Dragon Ball & Dragon Ball Z Daizenshuu

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Dragon Ball & Dragon Ball Z Daizenshuu
ドラゴンボール/ドラゴンボールＺ大全集 DRAGONBALL/DRAGONBALL Z Daizenshuu Dragon Ball & Dragon Ball Z Great Complete Collection
Release Date	01 April 1994
Format	Compact Disc
Catalog Number	COCC-11547 COCC-11548 COCC-11549 COCC-11550 COCC-11551
Price	¥10,000 (CD)
Tracks	104

Dragon Ball & Dragon Ball Z Daizenshuu is a collection of Dragon Ball and Dragon Ball Z songs and background music (BGM) composed by Shunsuke Kikuchi. It was released in Japan on 01 April 1994.

Overview

The Dragon Ball & Dragon Ball Z Daizenshuu was released in 1994. While much of its contents were previously unreleased, 14 of the 27 tracks on disc 2 are taken directly from the Dragon Ball Ongakushū released on vinyl in 1986. The Ongakushū was re-released on CD in 2003.

The liner notes suggest that the people who had originally compiled the BGM into suites for the Ongakushū were no longer around, and the people compiling the Daizenshuu were forced to speculate about the reasoning behind the suite groupings. They were able to explain directly for the other suites that they had compiled.

Disc 1 is a collection of theme songs from Dragon Ball, including the opening, ending, and various insert songs.

Disc 2 replicates the entirety of the Ongakushū release, but adds 13 additional tracks featuring BGM from the 21st Tenka'ichi Budōkai arc to the end of the Dragon Ball TV series.

Disc 3 is a collection of theme songs from Dragon Ball Z, including the two openings and endings and the various insert songs.

Disc 4 is a collection of Dragon Ball Z BGM grouped into suites in the same style as the Ongakushū release.

Disc 5 contains BGM suites from both Dragon Ball and Dragon Ball Z.

Contents

The BGM on disc 2 are grouped into suites of 3-5 pieces each, bookended by the series opening and ending. Suites are highlighted and the individual BGM pieces they contain are detailed underneath. The booklet accompanying the CD box set includes detailed notes for each track, which are included in the tables where they have been translated.

Disc 2
# α	Title/Catalogue	Key	Length	Booklet Notes
1	摩訶不思議アドベンチャー！ Makafushigi Adobenchā! Mystical Adventure! (TV Size)	F Minor	3:53	The opening theme song is included here in its TV-Size version. The lyrics are by Yuriko Mori; the composition is by Takeshi Ike, who also composed a large number of insert songs; and the arrangement is by Kōhei Tanaka, known for his work on Matchless Raijin-Oh, among others.    In making the theme song, an audition was held, and the lyrics chosen became "Mystical Adventure!"; apparently, the phrase that clinched it was "This world is one big treasure island". Furthermore, the singer, Hiroki Takahashi, was also chosen by audition; having once got the top prize at a rock event held in Yokohama, he was selected due to the staff's aim of using a "rookie not held back by preconceived notions". The video itself came to have a speedy and powerful finish, which doesn't lose out to that enthusiasm.    In addition, the video was updated in part several times as the story progressed.
2	旅立ち Tabidachi Setting Out		2:23	Son Goku, a wild boy living all by himself in the mountains, far from all human habitation, sets outs into a world completely unknown to him thanks to his encounter with Bulma — we believe that this suite was compiled with that image in mind.    The initial piece, I17, was composed as music for setting out, and was also used in the broadcast as a traveling theme, but it was not used in the scene where they actually set out in the first episode. It was also used, among other things, as a lead at the beginning or end of the show.    I20 is a piece that we imagine was included with the idea of a mighty foe lying in wait for Goku & co. It's a distinctive theme of evil, frequently used much later on in (among others) the Tenka'ichi Budōkai and Piccolo arcs.    I18, which is overflowing with a sense of speed, was in fact used in scenes such as the escape from the cave. I22 is used when they encounter an obstacle, in a large sense.
a	I17 (K-35)	F Major	0:32
b	I20 (K-36)	F Minor	0:29
c	I18 (K-56)		0:32
d	I22 (K-30)		0:47
3	摩訶不思議アドベンチャー！ Makafushigi Adobenchā! Mystical Adventure! (Instrumental)		2:24	This track compiles 4 pieces that are all different arrangements of the opening theme, "Mystical Adventure!" A3, which starts the track, is the standard version with the same arrangement as the preview. Then the next variation is A6, but the bridge piece F48 is inserted at the beginning as a cushion, heightening its effect.    Now then, A6 is an arrangement that was used quite frequently among those pieces that made it to air, and could be said to be a "confrontation" theme. A6 was also used repeatedly to back the narration in the prologue from the Red Ribbon Army arc onward, when mighty foes began appearing; it was effective in continuing on the sense of urgency from the previous episode. A10, which rounds out the track, is an arrangement with an even faster tempo than A3, and was used in the show in scenes where Goku was charging ahead at full-bore.
a	A3 (K-33)	F Minor	0:39
b	F48 (K-XX)		0:06
c	A6 (K-18)		0:51
d	A10 (K-XX)		0:45
4	セクシーギャル ブルマ Sekushī Gyaru Buruma Sexy Gal Bulma		2:47	(Uses, in part, "I'll Give You Romance!" composed by Takeshi Ike)    Bulma is the only daughter of the Capsule Corporation, which made its fortune through the invention of the Hoipoi Capsule, so instead of money or prestige, she sought the Dragon Balls to ask for "a dreamy boyfriend". This track was compiled with the image of that 16-year-old Bulma in mind.    The initial bridge piece, B2-B, was used for Bulma's first appearance. B2-A is a cheerful melodic arrangement that's pleasing to the ear.    I9 is not so much Bulma's theme as it is a country piece that tended to be used the sense of Bulma and her traveling party leisurely strolling along. G2, which follows, was used in the sense of the group being in the middle of their journey and unsure of what to do next. Finally, B3 is a slightly sentimental style of arrangement.    However, it's probably fair to say that a whole string of instrumentals went almost entirely unused.
a	B2-B (K-5)	F Major	0:10
b	B2-A (K-26)		0:38
c	I9 (K-58)		0:33
d	G2 (K-16)	D Minor	0:31
e	B3 (K-63)	F Major	0:51
5	ドラゴンボールの謎 Doragon Bōru no Nazo The Mystery of the Dragon Balls		2:36	(Uses, in part, "Mystical Adventure!" composed by Takeshi Ike)    The Dragon Balls, which were long thought to be mere legend, have a nature shrouded almost entirely in mystery; about all we know is that God made them, and there are seven of them. The path Goku & co. followed on their journey in search of them was definitely not an easy one.    The initial piece, A7, was probably included with the image in mind of Goku running in search of a Dragon Ball? In the show, it was used as a light and happy variation on a pursuit theme.    The following piece [K-27] is properly the theme of Great King Pilaf's palace towering in the desert, but here, it is probably being used in a sense of the divine. The third piece is G13, which was used (among others) in scenes where Goku & co. push ahead into a den of evil. Then, the mystery reaches its climax, and this track reaches the peak of its tension. Finally, D1 is a piece brimming with uncertainty and tension over not knowing what lies ahead.
a	A7 (K-31)	F Minor	0:46
b	K-27	F Major	0:29
c	G13 (K-41)	F Minor	0:33
d	D1 (K-69)		0:44
6	ファンキー亀仙人 Fankī Kame-Sen'nin Funky Turtle Hermit		2:22	The Turtle Hermit, the funky old man who wears a Hawaiian shirt and sunglasses, is the mightiest martial artist in history, and later becomes Goku's mentor. This track was compiled with that image in mind.    J17-B, the second piece included in this track, was used as the most popular of the Turtle Hermit–themed pieces in the show. Even in his debut scene, J17-B is the backdrop as he intones, "Once upon a time, there lived a man named Urashima...".    J17-A, which is included first, is an uptempo version of J17-B, but as the Turtle Hermit has many perverted or silly scenes, it was inevitably used less often. The final piece [K-63] is a theme of stealth, which is an area where the lecherous Turtle Hermit really excels; it is used with the image of things like peeping, as well as the awkward mood when he gets caught.
a	J17-A (K-XX)	F Major	0:40
b	J17-B (K-39)		0:57
c	K-63	F Minor	0:42
7	大荒野 Dai-Kōya The Great Wilderness		3:04	The path that Goku & co. tread allows a glimpse of various kinds of scenery. M10, which comes first, is a piece used not so much for "wilderness" as for scenes with the image of the vast ocean; it really gives a grand sense of scale. Also, this piece is used in some striking scenes where Goku, riding on Kinto'un, looks down over the sprawling lands from above.    H1 is a piece with the feeling of morning in the wilderness. H3 is a piece with the image of the serene landscape of China, where Goku lived [sic]; it was used in the opening narration of the first episode, where it matched well with the scenery in the style of Chinese ink paintings.    Lastly, H4 was made with the image of a Chinese sunset, and the emotional tune is evocative of evening in the vastness of China. With that in mind, this track ends with a piece that gives a sense of the end to a full day (more or less) of adventuring.
a	M10 (K-38)	F Major	1:05
b	H1 (K-1)		0:37
c	H3 (K-3)	D Minor	0:39
d	H4 (K-2)		0:42
8	妖怪出没 Yōkai Shutsubotsu A Demon Rears Its Head		3:12	(Uses, in part, “Mystical Adventure!” composed by Takeshi Ike)    As you're all surely aware, Dragon Ball's origins lie in Journey to the West. And just as the obstacles that stood in the way of Sun Wukong from Journey to the West were "demons" [妖怪 yōkai], in early Dragon Ball as well, the "demon" ilk stood in Goku's way. Because of that, they may not be very prominent now that things have gone on to Dragon Ball Z, but here the entire track is structured around "demons" as Goku's foes.    First of all, as a premonition, H8 starts off from a theme of quiet stillness, giving the idea of a demon lurking somewhere. Next, the interlude from A8, a cheerful arrangement of the opening theme, we believe to give the mental image of Goku inadvertently entering the demon's territory.    Continuing on, there is G9, which gives the image of a gleam in the demon's eyes, which is then followed by I21, with the image of an approaching onslaught. Then, when we get to H9, the true nature of the gigantic shadow is...?!
a	H8 (K-XX)	F Minor	0:32
b	A8 (K-XX)		0:40
c	G9 (K-55)		0:15
d	I21 (K-29)		1:11
e	H9 (K-61)		0:31
9	野心 Yashin Strong Ambition		2:41	What those who seek to gather the seven Dragon Balls have in their hearts is a multitude of ambitions. Their reasons are manifold — be it to become rich, to gain rank — but G7 seems to have been included as a piece giving a mental image of the kind of luxurious lifestyle they aspire to. H11 likewise gives the image of wealth in India.    G5 is a piece where their secret schemes churn and swirl. With G3, these swell until all at once these irresistible desires are set alight in a march-style piece.    Then, at last they rise up and take action! This J16 is a piece with the image of the ambition to take over the world, and it would be no stretch to call this the "theme song" of characters such as Pilaf or the Red Ribbon.
a	G7 (K-XX)	F Major	0:30
b	H11 (K-XX)	F Minor	0:32
c	G5 (K-XX)	E˚7	0:32
d	G3 (K-56)	F Minor	0:36
e	J16 (K-XX)		0:29
10	危険がいっぱい Kiken ga Ippai Danger is Everywhere		2:49	(Uses, in part, “Mystical Adventure!” composed by Takeshi Ike)    Now then, the major players, the demons and the people of ambition have taken the stage, and the scramble for the seven Dragon Balls gets extremely fierce.    H19, a gallant piece in the style of a military song, could be the feel of resolve to head into danger. I14, which follows, is a chaotic bridge piece. Then, I15 continues in quiet urgency, giving the image of numerous dangerous traps creeping towards Goku & co.    Things pivot into an uptempo action theme as Goku & co. meet them head-on, but unfortunately, we were unable to determine the M-number of this piece. Actually, it's fair to say that this piece was almost entirely unused in the show.    The battle ends, and the comical bridge piece F49 brings us the outcome: once again, it seems today's battle has ended in overwhelming victory for Goku & co. A11, which rounds out the track, is a piece that was used many a time for scenes such as untroubled departures in the show itself.
a	H19 (K-XX)	F Minor	0:29
b	I14 (K-XX)		0:08
c	I15 (K-51)		0:24
d	K-XX		0:46
e	F49 (K-XX)		0:07
11	神龍出現 Shenron Shutsugen Shenlong Appears		2:25	At last, the Dragon Balls are all together! The sky is covered in black clouds, lightning flashes, and the gigantic Dragon God appears! J6, a piece created as the theme for the majestic and divine Shenlong, combines with the visuals to achieve the exact effect that was intended. Naturally, J6 was used quite a bit in the show itself, and it's probably fair to say that it was the most popular piece of those used as a theme for Shenlong.    The next piece, unfortunately, we were unable to determine the M-number for. We believe it was probably included to imagine a dialogue with Shenlong, but it was almost entirely unused.    Then, I1 is a theme of Bulma cheerfully zooming along on her motorbike. Here, it probably gives the image of setting out once again for the next adventure under blue skies, after Shenlong has vanished and the dark clouds have gone away.
a	J6 (K-XX)	C˚7	0:44
b	XX (K-XX)	F Minor	0:38
c	I1 (K-XX)	F Major	1:02
12	ピラフとその部下 Pirafu to Sono Buka Pilaf and His Minions		2:04	Now then, the ones who appeared as the villains of early Dragon Ball were the Pilaf Gang. Pilaf, who is driven by his plot to become "King of the World", is collecting the Dragon Balls with his lackeys. Because of that, he gets entangled with Goku & co., and their relative incompetence means that they often end up as comic relief.    J5 is the theme of Pilaf's minions, Shuu and Mai, but in spite of them being an evil group bent on world domination, it ends up as a comical piece. Here, H11, which was also included in Track 9, "Strong Ambition", reappears, but this time we believe it was to give the image of Pilaf's palace in the middle of the desert; in fact, it was actually used in that sort of scene. Then lastly, it becomes a comedic chase with Goku & co.; the theme for this is I4.
a	J5 (K-XX)	F Major	0:42
b	K-53	F Minor	0:41
c	I4 (K-XX)	F Major	0:40
13	野性の少年 Yasei no Shōnen The Wild Boy		2:23	(Uses, in part, "Mystical Adventure!" composed by Takeshi Ike)    The compilation concept for this track was probably "a day in the life of Goku". Goku, who awakens to the "morning" image bridge F37, leisurely fishes with his tail to the country-style A9, but an enemy appears and we encounter a thrilling scene with G12, and with the scuffle with his enemy in I19, the day comes to a close....    In the show itself, F37 was used with the image of morning; A9 is a distinctive piece that was used time and again in relaxed scenes. The following piece, G12, was also used frequently, being played when encountering some kind trouble. And the final piece, I19, was often used in big action scenes where Goku was powering merrily along.    With that in mind, we can say that this track's structure really achieved a high state of perfection in its aim to depict the idea of "the wild boy, Son Goku".
a	F37 (K-32)	F Major	0:16
b	A9 (K-34)	F Minor	0:41
c	G12 (K-28)		0:33
d	I19 (K-37)	D Minor	0:51
14	亀仙流のきびしい修業 Kame-Sen-Ryū no Kibishii Shugyō The Strict Training of the Turtle Hermit School		1:36	The beginning of the track features the sub-title piece, C3.    Now, Goku, who has finished his journey searching for the Dragon Balls, becomes a disciple of the Turtle Hermit (a.k.a. the Muten Rōshi, said to be the mightiest martial artist in history), whom he had met earlier. The Turtle Hermit's training is as strict as the rumors say; it starts in early morning with milk delivery, and continues with unusual ideas one after another, like ploughing fields with bare hands. It is in this training under the Turtle Hermit that Kuririn, who will go on to become Goku's lifelong friend, first appears.    M13 was used from where Kuririn arrives on his boat all the way from Ōrin Temple, and is used as music to express the toughness of all sorts of strict training, as well as as the theme to Yamcha's training by himself in the city.    Now, M406-2 is a piece written for the second theatrical film, "The Sleeping Princess in Devil Castle", but afterward, it was frequently used as a theme for Kuririn, which is why it is included here.
a	C3 (K-24)	F Minor	0:09
b	M13 (K-XX)		0:45
c	M406-2 (K-XX)		0:41
15	第十二回天下一武道会 Dai-Nijūikkai Tenka'ichi Budōkai The 21st Tenka'ichi Budōkai		2:14	The martial arts tournament that martial artists the world over aspire to: that is the Tenka'ichi Budōkai, held once every five years in South City [sic]. Only eight out of the more than 100 contenders can advance to the Tenka'ichi Budōkai (incidentally, the number of participants in the tournament was 137).    M18 is a piece that could be called the theme for the Tenka'ichi Budōkai, starting with a fanfare to liven up the tournament. M9, which follows, was used in such scenes as where Goku, having seen the full moon and transformed into a giant monkey in the middle of his championship-round fight against Jackie Chun (actually the Muten Rōshi), goes on a rampage, and where Kuririn is pushed to the wall in the face of one unsanitary attack after another from Bacterian, who uses his bad odor as a weapon.    In addition, M16 was often used early on in scenes where Goku had the upper hand in the fight, and we have included it here for that reason.
a	M18 (K-XX)	F Major	0:41
b	M9 (K-XX)	F Minor	0:51
c	M16 (K-XX)	D Minor	0:41
16	赤いリボン Akai Ribon The Red Ribbon		4:37	The Red Ribbon Army, called the world's most powerful and most evil paramilitary group, attempted to gather the legendary Dragon Balls through its military might.    To start, M106 was used notably as the theme of the Red Ribbon Army, in military scenes such as Red Ribbon tanks on the march. In addition, M106 was also used a few times as the theme for the Royal Defense Forces as they challenged Demon King Piccolo, the Saiyans, and Cell.    M114 is a theme of tension, used for instance when Sgt. Metallic, one of the many mighty foes lurking within the Red Ribbon's fortress of Muscle Tower, tightens the screws with his overwhelming power. M111, which follows, is a theme of infiltration. Then, M119 is a tense piece composed as the theme of Ninja Murasaki, who uses various kinds of ninjutsu, but it ended up not being used much for Murasaki, who is quite the clumsy ninja.
a	M106 (K-XX)	C Minor	1:15
b	M114 (K-XX)	C+	1:04
c	M111 (K-XX)	F Minor	0:59
d	M119 (K-XX)	F♯˚7	1:18
17	光るブルーの眼 Hikaru Burū no Me Shining Eyes of Blue		2:11	The first [enemy] to really put Goku in peril was the Red Ribbon Army's Gen. Blue. On top of being a practitioner of martial arts, he can also use telekinesis, which really gives Goku & co. a run for their money. M108 is included here as the most notable theme for Gen. Blue (who is quite fey but prides himself on his overwhelming strength), which was used in scenes such as the offensive undertaken by Blue Company under his command, and the white-hot close combat with Goku in the undersea cave.    Next, we have included M118, which among the various "pursuit" pieces was used quite frequently, and which was used in the scene where Goku chases after General Blue, who has escaped in a fighter plane. It is atop this music that Goku pursues General Blue, who has fled with the Dragon Balls in his possession, ending up in the Penguin Village. We were unfortunately unable to include any of it on this CD, but music from Dr. Slump was of course used.
a	M108 (K-XX)	C Minor	1:09
b	M118 (K-XX)	F Minor	1:01
18	殺し屋”桃白白” Koroshiya "Tao Paipai" "T'ao Pai-pai", Assassin-for-Hire		2:12	The Red Ribbon, which has had its best men kicked to the curb one after another, sends their trump card, the world's number-one hired hitman, T'ao Pai-pai, after Goku. T'ao Pai-pai kills Gen. Blue, who gave even Goku a tough fight, with only his tongue. Goku, too, is hit head-on by T'ao Pai-pai's finishing technique, the "Dodon-pa", receiving his first decisive loss.    M309 was used in that scene where Goku faces off against T'ao Pai-pai, as well as during their fierce fight. This piece has also been used to back the narration during the prologue, so there should be quite a few people who recall hearing it.    Goku, who got stronger through his training with Karin at Karin Tower, once again challenges T'ao Pai-pai. Goku, who has gained strength incomparable to what he had before, starts his counterattack! Here, we have included M109, which was used in the battle against the Red Ribbon Army's final secret weapon, the Battle Jacket.
a	M309 (K-XX)	F Minor	1:06
b	M109 (K-XX)		1:06
19	カリン塔のカリン様 Karin-Tō no Karin-sama Lord Karin of Karin Tower		3:46	Goku was hit head-on by T'ao Pai-pai's Dodon-pa, but his life was saved by the Dragon Ball on his chest. So, he climbs Karin Tower, which is said to have a "Super Holy Water" that can increase one's strength severalfold. M317 was used as he climbed and climbed, yet still couldn't reach the top.    M306, which follows, is the theme of Karin, the cat overflowing with majesty. M509 is a comical piece from after, when the fine fellow Yajirobe climbed Karin Tower together with Goku, and later on, ended up living there.    Next is the "Super God Water" which (unlike the "Super Holy Water", which was mere water) can actually give a power-up when drunk, but is also a strong poison that could kill the drinker. The image piece for that "Super God Water" is M520. At the end, we have included C2B-2, which is the eyecatch music from the end of the A-part.
a	M317 (K-XX)	F Major	0:56
b	M306 (K-XX)	E˚7	1:03
c	M509 (K-XX)	F Major	1:06
d	M520 (K-XX)	C+	0:31
e	C2B-2 (K-13)	F Minor	0:07
20	第二十回天下一武道会 Dai-Nijūni-Kai Tenka’ichi Budōkai The 22nd Tenka'ichi Budōkai		2:21	The Tenka'ichi Budōkai has come once again.    At this Tenka'ichi Budōkai, Tenshinhan, a practitioner of the Crane Hermit Style (said to be even in ability with the Turtle Hermit Style), and the telekinesis-using Chiaotzu, are participants. Kuririn and Yamcha have also increased their abilities, making for a real melee at the tournament. So, we have included M107 here as a symbol of these chaotic matches.    [M]437, which follows, is a short piece that was used often until much, much later in scenes facing off against a strong opponent. Then, the championship round of course is a match between Tenshinhan and Goku, but Tenshinhan is actually a disciple of the hired killer T'ao Pai-pai's little brother, and has come this far in his desire for revenge.    However, Tenshinhan, who has awakened as a true martial artist, clashes with Goku in the championship round! M441-1 is the piece that was used in this great, fierce fight.
a	M107 (K-XX)	F Minor	0:
b	M437 (K-XX)		0:26
c	M441-1 (K-XX)	D Minor	0:47
21	ピッコロ大魔王の恐怖 Pikkoro-Daimaō no Kyōfu The Terror of Demon King Piccolo		3:21	Just as everyone is enjoying themselves at the end of the Tenka'ichi Budōkai, Kuririn is murdered! For the sake of world domination, Pilaf has retrieved the Demon King Piccolo from where he had been sealed at the bottom of the sea. We have collected some solemn pieces here to express that unprecedented terror.    M501 is a notable piece of theme music expressing Demon King Piccolo’s creepiness, and was also used in his first appearance.    Piccolo is simply too enormous a presence for humans to stand against him. M303 is the theme of those confronting Piccolo. This piece, composed as the theme of a gigantic devil, has also been used time and time again in the latter series in standoffs against powerful foes.    Demon King Piccolo overcomes even Goku with his incomparable power. The people cower in fear of Piccolo as he extends his conquering hand. M308 is a piece brimming with that tension.
a	M501 (K-XX)	F Minor	1:07
b	M303 (K-XX)		1:07
c	M308 (K-XX)	A˚7	1:07
22	亀仙人最後の魔封波 Kame-Sen’nin Saigo no Mafū-Ba The Turtle Hermit's Final Mafū-ba		3:11	Long ago, the Demon King Piccolo plunged the world into the depths of terror, but he was sealed in an electric rice cooker by Mutaito, the Turtle Hermit's master. The Turtle Hermit now faces a showdown with Piccolo, which could be called fate. Demon King Piccolo too is on his guard, sensing something out-of-the-ordinary in the Turtle Hermit, and they take their time feeling each other out. M312 helped raise the tension of that moment.    Then, the Turtle Hermit unleashes the only technique capable of sealing Demon King Piccolo back into the rice cooker: the Mafū-ba! M514 is a piece composed as the theme for that mighty technique, and afterward, as one might expect, it was also used to heighten the effect of big techniques in scenes of spectacle.    However, the Turtle Hermit's Mafū-ba ends in failure, and having used up the last of his strength, takes his final breath. M512, included here, was used in the scene where Tenshinhan, Yamcha and the others mourn his death.
a	M312 (K-XX)	F Minor	1:15
b	M514 (K-XX)		0:56
c	M512 (K-XX)		0:59
23	孫悟空の逆襲 Son Gokū no Gyakushū Son Goku's Counterattack		5:12	Goku, who received a power-up by drinking the Super God Water, flies away from Karin Tower, burning with the desire for vengeance. M517 and M247 are pieces used often as themes for heading into enemy territory, hearts burning with resolve. Furthermore, M247 was originally composed for the first theatrical film, The Legend of Shenlong, as "Pasta and Vongo's attack theme".    M121 was also used to back the narration in the beginning of episodes, so quite a few people should remember hearing it; it is a theme of tense conflict. Then, it is the showdown between Goku and Piccolo at last. M505 has been included here, as it was used innumerable times in the showdown(s) between Goku and Piccolo. This piece was also used afterward in climactic scenes.    When at last the battle against Demon King Piccolo has reached its conclusion, at the very end we have included C4, the piece for the eyecatch leading into the B-part.
a	M517 (K-XX)	F Minor	1:02
b	M247 (K-XX)		1:35
c	M121 (K-XX)		1:02
d	M505 (K-XX)		1:23
e	C4 (K-12)		0:08
24	波乱の天下一武道会 Haran no Tenka'ichi Budōkai The Chaotic Tenka'ichi Budōkai		4:18	Piccolo, who was supposedly defeated, left behind a being who could be considered a copy of himself! Goku, who has received training from God in order to stop him, participates as a fully-grown young man. In addition, the previous tournament's champion Tenshinhan is participating along with Kuririn, and the cybernetically-augmented T'ao Pai-pai is there for revenge. M504 is the stately theme giving a premonition of the chaotic tournament to come.    Then, more than anything else, the existence of Piccolo's alter-ego, a.k.a. Ma Junior, as this tournament’s greatest opponent, is the main point of interest here. We have included M513 here as a piece to represent that quiet ominousness.    One more piece is M511, which heightened the mood of numerous scenes in the preliminary rounds, which saw one close fight after another, and where even Chiaotzu was knocked outt of the running. The final piece is M516, which was used for scenes of continual fierce fighting.
a	M504 (K-XX)	F Minor	1:07
b	M513 (K-XX)		1:04
c	M511 (K-XX)	G♯+	1:13
d	M516 (K-XX)	F Minor	0:52
25	因縁の対決!悟空とピッコロ In'nen no Taiketsu! Gokū to Pikkoro The Fated Confrontation! Goku and Piccolo		3:50	At last, the fated confrontation with Piccolo in the championship round has begun! First, the two feel each other out in order to gauge each other's strength, but their skills are completely equal. M518 was used here. It was also used in the scene where Piccolo attempts to blow away the entire tournament ring.    The second piece is M313, brimming with a sense of speed, used repeatedly when there are evenly-matched fights. The one after that is M510, an image piece for Piccolo. It was also used in the scene right before the final match where Goku & co. have a run-in with Piccolo.    The final piece is a thrilling one for the fateful showdown between Goku and Piccolo that is the climax of Dragon Ball, particularly the scene where Goku goes on a lightning-fast offensive against Piccolo. In the show, it was used in the scene where Goku goes to work in the fight against a giant-sized Piccolo. Like the match itself, this M515 is an extremely exciting piece.
a	M518 (K-XX)	F Minor	0:55
b	M313 (K-XX)		1:02
c	M510 (K-XX)		0:57
d	M515 (K-XX)		0:56
26	ドラゴンボールの贈り物 Doragon Bōru no Okurimono The Gift of the Dragon Balls		2:40	Thus the drama of Dragon Ball marks its end for the moment. What awaits Goku after the battle is his marriage to Chi-Chi, daughter of the Ox Demon King. Various incidents occur, such as the burning of Mount Frypan, but at any rate, a happy marriage is visited upon Goku and Chi-Chi.    Here, we include M116, the theme for a grand dénouement. It's a warm and easygoing piece, which is somewhat rare for Dragon Ball music. The piece for the finale, which follows, is the lively and bright M126.    After [Goku] emerges victorious in the confrontation with Piccolo, the Turtle Hermit tells us, "If not for the Dragon Balls, none of the people here would have even met, let alone grown into who they are today...." Yes, the gift of Dragon Ball is Goku's many companions, making riotous noise to M126! Included at the very end is the familiar next-episode preview music, M23.
a	M116 (K-XX)	F Major	1:04
b	M126 (K-XX)		1:02
c	M23 (K-23)	F Minor	0:34
27	ロマンティックあげるよ Romantikku Ageru Yo I'll Give You Romance! (TV-Size)	E♭ Major	1:38	The ending theme, which could be called Bulma's image song, is included here in its TV-length version. Ushio Hashimoto, popular from her work as the host of NHK Educational TV's Tomodachi Ippai ["Lots of Friends"] and [as the singer of] the theme to Mami the Psychic, does full justice to Bulma's charm with her bright and cute singing.    On screen, [the ending animation] continues to use the methods that were well-received in the preceding series Dr. Slump. Although parts of it use original material from the animation staff, the vast majority comes from illustrations by Akira Toriyama, adapted for animation.    The lyrics were handled by Takemi Yoshida; the composition and arrangement, like the opening, by Takeshi Ike and Kōhei Tanaka, respectively. Actually, the lyrics were selected by an audition that was not separated into "opening" and "ending" categories, so they say these lyrics might actually have been submitted for the opening theme.

External Links

• Kanzenshuu: Music Database - Miscellaneous