibly poignant and self-reflective song that embodies Stone Ocean being a Bittersweet Ending to the original continuity. Hearing it play one last time over Emporio seeing the results of Pucci's defeat is incredibly emotional.
  • Ermes' theme, "Sticker", while being in direct contrast to her Hot-Blooded nature, instead encapsulates the meticulous planning put into her revenge scheme against Sports Maxx, creating a track that's multilayered and proud-sounding.
  • F.F.'s theme, "Microorganism", plays into their longing for intelligence to create an analytic and quizzical theme song, not unlike Seto Kaiba's theme.
  • Weather Report's theme, "Weather", is an awe-inspiring techno track that fully encompasses his enigmatic, yet determined personality, having just the right buildup to land the right punches in moments of triumph.
  • Anasui's theme, "Dive", simultaneously manages to be both motivating and creepy, having a noticeable Progressive Rock composition that wouldn't feel out of place on a Pink Floyd album. Considering his helpful, yet disturbing nature, it's a theme that fits him like a glove.
  • Gwess' theme, "A Little Bird", sound like a deconstruction of a pleasant Snow White song, mimicking how much of a Bitch in Sheep's Clothing Gwess herself is.
  • Miraschon's theme, "Collector", is an incredibly sneaky and shady tune that highlights just how untrustworthy she is, much like Telence T. D'Arby before her.
  • The first song for Part 6 ever heard by the fans, "Creep On", is a worthy successor to "Approach" from Part 3 in how much it sets up mysterious situations that are yet to be solved with its foreboding composition.
  • "Pass Away", which plays during F.F.'s death scene, is a slow piano track that gives enough time to pay due to a beloved, fallen friend, while being encouraging enough to keep the audience going along with Jolyne.
  • While the second batch of episodes didn't change the opening theme, the third and final batch changes this in the most dramatic way with the appropriately titled "Heaven's falling down", performed by sana and her band sajou no hana, and composed by Yugo Kanno himself. And much like how "STONE OCEAN" takes cues from "STAND PROUD", this song takes cues from "Sono Chi no Kioku ~end of THE WORLD~", namely the added dread and desperation of the final act; the chorus especially feels heavy.
  • Ungalo's theme, "Fairy Tale", takes many cues from DIO's theme in Part 3, showing just how dangerous his children are going to be to the protagonists.
  • Donatello Versus' theme, "Under the Ground", is a rocking track that sounds straight out of an Underground Level from a video game, befitting the powers of Under World.
  • The anime-only scene of Jolyne, Ermes, and Emporio leaving Green Dolphin Street Prison gets its own track, "Get Excited", with a jolly composition that shows just how happy the three of them are to finally be out of the prison walls.
  • C-Moon's theme of the same name gives off the impression that the heroes are taking part in a losing battle, and time is of the essence, emphasized by how frantic the pace of the song is.
  • "The End of the Universe", the song that plays when Jolyne turns her body into a Möbius strip, is downright angelic, with a backing instrumentation that wouldn't feel out of place for therapy sessions, and chimes that emphasize the song's beauty.
  • Made In Heaven's theme, "Clock Works", takes the leitmotif of Pucci's theme and turns it into an ominous and hopeless song befitting a Final Boss. The ticking clocks during the beat drop only adds to how desperate it sounds.
  • The song that plays during the universal Reset Button via Pucci's Made In Heaven in the penultimate (and, is briefly reprised in the finale) episode, "Desperate Struggle", is... heavenly. Yugo Kanno's composition here is at its prime, and the usage of a full orchestra and choir (complete with One-Woman Wail to boot) to accompany the climactic scene of the entire series, makes for a dramatic, yet perfect end to Yugo Kanno's time as the composer for the anime since Part 3.
  • "What a Wonderful World" (not to be confused with the Louis Armstrong song it's named after), which plays after Emporio undoes all of Pucci's work, builds up to the Bittersweet Ending in the most dramatic fashion, complete with Ominous Latin Chanting to foreshadow the ambiguity of it all. While sadly not heard in its entirety in the anime, it ends with a heartwarming reprise of "The Return of Travelers", the final piece of score used in Part 3 and 4, and was even referenced in the finale music played at the end of Part 5. It genuinely feels like the end of an era.
  • The reprise of "Roundabout" serves as a fitting finale for both the original universe's conclusion and the beloved anime that shaped the childhoods of many.


  • The OVA's score, while not as memorable as the TV anime's, has an atmospheric horror-influenced sound and is composed by Marco D'Ambrosio. The first series' opening theme is one of the best in the whole soundtrack.
  • "Eastern Heart, Western Mind" is a very whimsical and catchy drum, trumpet and flute-based theme that starts out with an epic Indian-style sitar bridge. It just fits perfectly for going on an adventure.
  • Hol Horse's theme — from "Polnareff's Feelings" in the soundtrack — is a short but awesomely sinister hard rock-based cue that fits the gunslinger's Adaptational Badass nature down to a T. It notably punctuates him first rolling in on his motorbike with Hanged Man in tow, and him attempting to assassinate DIO.
  • "Jotaro's Final Bet", which accompanies the iconic scene of Jotaro battling Daniel J. D'Arby in a poker game, is a particularly tense piano, "Psycho" Strings and horn-based piece that gradually increases in intensity (to the point of Creepy Circus Music levels) as the match comes to a head. You know it's good when quite a few consider the OVA's take on the scene outright better than the anime's in no small part thanks to it.


  • While it may have been crappy enough to never be released on DVD, the Phantom Blood movie at least had a cool theme song. It is essentially a giant "I Am" Song for none other than Dio Brando himself, containing lyrics that contain nods to Phantom Blood, Stardust Crusaders, and even as far as Stone Ocean - and you'd better believe that it does him justice. There's also a live version.
  • The OVA adaptation of Thus Spoke Kishibe Rohan opens with "FINDING THE TRUTH", a gloomy, X-Files-esque track unlike anything else in JoJo that quickly sets the tone for Rohan's mysterious tales. There's also the full version sung by Coda and Karen Aoki, whose melancholy vocals add a twinge of sadness to the song.
  • JoJo's Bizarre Adventure: The anthology songs; a three-volume collection of songs done by the three men behind each anime opening, featuring covers of their respective openings, and several Image Songs based on the first three JoJos and the rest of the Stardust Crusaders protagonists. And they're all awesome.
    • Tommy's album features a newer version of "JoJo ~Sono Chi no Sadame~", which is sure to get your head banging, "Fire of Soul", a catchy and awesome tune for Avdol, "GO WEST", which follows the story of the first half of Stardust Crusaders, and the stunningly beautiful "Mirai he no Isan -Jonathan's Ballade-" for Jonathan Joestar.
    • Coda hits us with a funky remix of "BLOODY STREAM" which is sure to get you grooving, only to be followed by the somber "Goodbye Nostalgia" for Kakyoin, which just makes you want to give the poor guy a hug. After that is the slow yet catchy "IGGY WALK", for the Joestar Egyptian Tour's nonchalant Team Pet, and closes with "Crazy my Beat", a Joseph Joestar song bound to get you dancing along.
    • And finally, Jin's album starts off with the spine-chilling "Dramatic version" of "STAND PROUD", followed by a hammy yet equally awesome song called "OH MY GOD, JAHHHHHHH!" for none other than Old Joseph himself. Polnareff is gifted the smooth and happy song "NAKED SILVER", which expertly captures his suave personality, and the album closes with "STAR PLATINUM" for the badass main man of Stardust Crusaders, Jotaro Kujo.
  • Taiga has made covers to all of the Jojo openings without fail, and they are just as incredible to listen to as the originals.
  • We.B has an English cover of "Crazy Noisy Bizzare Town", and it's made more awesome thanks to the vocals of Billy Kametz, the English voice of Josuke.
  • Vocus Pocus has been busy making awesome Swedish covers of some of the openings, starting with Fighting Gold, following up with Bloody Stream and then Sono Chi no Sadame. They all really manage to bring to mind the golden era of dub openings.
  • A quite homey Swedish rendition of Great Days manages to stand toe-to-toe with the original.

    Video Games 
Heritage for the Future
  • If there is one thing that JoJo's Venture has over its update, JoJo's Bizarre Adventure, it is in the Opening Theme, which the home ports of the latter kept.
  • The inspiring theme of the main hero, Jotaro Kujo.
  • The elegant theme of Noriaki Kakyoin.
  • The heroic theme of the our favorite French Crouching Moron, Hidden Badass, Jean Pierre Polnareff. It's so good, it even got remixed in the GioGio game.
  • The next thing you will say is: "The daredevil theme of Battle Tendency's JoJo, Joseph Joestar".
  • The I-Don't-give-a-damn theme of the Team Pet jackass Iggy.
  • I, DIO, have a theme superior to everyone else's, because I, DIO, am a boss of this game.
  • As an addendum to the above, Shadow DIO's splendidly creepy theme as well.
  • The ever-menacing theme of Vanilla Ice keeps players engaged in battles against him.
  • The once-faceless Midler enters the challenge with an alluring and mysterious theme, fitting her bellydancer-inspired redesign for this game.
  • The theme for the resident Game-Breaker Pet Shop, which surprisingly sounds Italian.
  • Alessi gets a theme that's very fast-paced, catchy, and has both goofy and seriously vicious undertones befitting a hammy, eccentric would-be killer like himself.
  • Hol Horse's theme is an epic Spaghetti Western-inspired piece that really plays up his nature as a wandering gunslinger, with special mention going to the atmospheric harmonica solo towards the end. It even made it into Sonic Robo Blast 2 Kart as the theme for the Barren Badlands track.
  • Chaka gets a slow-paced but sinister Egyptian-inspired theme that reflects Anubis' raging bloodlust beneath what initially appears to be its wielder's calm exterior.
  • In the PSone version, even Dirty Coward extraordinaire Steely Dan gets a fast-paced, threatening theme with a visceral edge to it: fitting for his difficult-but-awesome Unexpected Shmup Level ("Dreadful Lover") that takes place inside Joseph's head.

Vento Aureo PS2 Game

  • Giorno Giovanna's theme. Being the main theme of the game, it's naturally a bombastic piece that just screams awesome once started.
  • Bruno Bucciarati's theme. Just like the rest of the game, deadly Italian flavour for the Passione big man.
  • Black Sabbath's theme is a menacing and somewhat somber tune that amps up in intensity halfway through, boosting the urgency of the situation and Black Sabbath’s intimidation factor.
  • Illusio's second theme. Used in Abbachio's fight against him, flavoured with a perfectly warped feeling for fighting inside a mirror world.
  • Cioccolata and Secco both share a similar melody only tailored to fit their fights better. Cioccolata has a slower more ominous feel while Secco has a high-energy crazed feel to it.
  • Gold Experience's theme is an orchestral theme showcasing that hell will break loose.

All-Star Battle/All-Star Battle R

Eyes of Heaven


Alternative Title(s): Jo Jos Bizarre Adventure All Star Battle