Dragon Ball & Dragon Ball Z Daizenshuu
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| Dragon Ball & Dragon Ball Z Daizenshuu | |||
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Box Front  Box Back  | |||
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| 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 | ||
| Length | 5:56:27 | ||
Dragon Ball & Dragon Ball Z Daizenshuu is a box set 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. The box contains five standard-sized jewel CD cases, a 100-page booklet, and six art cards.
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 booklet 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, plus a few movie BGM.
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 films.
Contents
Disc 1: Dragon Ball Song Collection
| Disc 1: Dragon Ball Song Collection | |||
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Back  Bed  Disc  | |||
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| Catalog Number | COCC-11547 | ||
| Tracks | 17 | ||
| Length | 1:04:39 | ||
- For further information, see Dragon Ball Music.
The Dragon Ball Song Collection is the first disc of the 5-CD Daizenshuu set. It reproduces the contents of the Dragon Ball Complete Song Collection (Zenkyokushuu) released on cassette in 1988.
The "Mystical Adventure (New Remix Long Version)" debuts here on the Daizenshuu. This remix was only added to the Complete Song Collection when it was re-relased on CD in 2003.
The Daizenshuu track order is also altered from the order of the Complete Song Collection, which began with the songs originally released on the Dragon Ball Hit Song Collection (1986 LP).
The Daizenshuu "Song Collection" includes full-length (as opposed to TV-Size) versions of the opening (OP) and ending (ED) songs along with full-length versions of every insert song used in the Dragon Ball TV series.
The anime was still in the 21st Tenka'ichi Budōkai arc when the Hit Song Collection was released, so the two "Red Ribbon" songs were not released until the Complete Song Collection.
The other songs that debuted on the 1988 Complete Song Collection CD—"Feel the Wind", "Tell Me Your Dreams", "Riding on a Cloud is My First Love", and "Goku's Happy Journey"—are image songs that were never used in the TV anime. This also applies to "The Hunt for Mr. Dream", which was released on the 1986 Hit Song Collection.
In cases where a voice actor performs an image song for their character, this cell is highlighted in the table below.
Full credits and lyrics for the theme songs on Disc 1 are given on pages 23-33 of the 100-page booklet accompanying the Daizenshuu. These lyrics are transliterated and translated on each song's individual page.
| # | Title | Data | Credits | ||||
|---|---|---|---|---|---|---|---|
| Length | Tonality | Lyrics | Composition | Arrangement | Vocals | ||
| 1 | 摩訶不思議アドベンチャー！ Makafushigi Adobenchā! Mystical Adventure! |
3:53 | F Minor | Yuriko Mori | Takeshi Ike | Kōhei Tanaka | Hiroki Takahashi |
| 2 | Mr.ドリームを探せ Mr. Dorīmu o Sagase Hunt for Mr. Dream |
4:19 | F Major | Sei'ichi Kyōda | Ushio Hashimoto | ||
| 3 | 青き旅人たち Aoki Tabibito-tachi The Blue Travelers |
4:06 | E♭ Major | Hiroki Takahashi | |||
| 4 | 不思議ワンダーランド Fushigi Wandārando Mystery Wonderland |
4:06 | E Minor | Takemi Yoshida | Wonderland Gang | ||
| 5 | 武天老師の教え Muten Rōshi no Oshie The Teachings of Muten Rōshi |
2:51 | D Major | Shunsuke Kikuchi | Masāki Jinbo | Kōhei Miyauchi | |
| 6 | 孫悟空ソング Son Gokū Songu The Son Goku Song |
3:34 | C Major | Kawagishi Asa | Jinbo Masāki | Masako Nozawa | |
| 7 | ウルフ・ハリケーン Urufu Harikēn Wolf Hurricane |
3:45 | D Minor | Toshiki Inoue | Takeshi Ike | Sei'ichi Kyōda | Tōru Furuya |
| 8 | 風を感じて Kaze o Kanjite Feel the Wind |
3:58 | C Minor | Takemi Yoshida | Kōhei Tanaka | Wonderland Gang | |
| 9 | めざせ天下一 Mezase Tenka'ichi Aim to Be the Greatest on Earth |
3:42 | D Minor | Sei'ichi Kyōda | Hiroki Takahashi | ||
| 10 | 夢をおしえて Yume o Oshiete Tell Me Your Dreams |
4:03 | A♭ Major | Yuriko Mori | Kōhei Tanaka | Ushio Hashimoto | |
| 11 | レッドリボンアーミー Reddo Ribon Āmī Red Ribbon Army |
4:01 | D Minor | Takemi Yoshida | Wonderland Gang | ||
| 12 | 初恋は雲にのって Hatsukoi wa Kumo ni Notte Riding on a Cloud is My First Love |
4:28 | D Major | Yuriko Mori | Satoko Yamano | ||
| 13 | 燃えるハードで~レッドリボン軍をやっつけろ Moeru Hāto de ~Reddo Ribon Gun o Yattsukero~ With a Blazing Heart: Defeat the Red Ribbon Army |
4:03 | F Minor | Takemi Yoshida | Kenji Yamamoto | Wonderland Gang | |
| 14 | 悟空のGOKIGENジャーニー Gokū no GOKIGEN Jānī Goku's Happy Journey |
3:09 | E♭ Major | Yuriko Mori | Masako Nozawa | ||
| 15 | ドラゴンボール伝説 Doragon Bōru Densetsu The Dragon Ball Legend |
3:59 | E Minor | Onikado Izumi | Sei'ichi Kyōda | Hiroki Takahashi | |
| 16 | ロマンティックあげるよ Romantikku Ageru Yo I'll Give You Romance |
3:51 | E♭ Major | Takemi Yoshida | Kōhei Tanaka[a] | Ushio Hashimoto | |
| 17 | 摩訶不思議アドベンチャー!(ニュー・リミックス・ロング・ヴァージョン) Makafushigi Adobenchā! (Nyū Rimikkusu Rongu Vājon) Mystical Adventure (New Remix Long Version) |
4:46 | F Minor | Yuriko Mori | Hiroki Takahashi | ||
Disc 2: Dragon Ball BGM Collection
DRAGONBALL & DRAGONBALL Z 大全集 •DISC 2•
「ドラゴンボール」ＢＧＭ コレクション
The BGM on disc 2 are grouped into suites of 2-5 pieces each, bookended by the series opening and ending. Suites are highlighted and the individual BGM pieces they contain are detailed underneath. Official catalogue numbers are cross-referenced with our chronological internal catalogue numbers (完全集 Kanzenshuu). 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: Dragon Ball BGM | |||||
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| # α |
Title/Catalogue | Key | Length | Booklet Notes | |
| Official | 完全集 | ||||
| 1 | 摩訶不思議アドベンチャー！ Makafushigi Adobenchā! Mystical Adventure! (TV Size) |
F Minor | 1:50 | 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-57 | 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-152 | 0:06 | ||
| c | A6 | K-18 | 0:51 | ||
| d | A10 | K-83 | 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,[b] 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...". J17A, 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 | J17A | K-325 | 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];[c] 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.[d] 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-130 | F Minor | 0:32 | |
| b | A8 | K-115 | 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-60 | F Major | 0:30 | |
| b | H11 | K-153 | F Minor | 0:32 | |
| c | G5 | K-81 | E˚7 | 0:32 | |
| d | G3 | K-56 | F Minor | 0:36 | |
| e | J16 | K-134 | 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-108 | F Minor | 0:29 | |
| b | I14 | K-150 | 0:08 | ||
| c | I15 | K-51 | 0:24 | ||
| d | K-154 | 0:46 | |||
| e | F49 | K-155 | C7 | 0:07 | |
| f | A11 | K-326 | F Minor | 0:52 | |
| 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. (K-65) 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-100 | C˚7 | 0:44 | |
| b | K-65 | F Minor | 0:38 | ||
| c | I1 | K-17 | 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-132 | F Major | 0:42 | |
| b | K-53 | F Minor | 0:41 | ||
| c | I4 | K-111 | 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 of 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-98 | 0:45 | ||
| c | M406-2 | K-405 | 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-101 | F Major | 0:41 | |
| b | M9 | K-86 | F Minor | 0:51 | |
| c | M16 | K-109 | 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-131 | C Minor | 1:15 | |
| b | M114 | K-125 | C+ | 1:04 | |
| c | M111 | K-141 | F Minor | 0:59 | |
| d | M119 | K-145 | 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-146 | C Minor | 1:09 | |
| b | M118 | K-133 | 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-315 | F Minor | 1:06 | |
| b | M109 | K-137 | 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-320 | F Major | 0:56 | |
| b | M306 | K-322 | E˚7 | 1:03 | |
| c | M509 | K-518 | F Major | 1:06 | |
| d | M520 | K-704 | 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-149 | F Minor | 0: | |
| b | M437 | K-433 | 0:26 | ||
| c | M441-1 | K-438 | 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-504 | F Minor | 1:07 | |
| b | M303 | K-316 | 1:07 | ||
| c | M308 | K-317 | 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-311 | F Minor | 1:15 | |
| b | M514 | K-703 | 0:56 | ||
| c | M512 | K-523 | 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-509 | F Minor | 1:02 | |
| b | M247 | K-244 | 1:35 | ||
| c | M121 | K-129 | 1:02 | ||
| d | M505 | K-519 | 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-515 | F Minor | 1:07 | |
| b | M513 | K-508 | 1:04 | ||
| c | M511 | K-512 | G♯+ | 1:13 | |
| d | M516 | K-515 | 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-511 | F Minor | 0:55 | |
| b | M313 | K-324 | 1:02 | ||
| c | M510 | K-510 | 0:57 | ||
| d | M515 | K-514 | 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-128 | F Major | 1:04 | |
| b | M126 | K-301 | 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. | |
Disc 3: Dragon Ball Z Song Collection
DRAGONBALL & DRAGONBALL Z 大全集 •DISC 3•
「ドラゴンボールＺ」ソング・コレクション
The theme songs on Disc 3 are accompanied by credits and full lyrics, the latter of which can be found on each song's individual page. When a voice actor performs an image song for their character, this cell is highlighted.
| Disc 3: Dragon Ball Z Theme Songs | ||||||||
|---|---|---|---|---|---|---|---|---|
| # | Title | Data | Credits | |||||
| Length | Tonality | Lyrics | Composition | Arrangement | Performance | |||
| 1 | CHA-LA HEAD-CHA-LA | 3:20 | E Major | Yukinojō Mori | Chiho Kiyo'oka | Kenji Yamamoto | Hironobu Kageyama | |
| 2 | あいつは孫悟空 Aitsu wa Son Gokū He's Son Goku |
4:34 | B Minor | Hironobu Kageyama ~ Waffle | ||||
| 3 | 燃えろ!ドラゴン・ソルジャーズ Moero! Doragon Sorujāzu Burn, Dragon Soldiers! |
3:17 | A Minor | Takeshi Ike | Jun'ichirō Oda | |||
| 4 | 天下一ゴハン Tenka'ichi Gohan The World's Greatest Gohan |
3:55 | E♭ Major | Sakiko Iwamuro | Masako Nozawa | |||
| 5 | ピッコロさんだ~いすき♡ Pikkoro-san Da~isuki I Lo~ve Mr. Piccolo |
3:32 | A Major | Chiroru Yaho | ||||
| 6 | 戦 (I・KU・SA) Ikusa (I-KU-SA) The Battle |
3:57 | A Minor | Dai Satō | Hironobu Kageyama | |||
| 7 | まるごと Marugoto Absolutely Everything |
4:06 | B♭ Minor/ C Minor[e] |
Chiho Kiyo'oka |
Hironobu Kageyama ~ Ammy | |||
| 8 | ソリッドステート・スカウター Soriddo Sutēto Sukautā Solid State Scouter |
4:41 | C Minor | [f] | Iwasaki Yasunori | Dragon Magic Orchestra ~ TOKIO | ||
| 9 | 光の旅 Hikari no Tabi Light's Journey |
6:14 | E Major | Dai Satō | Chiho Kiyo'oa | Kenji Yamamoto | Hironobu Kageyama ~ KUKO | |
| 10 | 「ヤ」なことは元気玉!! "Ya" na Koto ni wa Genki-Dama!! There's a Genki-Dama in Bad Things!! |
3:55 | D Minor | Hironobu Kageyama ~ SHINES | ||||
| 11 | とびっきりの最強対最強 Tobikkiri no Saikyō tai Saikyō The Incredible Mightiest vs. Mightiest |
3:47 | F# Minor/ A Minor[g] |
Hironobu Kageyama ~ Ammy | ||||
| 12 | HERO(キミがヒーロー) HERO (Kimi ga Hīrō) Hero (You're the Hero) |
4:11 | C Minor/ A Minor/ C# Minor[h] |
Hironobu Kageyama ~ YUKA | ||||
| 13 | GIRIGIRI-世界極限- GIRI GIRI –Sekai Kyokugen– At the Brink: The Earth's Limit |
3:25 | F Minor | |||||
| 14 | 青い風のHOPE Aoi Kaze no HOPE The Blue Wind's Hope |
3:44 | A Major | Hironobu Kageyama | ||||
| 15 | バーニング・ファイト-熱戦・烈戦・超激戦- Bāningu Faito –Nessen – Ressen – Chōgekisen– Burning Fight: a Close, Intense, Super-Fierce Battle |
3:20 | G Major | Hironobu Kageyama ~ YUKA | ||||
| 16 | でてこいとびきりZENKAIパワー! Detekoi Tobikiri ZENKAI Pawā! Come Out, Incredible ZENKAI Power! |
3:33 | E Minor | Naruhisa Arakawa | MANNA | |||
| 17 | WE GOTTA POWER | 3:59 | G Major[i] | Yukinojō Mori | Keiju Ishikawa | Hironobu Kageyama | ||
| 18 | 僕達は天使だった Boku-tachi wa Tenshi Datta We Were Angels |
3:52 | F# Minor | Takeshi Ike | Osamu Totsuka | |||
Disc 4: Dragon Ball Z BGM Collection
DRAGONBALL & DRAGONBALL Z 大全集 •DISC 4•
「ドラゴンボールＺ」ＢＧＭ コレクション
The BGM on disc 4 are grouped into suites of 2-5 pieces each, bookended by the series' first opening and second ending. The first ED and the second OP are also included, and the songs are not subdivided. Suites are highlighted and the individual BGM pieces they contain are detailed underneath. Official catalogue numbers are cross-referenced with our chronological internal catalogue numbers (完全集 Kanzenshuu). 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 4: Dragon Ball Z BGM | |||||
|---|---|---|---|---|---|
| # α |
Title/Catalogue | Key | Length | Booklet Notes | |
| Official | 完全集 | ||||
| 1 | CHA-LA HEAD-CHA-LA (TVサイズ) CHA-LA HEAD-CHA-LA (TV Saizu) CHA-LA HEAD-CHA-LA (TV-Size) |
1:50 | This is the song that has served as Dragon Ball Z's opening theme for a long time, from Episode 1 up to Episode 199. With an invigorating and lively tempo, lyrics that somehow manage to match the feeling you get from the series, and carefully drawn animation, it all adds up to an opening that is easy to get into. Also, part of the opening's footage changes partway through broadcast, though not to the same extent as the previous series. While we cannot say for certain with the materials we have at hand, when the Artificial Humans arc started, we recall that some scenes got replaced with a close-up of Dr. Gero's face, an arm that hints at the artificial humans, Vegeta turning into a Super Saiyan, Trunks cleaving Mecha Freeza in half, and a final cut of all the Z-Warriors together. | ||
| 2 | プロローグ&サブタイトルI Purorōgu & Sabutaitoru I Prologue & Sub-Title I |
1:14 | When we talk about the BGM for Dragon Ball Z, the first one that comes to mind is probably the Prologue piece, M710. While it is a calm melody, one can say that it also gives off a thick and heavy feeling due to the inclusion of a bass line, resulting in a superb arrangement. In every episode, this piece is matched with Mr. Jōji Yanami's narration, delivered in his unique tone of voice, and therefore becomes something that leaves an immensely lasting impression. As the prologue piece, a piece that must always have a gravity-like power in order to be able to pull you into the story that's about to begin, we would say that it is a perfect fit. And since the actual episode of the television series begins following M708A-1, the sub-title piece, we would like to invite you to dive into the story called "Original Soundtrack", using this track as the prologue. | ||
| a | M710 | K-727 | F Major | 1:03 | |
| b | M708A-1 | K-709 | 0:11 | ||
| 3 | かつてない恐怖 Katsute Nai Kyōfu A New Kind of Fear |
1:12 | A fear that comes from beyond even the heavens… Raditz, the Saiyan. For Goku and the others, there can be no doubt, he truly is "the King of Fear". This track compiles two musical pieces that evoke Raditz, the Saiyan. Starting with M708B, it is a piece that is used as a sub-title or bridge that has a feeling of fear to it, but we've taken the liberty to include it in this track with Raditz's first appearance in mind. Next is M737, which might evoke the feelings of dread and unease that fell down on Goku and Piccolo as they witnessed Raditz's unprecedented, immense strength. Since it has this feeling of dread and unease, M737 is used frequently, not just with Raditz, but with any situation that involves a mighty, untouchable enemy. | ||
| a | M708B | K-XXX | F Minor | 0:10 | |
| b | M737 | K-731 | F+ | 1:02 | |
| 4 | あの世でファイト! Ano Yo de Faito! Fight in the Afterlife! |
2:37 | Goku, who had to sacrifice himself to beat Raditz, was pierced by Piccolo's Makankōsappō along with Raditz and died. But just before he died, Raditz left these startling words: "My companions will most likely come to beat you, and it probably won't even take one full year before they land on Earth." So Goku, who went to the afterlife, must now travel along the Serpent Road and receive training from Kaiō-sama, who is even stronger than God, to prepare for the enemy that will likely invade within one year's time… For this track, we selected and compiled 3 pieces that evoke the theme of "the afterlife", the world of spirits. M731 is a piece made with the world of spirits in mind. And M734 is the gag-loving Kaiō-sama's "theme song". Starting with the scene where Kaiō-sama makes jokes, this piece has been used frequently in other comical scenes, or scenes with a "silly" feel to them. M735 was composed with the Serpent Road in mind, but it has also been used to great effect in scenes depicting eerie places or characters that evoke a great sense of unease. | ||
| a | M731 | K-736 | F+ | 0:47 | |
| b | M734 | K-XXX | F Major | 0:46 | |
| c | M735 | K-737 | A˚7 | 1:01 | |
| 5 | 孫悟飯とピッコロ大魔王 Son Gohan to Pikkoro Daimaō Son Gohan & Demon King Piccolo |
1:34 | Piccolo started training Gohan, believing in the immense power this crybaby showed for a moment when he tried to save his father, Goku, during the battle with Raditz. Even Gohan, who at first did nothing but cry all day, by coming into contact with dinosaur-san and robot-san, he learned more about life and grew stronger each and every day… M723 has been used countless times as background music while Gohan matured by overcoming Piccolo's strict training and also in the scene where Gohan ate the apples that Piccolo gave him. Regarding M721, while nine different pieces with different arrangements were composed to be used in scenes where Gohan appears, for now, out of all of them, one of them was picked and inserted into this track. It's used during Gohan's training, but it's also frequently used in scenes where we see Gohan running around in high spirits, for example. It was also used in scenes where the Z-Warriors, such as Kuririn, were flying, or in scenes that involved riding the Kinto'un. | ||
| a | M723 | K-740 | F Major | 0:47 | |
| b | M721 | K-742 | 0:44 | ||
| 6 | サイヤ人来たる!! Saiya-jin Kitaru!! The Saiyans Arrive!! |
2:21 | The Saiyans, whose foreboding strength is shown not just by their physique, but also by the very ki that they emanate. M725 was made with their first appearances in mind. It's used in scenes where characters keep glaring at the Saiyans, like Raditz and Vegeta, enemies with unprecedented strength. The following piece, M727, evokes scenes of the Z-Warriors squaring off with their enemies, slowly piling on the attacks with cold smiles on their faces. It was used in battle scenes where the feeling of uneasiness was palpable and it's easy to feel the tension in the air. Then there's M740. It was used in dire situations where a strong enemy launches a fierce attack. Since it was also frequently used as the final BGM, the so-called "hook", in episodes with fights against enemy characters like Freeza, there's probably a lot of people on whom it left a deep impression, right? And it's also frequently used in scenes where the characters are glaring fiercely at each other. | ||
| a | M725 | K-712 | G+ | 0:36 | |
| b | M727 | K-711 | 0:58 | ||
| c | M740 | K-723 | F Minor | 0:44 | |
| 7 | 天下分け目の超決戦!! Tenka-Wakeme no Chō-Kessen!! The Fateful Deciding Battle!! |
2:30 | The bloody battle with Vegeta and Nappa, with the fate of the Earth at stake!! This description is quite literal, as the Z-Warriors are injured, spill their blood and lay down their lives one after the other… And now, Piccolo has also been defeated. Son Goku, who came late, looks at the bodies of his friends with his own eyes and his rage at Nappa and Vegeta burns within! M732 has been included here with that scene in mind. The following piece, M712, was also used frequently in scenes where the Z-Warriors perished in battle or when they mourn the loss of their friends. It can essentially be called a requiem for the Z-Warriors. Regarding M741, it's pretty popular as background music for fight scenes, isn't it? It is considerably heavy, but despite that, it has frequently given Goku and the others' fights a feeling of excitement and emotional uplift. | ||
| a | M732 | K-XXX | F Minor | 0:43 | |
| b | M712 | K-733 | 0:58 | ||
| c | M741 | K-725 | 0:49 | ||
| 8 | 暗雲うずまくナメック星 An'un Uzumaku Namekku-Sei Dark Clouds Swirl over Planet Namek |
1:27 | Gohan, Bulma and Kuririn have left Earth and are headed to Planet Namek slightly earlier than Goku. When they get there, the planet is overflowing with unfamiliar things that are ready to swallow them whole. First, M724. Since it's a piece meant to evoke the theme of space, which expands endlessly, almost in a mythical way, it was obviously inserted in this track together with M726, since the former evokes Gohan, Bulma and Kuririn's uneasiness as they blast off into space, and the latter evokes the cold, endless bloodlust awaiting on Planet Namek. Perhaps because of the great sense of unease that they evoke, they have been played in scenes where characters are hiding and wondering about their surroundings or in situations where someone with great bloodlust is approaching. For example, M724 was used in the Artificial Humans arc, when Piccolo and Tenshinhan were looking down on the city where the Artificial Humans were supposed to appear. | ||
| a | M724 | K-708 | G+ | 0:43 | |
| b | M726 | K-713 | 0:41 | ||
| 9 | 間にあえ!!ななつのドラゴンボール Ma ni Ae!! Nanatsu No Doragon Bōru Reach the Seven Dragon Balls in Time!! |
2:45 | In this track, we collected a few pieces that you probably heard frequently in situations where tension is in the air, where there's an urgent race against time, where the feeling of uneasiness starts to become heavier and plots begin to unfold. All three pieces are also used in scenes with eerie locales. The three-way race for the Dragon Balls unfolding on Planet Namek, aiming for the enemy's Dragon Balls while distracting them, waiting for the moment they let their guard down for just a moment – those moments with a palpable sense of tension are the kind of image that M810 is trying to evoke. Next, M801 evokes a cold, heavy atmosphere. Then, there's heavy pressure coming from the enemy, and the staredown continues… until suddenly, the exchange of stares turns into a fierce exchange of fists. That's the kind of mood that that M923 is trying to make you feel. | ||
| a | M810 | K-XXX | F Minor | 0:35 | |
| b | M801 | K-XXX | 1:03 | ||
| c | M923 | K-XXX | 1:06 | ||
| 10 | 恐怖のギニュー特戦隊 Kyōfu no Ginyū Tokusentai The Fearsome Ginyu Special Force |
2:01 | They are the strongest in all of Freeza's forces, possessors of top-level strength, endowed with special abilities; they are the Ginyu Special Force, Freeza's five right-hand men. Their power is enough to make even Vegeta, who got a power-up after recovering from the brink of death, cower in fear. Furthermore, with their mischievous personalities, they're impossible to completely hate, so there are a lot of fans that love them as villains. M809-1 seems to be the perfect piece to evoke the Ginyu Special Force's coolness; what do you think about its inclusion in this track? M814 is a piece that plays in the background of the scene where the five members of the Ginyu Special Force, who had just arrived on Planet Namek, let out a cry and strike a finishing pose one after the other, right in front of Freeza's eyes, almost as if it's their duty. With their finishing poses that resemble Sentai series such as Goranger, The Ginyu Special Force continues to endlessly fascinate their fans. | ||
| a | M809-1 | K-XXX | F Minor | 0:30 | |
| b | M814 | K-XXX | 1:28 | ||
| 11 | 怪物フリーザVS伝説の超サイヤ人 Kaibutsu Furīza VS Densetsu no Sūpā Saiya-jin The Monster Freeza vs. the Legendary Super Saiyan |
4:56 | The last battle is between Son Goku and Freeza. Freeza, who had transformed into his strongest, third form [sic],[j] was barely hurt even by Goku's Kaiō-ken, was tough enough to withstand even an extra-large Genki-Dama, and his speed and power vastly surpassed Goku's. The decisive battle with the monstrous Freeza gave fans so much excitement that their eyes were glued to the TV. The background music once again made frequent use of pieces with a high sense of urgency and tension to bring the drama to new heights. With this track, it is possible to recreate that high sense of drama and excitement through sound. M817 makes you feel the dread of the monstrous Freeza, who grew stronger with each transformation; M818 conveys the nervousness felt by Goku as he faced Freeza, an enemy against whom he cannot lower his guard, even for one second; M816 evokes the moment when Goku saw Kuririn being killed right in front of his eyes and felt an unprecedented bloodlust and rage well up within him, and M924 makes you think of the exhilarating moment when Goku finally awakened to his Super Saiyan transformation and its astounding battle power. These pieces were selected with all these moments in mind. | ||
| a | M817 | K-XXX | F Minor | 1:23 | |
| b | M818 | K-XXX | 0:45 | ||
| c | M816 | K-XXX | C#˚7 | 1:57 | |
| d | M924 | K-XXX | F Minor | 0:50 | |
| 12 | 消えるナメック星と希望 Kieru Namekku-sei to Kibō Planet Namek Vanishes, and So Does Hope |
1:42 | Gohan, Bulma, and all the Namekians such as Dende, who had managed to be transported safely back to Earth, are happy that the battle is over and that peace has returned, but become dejected as soon as they know that they won't be able to bring Goku and Kuririn, who died on Planet Namek, back to life. However, thanks to Vegeta's idea, Kuririn does come back to life, right in front of Gohan and all the others. But at the same time, they are told by Shenlong [sic][k] that Goku is alive somewhere in the vastness of space, so for now, despite the grand finale, Goku's friends worry about where Goku might be… Please listen to M702 and M704, which are both arrangements of opening theme song "CHA-LA HEAD-CHA-LA", while recalling that last scene from the Freeza arc. And let's wrap up the Freeza arc tracks with M709A-2 and M709B, pieces used during the eyecatches. | ||
| a | M702 | K-XXX | F Major | 0:44 | |
| b | M704 | K-710 | 0:41 | ||
| c | M709A | K-718 | 0:07 | ||
| d | M709B | K-719 | 0:06 | ||
| 13 | 未来から来た少年 Mirai Kara Kita Shōnen The Boy Who Came From the Future |
Peace has returned to Earth. M201 calls to mind scenes of a creeping dark shadow and a feeling of uneasiness caused by a yet-unseen enemy. And then, we have Trunks, who has come to an era where Goku and the others still exist to save the Earth of the Future, which had fallen into catastrophe. Trunks's entrance at the beginning of the Artificial Humans arc is, quite frankly, amazing. Particularly, the scene with the revived and powered-up Mecha Freeza was structured in a really dynamic way, which was unusual for the time, and was therefore something that left a lasting impression. M1206 did not play during that scene, but did accompany one of Trunks's fight scenes. Furthermore, and this is somewhat of a biased view on our part as the production team, but this might even be one of the pieces that's the most packed with the so-called "Kikuchi style", so we would like for even the oldest fans of Mr. Shunsuke Kikuchi to play close attention to it. It wouldn't be an exaggeration to say that this piece might even be one of the highlights of this CD set. | |||
| a | M1201 | K-XXX | F Minor | 0:44 | |
| b | M1206 | K-XXX | 0:46 | ||
| 14 | 人造人間街へ… Jinzōningen Machi e… The Artificial Humans Head to the City… |
4:39 | The Artificial Humans, new enemies that don't possess what is known as "ki" at all. Because of that, even the Z-Warriors could not ascertain their whereabouts, so looking for them was extremely difficult. Meanwhile, Artificial Humans No. 19 and No. 20 quietly began their assault, almost as if to mock those same Z-Warriors. M920 fits that image to a T. M1119 tended to be used as the "hook" of the first or second half of the episodes around this part of the series, so it could be categorized as one of those tracks that people are intimately familiar with. What played in the background of the scene where Yamcha, the one who first encountered the Artificial Humans, was pierced through the chest by No. 20 was likely a shortened version of M1212. It likely also played during other battle scenes, so perhaps you'll remember having heard it before. It's a thrilling piece with a great sense of speed, so please enjoy it. | ||
| a | M920 | K-XXX | F Minor | 2:29 | |
| b | M1119 | K-XXX | E♭ Minor | 1:14 | |
| c | M1212 | K-XXX | F Minor | 0:56 | |
| 15 | 阻止せよ!セルの完全体 Soshi Seyo! Seru No Kanzentai Prevent It! Cell's Perfect Form |
4:46 | M1121 was included in this track with the intention of bringing to mind the first appearance of Cell, the monster who possesses the "ki" of a number of strong fighters, like Goku and Freeza. And M1211, the BGM that mixes a sense of speed with a tense atmosphere, was used mostly during battle scenes and played in the background during fights such as the one with Artificial Human No. 18. M1217 is, once again, something a bit different. It played a lot during battle scenes with a strong sense of tension. Regarding M1120B, the pipe organ used in its first half adds a sense of coldness to what is already a pretty intense melody, but during the second half, it changes to another melody with a pretty hefty sense of weight. This piece was chosen because it is evocative of the desperation that Piccolo felt at not being able to prevent Cell from becoming perfect, which then turns into fear of Cell's perfect form. This is a bit of a digression, but a different version of this piece, M1120A, played during the scene where Vegeta, who was agonizing over not being able to become a Super Saiyan, had a nightmare. | ||
| a | M1121 | K-XXX | F Minor | 0:39 | |
| b | M1211 | K-XXX | 1:01 | ||
| c | M1217 | K-XXX | 0:53 | ||
| d | M1120[l] | K-XXX | 2:09 | ||
| 16 | 死を呼ぶセルゲーム Shi o Yobu Seru Gēmu The Deadly Cell Games |
6:01 | The Cell Games, where the battle with Cell takes place, begin. For Gohan and the others, who were on the sidelines watching the battle unfold right in front of them, both a heated sense of uplift and a cold sense of anxiety were swirling in their hearts at the same time. M1309 reflects that scene. Next comes M1318, which plays when Goku faces Cell; and with M1418, we go from the face-off to the actual battle. Then, M1307 and M742 evoke the intense battle with Cell, which starts on the ground and then moves up to the sky. This is a bit of a tangent, but the pieces compiled onto this track have been extremely useful in helping rouse excitement for the battles of the brave Z-Warriors such as Goku. Which is precisely why there was a great deal of doubt over which track should these pieces be assigned to, but in the end, out of all the story developments in Dragon Ball Z, with all of its complicated character relationships and foreshadowing, the Artificial Humans and Cell arc was probably the one that excited people the most, so these pieces were collected onto this track with that arc in mind. They're probably all pieces that everyone remembers hearing, but what do you think? | ||
| a | M1309 | K-XXX | G+ | 0:42 | |
| b | M1318 | K-XXX | F Minor | 1:33 | |
| c | M1418 | K-XXX | 1:12 | ||
| d | M1307 | K-XXX | 1:36 | ||
| e | M742 | K-734 | 0:53 | ||
| 17 | 大団円~もうひとつの結末 Daidan'en ~ Mō Hitotsu Ketsumatsu The Finale ~ One More Ending |
2:37 | Goku, who could not be revived by the power of the Dragon Balls, which had been restored by the new God, Dende, decided he'd be staying in the Afterlife and announced with a smile that he'd be leaving Gohan and his friends. "This truly is a farewell befitting of him." "We're always the ones being left behind." Tenshinhan, Piccolo, Yamcha and the others reflected on their memories with Goku, their good friend, their good rival, their comrade-in-arms… And Gohan, too, said his goodbyes to his exceptional father with a smile on his face: M1530 was the piece playing in the background of this scene. Next, and just as the sub-title says, M1515 was made for the battle scene where the brave Trunks went back to the Future to settle things with No. 17, No. 18, and Cell. And lastly, M1319 was included in this track with the image of the arrival of true peace in mind. | ||
| a | M1530 | K-XXX | F Major | 1:04 | |
| b | M1515 | K-XXX | F Minor | 0:44 | |
| c | M1319 | K-XXX | F Major | 0:47 | |
| 18 | さよなら戦士たち Sayonara Senshi-tachi Farewell, Warriors |
2:12 | Just like in the previous series, Son Goku continued carrying the mantle of hero that he had been holding onto for a long time in this series as well. For he who becomes stronger every time he battles a strong foe, even death was just an opportunity to become even stronger before coming back. But even for Goku, the time has come to pass on the mantle of main character to his son, Gohan. In this track, where we compiled two arrangements of "CHA-LA HEAD-CHA-LA", followed by a shortened version of its instrumental rendition used in the next episode previews,[m] we look back at the fights of Son Goku, the Super Saiyan… or imagine what he will do at the Afterlife Tournament. M707 is an arrangement that evokes a strong feeling of action, ending in a melody that is very much worth listening to. On the other hand, M706 evokes scenes of jumping or running around gallantly. It is not used all that often, but since it also plays in the feature films, there are probably people that will remember having heard it before. And lastly, a shortened version of the instrumental used in the next episode previews[m] to tie it all off. | ||
| a | M707 | K-XXX | F Major | 0:49 | |
| b | M706 | K-722 | 0:31 | ||
| c | M701[n] | K-726 | 0:32 | ||
| 19 | でてこいとびきりZENKAIパワー! (TVサイズ) Detekoi Tobikiri ZENKAI Pawā! (TV Saizu) Come Out, Incredible ZENKAI Power! (TV-Size) |
E Minor | 1:37 | Serving as the counterpart to "CHA-LA HEAD-CHA-LA", this song was used as the Ending Theme from Episode 1 to Episode 199. Since people got used to listening to the Opening & Ending themes alongside the episode proper for more than four years, now that the series has made the transition to new theme songs,[o] it feels a little sad. This theme's footage never changed partway through the series. Furthermore, though this is not so strange as to be mysterious, for some reason, there are no alternate arrangements of this song whatsoever. | |
| 20 | WE GOTTA POWER (TVサイズ) WE GOTTA POWER (TV Saizu) We've Got Power (TV-Size) |
1:50 | The new opening theme song that, starting with Episode 200, marked the start of a new era with the start of the "High School Arc". While the lyrics and the melody still capture the "feel" of the previous opening theme song, it makes for an even more powerful piece of music. Furthermore, the footage is vibrant to the point of overflowing the entire screen, and with all the smooth motion, the number of cuts that are constantly flowing and changing, and the endeavors of new main character, Gohan, and the new hero, Great Saiyaman, people are bound to be left with quite an impression. Even by just watching it, you will enjoy it immensely. It's impossible not to say that it is a splendid opening. Well then, please enjoy the TV-size version of "WE GOTTA POWER". | ||
| 21 | プロローグ&サブタイトルII Purorōgu & Sabutaitoru II Prologue & Sub-Title II |
1:18 | Seven years have passed since the decisive battle with Cell. The Earth is completely peaceful again. Son Gohan has now entered High School and, starting today, will be attending classes in the city. Dragon Ball Z has entered the "High School Arc", and just like the opening and ending theme songs are brand new, the background music, too, had new pieces recorded. This track contains the new prologue and sub-title pieces. The reason is the same as with the "Prologue & Sub-Title I" track, so it's probably not even worth mentioning it here again. The prologue piece is an arrangement of the new opening theme song, and despite being a bit subdued, it has an exquisite charm to it. Just like before, the track is accompanied by Mr. Jōji Yanami's narration. Which just makes the narration to Episode 200 all the more unforgettable. | ||
| a | M1711 | K-XXX | F Minor | 1:07 | |
| b | [p] | K-XXX | 0:10 | ||
| 22 | ニューヒーロー登場 Nyū Hīrō Tanjō A New Hero is Born |
2:12 | It's the arrival of the stylish new hero, Great Saiyaman!! In this track, we've compiled several pieces related to Great Saiyaman. M1628D is one of two pieces used when Gohan transforms into Great Saiyaman. After that, M1625-2 accompanies the scenes where Great Saiyaman flies onto the scene and then springs into action. M1529 has been included in the track with the image of his heroic exploits in mind. M1606 is a flight theme that people have probably gotten used to by now. This piece has seen extensive use, not just with Great Saiyaman, but also in the first scene of the series [sic], when Gohan rode the Kinto'un to school, and also with other characters' flight scenes. In fact, it is used so often that it probably already became one of the most familiar pieces of background music. It's not even limited to just M1606; the background music of the current series [sic] has such a strong impact that it could be said that instant familiarity is actually one of its characteristics. | ||
| a | M1628D | K-XXX | C Major | 0:08 | |
| b | M1625-2 | K-XXX | 0:42 | ||
| c | M1529B | K-XXX | F Minor | 0:24 | |
| d | M1606 | K-XXX | F Major | 0:57 | |
| 23 | Angel | 3:16 | In this track, we've collected arranged versions of the new ending theme song "We Were Angels". Firstly, we have M1706A. It's a different version of M1706, which has the sub-title piece as its basis. That said, it only has one major difference. The piece suddenly becomes more rhythmical partway through, but that part's arrangement is the reason why it's different. We decided to go with M1706A. It's got an interesting flair to it as an arranged version of a theme song, so I think you will all enjoy it very much. Next, we have M1720, which is a complete instrumental rendition. Since not just the lyrics, but also the tune has been resolutely converted into a beautiful melody, this goes without saying, but we would like to invite people to pay close attention to the way the instruments are played in this rendition. We are positive that there are a lot of interesting discoveries for you to find. Then, we have M1714A and M1714B, which are used during the eyecatches. | ||
| a | M1706A | K-XXX | F Minor | 1:24 | |
| b | M1720[q] | K-XXX | F♯ Minor | 1:36 | |
| c | M1714A | K-XXX | F Minor | 0:07 | |
| d | M1714B | K-XXX | 0:06 | ||
| 24 | 再開!天下一武道会 Saikai! Tenka'ichi Budōkai Reopened! The Tenka'ichi Budōkai |
2:39 | The new Z-Warriors, now including new members Goten, Trunks and No. 18, will participate in the Tenka'ichi Budōkai, which hasn't been held in a long time. Furthermore, since Goku received special permission and will also participate, all the Z-Warriors are reunited once more! We can even see familiar faces, like the tournament announcer, so we've lined up a few pieces with the image of this Tenka'ichi Budōkai "class reunion" of sorts in mind. From a lively melody that changes completely partway through to a heavy battle theme and then goes back to a cheerful tune, M1018 evokes the euphoria of the Z-Warriors, thrilled at the reopening of the Tenka'ichi Budōkai during these times of peace. Next, there's M1604, which brings to mind the noisy Tenka'ichi Budōkai, packed to the brim with spectators. Then we have M1621, composed in honor of our hero, Mister Satan, savior of Earth. | ||
| a | M1018 | K-XXX | C Major | 0:54 | |
| b | M1604 | K-XXX | F Major | 0:51 | |
| c | M1621 | K-XXX | 0:51 | ||
| 25 | 正義を愛する者! Seigi o Ai Suru Mono! Those Who Love Justice! |
3:28 | This track is a collection of arrangements of the new opening theme. M1703 is the piece that makes you feel like you can just hear his introduction: "The ally of justice who does not tolerate evil!! The Great Saiyaman!!!!" This is one of the pieces that played during scenes when Great Saiyaman and Videl were on-screen. By the way, the new opening and ending themes had about 5 to 6 arrangements each. It was not possible to gather that many in this album, and it really is a shame, since all the arrangements have a really nice feel to them and are really enjoyable to listen to. M1719 is an instrumental rendition. Just like M1720, it's a piece that wants you to enjoy its melody line. Then, we have M1712, which is the arrangement used in the next episode previews. | ||
| a | M1703 | K-XXX | F Minor | 1:07 | |
| b | M1719[r] | K-XXX | E Minor | 1:47 | |
| c | M1712 | K-XXX | F Minor | 0:30 | |
| 26 | 僕達は天使だった (TVサイズ) Boku-tachi wa Tenshi Datta (TV Saizu) We Were Angels (TV-Size) |
F♯ Minor | 1:38 | This is the TV-size version of the new ending theme, which, just like "WE GOTTA POWER", began airing starting with Episode 200. Just like the new opening theme, the lyrics were handled by Yukinojō Mori, but in complete contrast with the opening, it's bound to startle you, in a good way, with its beautiful lyrics. | |
| Well then, as a final note, the tracks on this BGM Collection were ordered following the story and have been labeled accordingly. That said, with regards to the music selection, it's been impossible for us to comprehensively confirm whether each individual piece that played during the story was associated with the correct track name due to a lack of video resources. So we would like to thank you for your understanding. If this musical history of Dragon Ball Z ever gets a new compilation, we would be very pleased if you would enjoy it once again. | |||||
Disc 5: Dragon Ball & Dragon Ball Z Film BGM Collection
DRAGONBALL & DRAGONBALL Z 大全集 •DISC 5•
劇場版「ドラゴンボール」「ドラゴンボールＺ」ＢＧＭコレクション
Disc 5 begins with an instrumental version of "Mystical Adventure!" using the song's karaoke track. Karaoke track instrumentals of "I'll Give You Romance" of "CHA-LA HEAD-CHA-LA" are also included, as well as the full-length ending song (vocals included) for Dragon Ball Z Movie 9: "Surpassing the Galaxy, Rising High".
The BGM on disc 5 are grouped into suites of 2-5 pieces each. Suites are highlighted and the individual BGM pieces they contain are detailed underneath. Official catalogue numbers are cross-referenced with our chronological internal catalogue numbers (完全集 Kanzenshuu). 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 5: Instrumentals and Movie BGM | |||||
|---|---|---|---|---|---|
| # α |
Title/Catalogue | Key | Length | Booklet Notes | |
| Official | 完全集 | ||||
| 1 | Disc 5, which brings up the rear of this compendium, comprises music composed for the 12 Dragon Ball theatrical films, from The Legend of Shenlong to Galaxy at the Brink! The Super Incredible Guy. As a rule, even though Toei Animation's theatrical productions were side-stories to the TV series, the music appearing therein was completely made-to-order. For animation, music is an even more crucial element than in normal filmed dramatizations, and Dragon Ball is no exception. Within the various entries in the series, the music, composed according to careful calculation, was devoted to having the greatest effect possible in the high-impact action scenes. One also can't ignore how the music for these films, produced with ample budgets and time, was also employed in the TV series through Shigeru Miyashita's exquisite music-selection sensibilities, helping to raise the bar for music in the series as a whole. It is for that reason that this compendium mixes original theatrical pieces in with music of the TV series in its suites, but it is naturally also true that among the movie music produced to accompany the on-screen developments of the theatrical films, there are those pieces that do not come to mind except in their original usage. That is why on this disc, we have attempted to compile pieces from the theatrical films that do not appear on discs 2 and 4 according to their respective movies. Now then, let us quickly introduce the included pieces, following the order of recording for "Dragon Ball". | ||||
| 魔訶不思議アドベンチャー! (TVサイズ・インストゥルメンタル) Makafushigi Adobenchā! (TV Saizu Insuturumentaru) Mystical Adventure! (TV Size Instrumental) |
First up, we have included A-1, the TV-size version of the nostalgic opening theme "Mystical Adventure!" with orchestral melody. Not all parts were performed again as background music; rather, it's the TV-size karaoke version with a take of the melody part layered on after the fact. It was used frequently in-series, but this is the first time it has been given a commercial release. It was produced during the first music recording session at AVACO Creative Studio [in Shinjuku] on 03 February 1986. | ||||
| A-1 | K-73 | F Minor | 1:49 | ||
| We have touched upon this previously, but the M-numbers consist of two types: those assigned at the time of recording, and the reference numbers given by Shigeru Miyashita, in charge of music selection. All descriptions given on this CD are uniformly the latter. Pieces from the first recording session alone were assigned reference numbers using a letter of the alphabet according to the type of music; pieces from all subsequent sessions are numbered according to the pattern MXX. The numbers do not go in an unbroken sequence; pieces from the second recording session alone are based on their numbering at the time of recording; those from subsequent sessions use the number at the time of recording, but append a number in the hundreds place by the respective recording session: 100-series, 200-series, etc. Through this, it is possible to tell what recording session a piece comes from by its M-number alone. For instance, M101 would be the "M1" from the third recording session. The music for the theatrical productions was numbered according to the order of appearance in the film itself, so if one looks at the M-number while bearing in mind the above, one should be able to work out approximately where that music should go in the movie. | |||||
| 2 | 神龍の伝説 Shenron no Densetsu The Legend of Shenlong |
5:13 | King Gourmeth of Gourmeth Kingdom, possessor of a bottomless appetite. Featured in this track are six pieces taken from and composed for the first Dragon Ball theatrical film, which depicts the battle between him, who is thinking about collecting the Dragon Balls to attain the ultimate dish, and Goku and the gang. Furthermore, the film was produced completely independently from the story of the television series, so even Goku and Bulma's meeting was depicted anew. This is something that applies to theatrical films as a whole, but since movies stay in theaters for a long time and lose their connection to the story of the television series, it was considered to be the most reasonable approach. And the way that the world of the original series was implemented in the movie was the most effective way to easily welcome even first-time Dragon Ball viewers to the story. Starting off, M201 is a solemn piece of music that plays during the initial narration, starting with the Toei logo and then continuing on through the explanation of the legend of the Dragon Balls. Next, we have M202, which is the bridge to the scene where the close-up of the title, Dragon Ball, appears on the screen. The sub-title itself is accompanied by the TV-size version of the opening theme of the main series, "Makafushigi Adventure!" Following M229, which accompanies the scene where Goku and Yamcha exchange fierce blows in the towering rocky field, we have M261, which plays during the scene where Gourmeth's Castle crumbles down due to Shenlong's appearance, and following that, we have M262, which plays during the scene where the room is filled with dread over what the wish to Shenlong is going to be. The last piece in this track, M264, is the one that plays during the grand finale, as Pansy's wish gets fulfilled and the Kingdom of Gourmeth recovers its green soil. Furthermore, M247, an arrangement of Gourmeth's theme that plays during the scene where Pasta's group attacks Kame House with a submarine, is included in track 23 of Disc 2. The music to this film was produced on the second recording, which took place on 31 March 1986, on the third recording, which took place on 04 August 1986, and then also later during the fourth recording, on 27 November of the same year. All recordings were done at AVACO Studio. | ||
| a | M201 | K-201 | C7 | 1:29 | |
| b | M202 | K-202 | F Minor | 0:13 | |
| c | M229 | K-227 | 0:31 | ||
| d | M261 | K-257 | 0:44 | ||
| e | M262 | K-258 | D˚7 | 0:58 | |
| f | M264 | K-260 | F Major | 1:16 | |
| 3 | 魔神城のねむり姫 Majin-Jō No Nemuri Hime The Sleeping Princess in the Devil's Castle |
5:39 | The second Dragon Ball theatrical film depicts Goku and the gang in a mysterious adventure revolving around a sleeping princess. The art team's approach to the movie, which drew a lot of inspiration from overseas animated movies that deal with legendary monsters, like Fantasia, is also a highlight, but Shunsuke Kikuchi's score, which supports the themes of the movie, is superb. Firstly, we have M401, the piece that accompanies the prologue that introduces the princess, who has been sleeping for several thousand years in a castle deep within the forest; followed by the bridge piece that plays during the main title, M402-2. The Turtle Hermit informs Goku and Kuririn, who are hoping become his disciples, that he will train the one that brings him the sleeping princess. M411, which plays during the scene where Goku and Kuririn depart towards the Devil's Castle in the far West, merges a motif of "Makafushigi Adventure!", which one could say is Goku's theme, with Kuririn's own theme, and is therefore a composition truly befitting of a film soundtrack. M424EXT, which includes a chorus, is the piece that plays during the scene where Bulma, who followed Goku all the way to the Devil's Castle, is introduced to the castle's lord, Lucifer, in a dining hall overflowing with demons. At the same time, Goku and Kuririn make it to the Devil's Castle. The following piece is M420, which plays during the scene where a swarm of demons quickly appears in front of the two of them. Written down in the music selection memo was the sentence: "The Run of the Demons, Morricone-style". Then, we have M438, which plays during the scene where Goku looks at the full moon, transforms into a giant monkey and starts rampaging inside the castle. A phrase of "Mystical Adventure!" is also used here to great effect. The last piece, M442-2, plays during the finale, when Lucifer's ambition has been crushed and everyone rejoices together that they're all still alive. Note that the impactful piece that accompanies the scene where Goku's Kamehameha topples Lucifer's sun-destroying giant tower is included on track 20 of disc 2. The music for this film was produced in the fifth recording session, which took place on 17 February 1987, and then also later on during the sixth recording, which took place on 24 June of the same year. All recordings were performed at AVACO Studio. | ||
| a | M401 | K-401 | C | 0:38 | |
| b | M402-2 | K-402 | 0:14 | ||
| c | M411 | K-409 | F Minor | 1:17 | |
| d | M424EXT | K-422 | D Minor | 1:24 | |
| e | M420 | K-418 | F Minor | 0:38 | |
| f | M438 | K-434 | 0:59 | ||
| g | M442-2 | K-439 | F Major | 0:26 | |
| 4 | 魔訶不思議大冒険 Makafushigi Dai-Bōken Mystical Great Adventure |
3:18 | In the third Dragon Ball theatrical film, all the characters introduced from the training with the Turtle Hermit up until the 22nd Tenka'ichi Budōkai were used in an original story. The Crane Hermit, from the Mifan Empire, plans to gather the Dragon Balls in order to rule the nation. It just so happens that Goku has come to Mifan to participate in a martial arts tournament and ends up squaring off against Tao Pai-Pai, who works for the Crane Hermit and his subordinates as an assassin. From an empire searching for the Dragon Balls and its dispute with Goku, to the participation in the tournament, to the story developments that arise from adapting the TV version, it all feels like we're peeking at a Dragon Ball parallel world. Regarding the pieces in the track, they are, in order: M615, which plays during the scene where Goku, who had just arrived to the city of Mifan, expresses his amazement at the splendorous temple, followed by M617, which plays during the scene where the Mifan army coerces the populace into looking for the Dragon Balls. At the same time, Bulma and the gang battle a mysterious fighter aircraft above the sea with their own airplane, while M611, an action theme, plays in the background. Following that, we have M633, with its sense of uneasiness, which plays during the scene where Bora, who defeated Yamcha, faces Tao Pai-Pai. Then, we have M655, which plays during the scene where Chiaotzu, the emperor of Mifan, forgives Tenshinhan, who had deceived him. The last piece, M656, plays during the scene where the Dragon Balls slowly fall down the dragon-shaped chasm at the bottom of the lake. All these pieces were taped during the seventh recording session (held on 29 January 1988 at AVACO Studio) and then later on during the eighth recording session, held on 22 June 1988, which was the last recording session for Dragon Ball. | ||
| a | M615 | K-612 | F Minor | 0:46 | |
| b | M617 | K-614 | 0:37 | ||
| c | M611 | K-609 | 0:35 | ||
| d | M633 | K-631 | 0:28 | ||
| e | M655 | K-647 | F Major | 0:21 | |
| f | M656 | K-648 | C˚7 | 0:29 | |
| 5 | ロマンティックあげるよ (TVサイズ・インストゥルメンタル) Romantikku Ageru Yo (TV Saizu Insuturumentaru) I'll Give You Romance! (TV-Size Instrumental) |
1:38 | The B-1 instrumental rendition of the ending theme to Dragon Ball, "Romantic Ageru Yo". As stated before, all pieces from the first recording session were organized according to letters of the alphabet. So for instance, pieces belonging to the "A" category were variations of the opening theme songs, whereas the "B" category indicates arrangements of the ending themes. There are also others, like the G category, used to express emotion, and the H category, used to accompany reveals of grand spectacles, but this categorization system is shared across nearly all of Toei Animation's productions. | ||
| B-1 | [s] | E♭ Major | |||
| 6 | CHA-LA HEAD-CHA-LA (インストゥルメンタル) CHA-LA HEAD-CHA-LA (Insuturumentaru) CHA-LA HEAD-CHA-LA (Instrumental) |
3:18 | The well-known first theme song to Dragon Ball Z. Please listen to this full-length instrumental rendition. Unlike the other pieces of background music of that time, this one was recorded at the same time as the karaoke version of the main theme. Furthermore, the music used during the next episode previews for Z is a 30-second edit of this same piece.[t] | ||
| M701 | [t] | E Major | |||
| 7 | ドラゴンボールZ Doragon Bōru Z Dragon Ball Z |
7:26 | (notes) | ||
| a | M806 | K-XXX | F Minor | 1:55 | |
| b | M807 | K-XXX | 1:08 | ||
| c | M808 | K-XXX | 0:17 | ||
| d | M811 | K-XXX | 1:31 | ||
| e | M814A | K-XXX | 0:32 | ||
| f | M819B | K-XXX | F Major | 1:43 | |
| 8 | この世で一番強いヤツ Kono Yo de Ichiban Tsuyoi Yatsu The World's Strongest Guy |
4:30 | (notes) | ||
| a | M902 | K-XXX | F Minor | 0:20 | |
| b | M919 | K-XXX | 1:19 | ||
| c | M922 | K-XXX | C+ | 1:37 | |
| d | M929 | K-XXX | F Major | 1:08 | |
| 9 | 地球まるごと超決戦 Chikyū Marugoto Chō-Kessen Super Deciding Battle for the Entire Planet Earth |
3:45 | (notes) | ||
| a | M1002 | K-XXX | C Minor | 0:45 | |
| b | M1007 | K-XXX | 1:04 | ||
| c | M1023 | K-XXX | 1:52 | ||
| 10 | 超サイヤ人だ孫悟空 Sūpā Saiya-jin Da Son Gokū Super Saiyan Son Goku |
5:36 | (notes) | ||
| a | M1109 | K-XXX | F Minor | 1:47 | |
| b | M1114 | K-XXX | 0:35 | ||
| c | M1117 | K-XXX | 1:12 | ||
| d | M1123 | K-XXX | F Major | 0:36 | |
| e | M1125 | K-XXX | 0:40 | ||
| f | M1126 | K-XXX | 0:38 | ||
| 11 | とびっきりの最強対最強 Tobikkiri no Saikyō tai Saikyō The Incredible Mightiest vs. Mightiest |
5:13 | (notes) | ||
| a | M1202 | F Minor | 0:15 | ||
| b | M1207 | K-XXX | 0:20 | ||
| c | M1214 | K-XXX | 0:32 | ||
| d | M1216 | K-XXX | 1:15 | ||
| e | M1220 | K-XXX | D˚7 | 0:57 | |
| f | M1221 | K-XXX | F Minor | 1:29 | |
| g | M1222 | K-XXX | C7 | 0:19 | |
| 12 | 激突!!100億パワーの戦士たち Gekitotsu!! 100-Oku Pawā no Senshi-tachi Clash!! 10,000,000,000 Powerful Warriors |
3:42 | (notes) | ||
| a | M1310 | K-XXX | F Minor | 0:25 | |
| b | M1312 | K-XXX | 1:32 | ||
| c | M1313B | K-XXX | 0:25 | ||
| d | M1308 | K-XXX | 0:47 | ||
| e | M1311 | K-XXX | G+ | 0:29 | |
| 13 | 極限バトル!!三大超サイヤ人 Kyokugen Batoru!! San Dai Sūpā Saiya-jin Extreme Battle!! The Three Great Super Saiyans |
7:37 | (notes) | ||
| a | M1409 | K-XXX | F Minor | 0:30 | |
| b | M1405 | K-XXX | 1:21 | ||
| c | M1412 | K-XXX | 1:08 | ||
| d | M1414 | K-XXX | 0:46 | ||
| e | M1420 | K-XXX | F Major | 3:25 | |
| f | M1421 | K-XXX | F Minor | 0:24 | |
| 14 | 燃えつき炉ろ!!熱戦・烈戦・超激戦 Moetsukiro!! Nessen – Ressen – Chō-Gekisen Burn Up!! A Close, Intense, Super-Fierce Battle |
4:48 | (notes) | ||
| a | M1503 | K-XXX | F Major | 1:24 | |
| b | M1522 | K-XXX | F Minor | 1:57 | |
| c | M1525 | K-XXX | 1:27 | ||
| 15 | 銀河ギリギリ!!ぶっちぎりの凄い奴 Ginga Giri-Giri!! Butchigiri no Sugoi Yatsu The Galaxy at the Brink!! The Super Incredible Guy |
8:15 | (notes) | ||
| a | M1609-2 | K-XXX | B♭ Major | 1:23 | |
| b | M1615 | K-XXX | F Minor | 1:10 | |
| c | M1618 | K-XXX | 0:26 | ||
| d | M1619 | K-XXX | 0:54 | ||
| e | M1620 | K-XXX | C Major[u] | 0:56 | |
| f | M1623 | K-XXX | C Minor | 1:29 | |
| g | M1624 | K-XXX | C Major | 0:44 | |
| h | M1626 | K-XXX | D Major | 1:09 | |
| 16 | 銀河を超えてライジング・ハイ Ginga o Koete Raijingu Hai Surpassing the Galaxy, Rising High |
A♭ Major | 4:02 | (notes) | |
External Links
Notes
- ↑ No additional arrangement credit is given for the "Mystical Adventure!" remix.
- ↑ These booklet notes were written before Akira Toriyama published Jaco the Galactic Patrolman, in which Bulma's sister Tights was introduced. Tights also made brief appearances in the Dragon Ball Super anime and manga.
- ↑ The implication that Goku actually lived in China is also present in the Japanese.
- ↑ The "scenery in the style of Chinese ink paintings" is the setting of H4 in Episode 1, not H3, which begins with scenery of a waterfall and a rainbow done in a normal anime style. However, H3 does accompany Chinese-style paintings in the beginning of Episode 5.
- ↑ The full-length version of "Marugoto" changes keys to C Minor before the end. The short version accompanying the credits of Dragon Ball Z Movie 3 ends as it begins in B♭ Minor.
- ↑ "Solid State Scouter" is a "song" that does not have singing! TOKIO is credited for the speaking parts, but no lyricist is credited because the words are just battle power numbers, ending with Freeza's first-form battle power of 530,000.
- ↑ This modulation is present in the short version of "The Incredible Mightiest vs. Mightiest" accompanying the credits of Dragon Ball Z Movie 5, which begins in F# Minor and ends in A Minor, just like the full track.
- ↑ In the full version of "Hero (You're the Hero)", following the introduction, the song's first verse is in C Minor and there is a transition to G# Minor for the chorus. The second verse and chorus are also in C Minor and G# Minor. Then there is a short transitional bridge followed by a short guitar solo over the C Minor verse beat, followed by a transition to A Minor (instead of G# Minor) for the third chorus. Then the verse beat comes back very briefly in A Minor. In the short version accompanying the credits of Dragon Ball Z Movie 6, this is where the song ends. In the full track, this is followed by guitar solo over a verse beat in C# Minor that eventually fades out.
- ↑ WE GOTTA POWER begins and ends in G Major, but the verses and choruses are in E Minor.
- ↑ This was Freeza's third transformation, but his fourth form.
- ↑ This was Porunga.
- ↑ This needs checking.
- ↑ 13.0 13.1 The exact version of the "CHA-LA HEAD-CHA-LA" karaoke track arrangement that is used for the NEP is unreleased. This one is similar, but an extra bar is cut, and the melodic synth instrument is different. Neither short version has an official catalogue number, though this released one identified as the NEP music is cut from the M701 recording.
- ↑ This shortened version of M701 is officially identified as the NEP music, but the actual NEP music is a different recording. See the BGM page for more detail.
- ↑ The new OP and ED theme songs, "WE GOTTA POWER" and "We Were Angels", debuted with the broadcast of Dragon Ball Z Episode 200 on 08 September 1993.
- ↑ This is a shortened version of M1706 but the short version is not given its own catalogue number.
- ↑ This is a shortened, TV-size version of M1720. The full track is on the Dragon Ball Z BGM Collection, track #07 on disc #3.
- ↑ This is a shortened, TV-size version of M1719. The full track is on the Dragon Ball Z BGM Collection, track #06 on disc #3.
- ↑ B-1 was never used in the show or movies.
- ↑ 20.0 20.1 M701 was never used as such in the show. The Next Episode Preview music is identified as having been cut from this track (see the disc 4 track 18 notes), but it appears that they had lost the NEP recording, so they attempted to recreate it by editing M701, which is similarly built on the karaoke track of CHA-LA.
- ↑ M1620 modulates from C Major to C Minor and ends on an F♯˚7 chord (vii˚7/V).
References
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