{"id":2428,"date":"2013-07-01T05:18:37","date_gmt":"2013-07-01T05:18:37","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=2428"},"modified":"2025-11-12T11:26:54","modified_gmt":"2025-11-12T19:26:54","slug":"245","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/245\/","title":{"rendered":"Be Forever Yamato<\/em> Discography"},"content":{"rendered":"

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By 1980, the saga had knocked down so many barriers and standards that a new film was practically a guaranteed blockbuster. Every single aspect of Be Forever<\/em> was amplified, and since music was Yamato<\/em>‘s strongest natural resource, it was placed front and center throughout the promotional buildup.<\/p>\n

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Above: the music staff (both old and new) was well-represented at the 1980 <\/em>Be Forever press conference. From left to right: Animation director Tomoharu Katsumada, Leiji Matsumoto, Yoshinobu Nishizaki, Composer Hiroshi Miyagawa, Singers Isao Sasaki and Akira Fuse, Lyricist Yoko Yamaguchi.<\/em><\/p>\n

By the time Yoshinobu Nishizaki and his crew started work on Be Forever Yamato,<\/em> the saga had knocked down so many barriers and standards that a new film was practically a guaranteed blockbuster. But to their eternal credit, they took nothing for granted. Every single aspect of Be Forever<\/em> was amped up to make it the single biggest marketing blitz Japan had ever seen. And since music was Yamato<\/em>‘s strongest natural resource, it was placed front and center throughout the promotional buildup.<\/p>\n

Previous success with songs and albums indicated that multiplying them for this round would multiply overall success. Isao Sasaki’s schedule of personal appearances was booked solid, giving him every possible opportunity to sing the Yamato<\/em> Theme again. And ‘Festival in Budokan,’ the mother of all Yamato<\/em> concerts probably required as much planning and coordination as the movie itself.<\/p>\n

In what must have been an extremely rare moment of free time during the hectic summer of 1980, composer Hiroshi Miyagawa wrote the following essay, which was published the Be Forever<\/em> Roman Album:<\/p>\n

<\/span><\/p>\n

Miscellaneous thoughts on Yamato Music<\/h3>\n

A life’s work<\/em><\/p>\n

Like Mr. Isao Sasaki, I have been completely absorbed in <\/em>Yamato for the past five or six years. Including<\/em> Be Forever, I have produced five or so LPs. With BGMs, I think I have composed around 400 pieces. For me, the process itself is my personal epic. If I continue like this,<\/em> Yamato music will become my life’s work. Sooner or later, people may forget that I am also the composer of <\/em>Una Sera de Tokyo.<\/p>\n

Tchaikovsky<\/em><\/p>\n

Whether you like it or not, Yamato<\/em>‘s music has restrictions. When thinking about the image of the former Imperial Navy and the classical essence woven into the story, such genres as modern jazz or reggae are not appropriate. It has to be classical. And, for some reason, Tchaikovsky is the best fit. Mr. Nishizaki seems to like Tchaikovsky, and so do I…<\/p>\n


Promotional pendant from Nippon Columbia<\/span><\/p>\n

A Fight with Real Swords<\/em><\/p>\n

Lately I have been dying to compose BGM for live action films. Compared to these, the amount of BGM required for anime is excessive. This is a built-in problem. For example, when the picture shows a simple, motionless background, it definitely requires sound. Without that it falls flat. In live action films, even in a scene where man and woman only stare each other, we can feel their breathing. And if such a scene is supported by wonderful acting, we would find an unsophisticated BGM rather annoying.<\/p>\n

Naturally, we need less music in live action films. But I am not saying it’s just matter of quantity. Rather than a BGM that ceaselessly plays on, I feel I could create one which complements the live acting of living people. But of course. I composed Yamato<\/em> BGM with seriousness.<\/p>\n

Crossover<\/em><\/p>\n

If I Compare the music of Yamato<\/em> to a color, is should be blue. Almost transparent blue. The woman closest to this image is Sasha, who makes her debut in Be Forever.<\/em> She is elegant but serious, and also has sex appeal. This may sound like self-praise, but Yamato <\/em>music will be epoch-making in the history of anime. Like Mr. Nishizaki, I always seek for something new that imitators will not be able to catch up with. Although some may say the purpose of anime BGM is to make the audience cry, that shouldn’t be all it does. Music needs elaborate techniques and carefully-added accents, I think.<\/p>\n

By the way, this is just my opinion, but is Sakezo Sado [Dr. Sane] indispensable? Mr. Matsumoto may not like this, but I feel the character is annoying. Like an awa odori dance<\/a> combined with the music of Tchaikovsky. Well, if someone is looking for a crossover, maybe that’s it.<\/p>\n

Read a review of the Be Forever<\/em> music here.<\/a><\/p>\n

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Pendant of Stars<\/em> b\/w Face in the Stars<\/em><\/h3>\n

45rpm single, 7\/1\/1980
\nNippon Columbia, CK-567<\/em><\/p>\n

By now it was a given that Isao Sasaki would sing another ‘insertion song’ for the movie, and his was the first to be heard. It follows Yamato<\/em>‘s launch from the asteroid base Icarus and expresses Kodai’s feelings of loss after being parted from Yuki. The song is more akin to mainstream music than the average anime theme, carrying on the spirt of The Scarlet Scarf.<\/em><\/p>\n

The B-side, Face in the Stars,<\/em> was the first Yamato<\/em> song written by a woman, pop songwriter Yoko Yamaguchi. It carries a decidedly more feminine tone, especially when performed by rising star Mitsuko Horie. It would be the first of four songs she would add to the Yamato<\/em> catalog. Not heard in the film, it classifies as an ‘image song,’ in this case evoking Starsha’s thoughts of her daughter.<\/p>\n

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Mitsuku Horie was a fast-rising anime theme singer during the 1970s who reached mega-stardom in the 80s. Today she is a member of Japan’s elite JAM Project, which is best known for its popular ‘Anison’ (Anime Song) concerts. Far left: Horie at the 1980 Festival in Budokan. Left: at the 1999 Super Robot Spirits<\/em> Concert.<\/p>\n

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Pendant of Stars<\/h3>\n

Lyrics: Yu Aku
\nMusic: Hiroshi Miyagawa
\nVocals: Isao Sasaki<\/em><\/p>\n

To she who gave me a pendant of stars
\nThe one that glitters around my neck
\nAs I venture into deep space
\nWhere time and distance become the same<\/p>\n

Saraba, Saraba, Saraba, Saraba [farewell]\nGoodbye, goodbye, my darling<\/p>\n

The song that we space travelers sing
\nAs I press my lips to yours in song
\nWhen again I meet you, my love
\nOn our beloved Earth sometime in the future<\/p>\n

Our hearts are connected by a pendant of stars
\nI warm it in my hands and think of my daughter
\nIts fasteners may one day rust and break
\nBut it will shine forever in my chest<\/p>\n

Saraba, Saraba, Saraba, Saraba
\nGoodbye, goodbye, my darling<\/p>\n

To the ones I leave behind on my journey
\nAnd my beautiful daughter who dances, dances
\nUntil the day I find my beloved
\nAnd see again my beloved Earth<\/p>\n

Until the day I find my beloved
\nAnd see again my beloved Earth<\/p>\n<\/div>\n

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Face in the Stars<\/h3>\n

Lyrics: Yoko Yamaguchi
\nMusic: Hiroshi Miyagawa
\nVocal: Mitsuko Horie<\/em><\/p>\n

Looking with a lonely gaze
\nFrom somewhere, a quiet calling<\/p>\n

That one is love
\nThat one is dream
\nThat one is day
\nThat one is Sasha<\/p>\n

We parted with a smile
\nI will never forget it
\nLooking with a lonely gaze
\nFrom somewhere, a quiet calling<\/p>\n

That one is love
\nThis one is kiss
\nThat one is yesterday
\nThat one is tomorrow<\/p>\n

If love can bring us together
\nIf there is a shining star
\nLooking with a lonely gaze
\nFrom somewhere, a quiet calling<\/p>\n<\/div>\n

<\/p>\n

These songs can be found on the following albums (see other discographies for data):<\/p>\n

Top row: Be Forever<\/em> Drama album, Festival in Budokan, Eternal Edition File No. 6, No. 10, and ‘The Best II.’
\nMiddle row: 4-song EPs (2) with New Voyage<\/em> tracks, Main Title Hit Theme Collection, Song Collection CD, The World of Leiji Matsumoto (LP).
\nBottom row: The World of Matsumoto (CD), Music Encyclopedia of Leiji Matsumoto 1999, SF & Space Animation Vol. 2, Mitsuko Horie Anime Best Hit, Best & Best.<\/p>\n

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Until The Day of Love<\/em> b\/w Galaxy Legend<\/em><\/h3>\n

45rpm single, 7\/1\/1980
\nKing Records, K07S-1<\/em><\/p>\n

Akira Fuse was another big name during the Yamato<\/em> heyday, and his career continued long after his contribution. He also actively participated in the summer events, first as a member of the lineup at the initial press conference (shown at the top of this page) and later as a performer in both the live radio drama and the Festival in Budokan.<\/p>\n

Until The Day of Love<\/em> is the buoyant, uplifting theme at the end of the film that perfectly combined Fuse’s voice with Miyagawa’s arrangement and Yu Aku’s lyrics. Another version was later performed by Isao Sasaki for release on Nippon Columbia albums. Galaxy Legend<\/em> was another song produced for the film that was recorded and released three separate times in the space of a month. This single’s B-side presented Fuse’s rendition, which has never been reissued.<\/p>\n

Akira Fukuzumi, a producer at King Records, wrote the following comments about Fuse’s song:<\/p>\n

It is generally thought that in order for one’s music to be larger than life, this must also be true of their character. I think you can say that about our artist, Akira Fuse.<\/p>\n

Mr. Fuse’s song <\/em>Until The Day of Love occupies a proud domain from the first time you hear it. Its slow tempo seems unconcerned with the passage of time, as if it could last forever. Its recording went comparatively smoothly. Its composition was in great flux right up to the last moment, but all that work lead to a song of great strength and sophistication.<\/p>\n

Anime music has come a long way, and <\/em>Yamato is like the romantic dream of a youth. Even if I were to hear such music in a foreign film, the sound and image would flow effortlessly, making the movie stronger even if I could not fully understand it. Mr. Fuse wanted to express the feeling of a child growing up. Even 100 years from now, the message of his song will still be clear.<\/em><\/p>\n

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Until The Day of Love<\/h3>\n

Lyrics: Yu Aku
\nComposition and Vocals: Akira Fuse
\nArrangement: Hiroshi Miyagawa<\/em><\/p>\n

A hundred years from now
\nThe children who will resemble us
\nWill not forget to smile and sing
\nAll people will know love
\nThe ground will flow with green
\nA delicate flower will bloom in the sun
\nUntil that day, until that day, until that day<\/p>\n

Love cannot whither or die
\nA hundred years from now
\nWe become what we dream
\nBeautiful in our nakedness
\nAll people will know love
\nThe stars will glitter and shine
\nA gentle song will rise from the heart
\nUntil that day, until that day, until that day<\/p>\n

Love cannot whither or die
\nDo you love someone?
\nIs it someone close to you?<\/div>\n

<\/p>\n

This song can be found on the following albums (see other discographies for data):
\nBe Forever<\/em> Drama, Eternal Edition File No. 10 & ‘The Best II,’ Main Title Hit Song Collection, Song Collection CD, Music Encyclopedia of Leiji Matsumoto 1999.
\nAlso available on a 4-song EP, shown farther down.<\/p>\n

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Be Forever Yamato<\/em> Music Collection<\/h3>\n

Symphonic Album, 7\/1\/1980
\nNippon Columbia, LP: CQ-7051 Cassette: CAK-711<\/em><\/p>\n

This album was released slightly over a month before Be Forever<\/em>‘s premiere and contained symphonic arrangements of Miyagawa’s score from the first half of the movie. The last track on this album was titled Second Lieutenant Kiman,<\/em> but after the album went to press the character’s name was changed to Alphon.<\/p>\n

The recording of this score brought two important changes to Symphony Orchestra Yamato.<\/em> First, master violinist Tsugio Tokunaga joined the ranks as a permanent fixture, making possible a greater emphasis on violin solos. Second, pianist Kentaro Haneda began to climb the ranks and was heavily involved in the arrangement of both this and the second symphonic album. For him, it was a major step forward in what would become a prolific career in the post-Yamato<\/em> years.<\/p>\n

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Galaxy Legend<\/em> b\/w Life of Love<\/em><\/h3>\n

45rpm single, 8\/1\/1980
\nVictor Entertainment, SV-7030<\/em><\/p>\n

Considered one of Yu Aku’s best-loved lyrics, this recording of Galaxy Legend<\/em> was used as a postlude to Be Forever,<\/em> played in theatres after the end credit roll and preserved on every subsequent home video release.<\/a> It was sung by newcomer Hiromi Iwasaki (below left), who also performed Life of Love<\/em> for the B-side. Overheard while Kodai contemplates the loss of Yuki, its feminine viewpoint was undoubtedly well-received by Yamato<\/em>‘s majority contingent of female fans. It was the second of two songs written by Yoko Yamaguchi, who had this to say about the experience:<\/p>\n

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Over and over, I think <\/em>Yamato embodies the magic of “first love” which people have always dreamed about. While writing this song, I was irritated with the fact that love could not be expressed in words. Fortunately, Ms. Iwasaki was a capable singer despite her youth who could capture and express the feeling between the lines, and it was an unexpected pleasure for her to sing my words.<\/em><\/p>\n

Galaxy Legend<\/em> was later recorded by Mitsuko Horie for release on Nippon Columbia albums.<\/p>\n

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Galaxy Legend<\/h3>\n

Lyrics: Yu Aku
\nComposition: Hiroshi Miyagawa
\nVocals: Hiromi Iwasaki<\/em><\/p>\n

I cannot see the thread which unites our hearts
\nI desire to make sure of the knots with my own eyes
\nI desire it more so if we are separated
\nI desire it more so if each of us is alone<\/p>\n

When I look up, the Galaxy streams across the sky
\nLove in the human world is like a star
\nTo love is to believe
\nTo believe is to love
\nTo love<\/p>\n

Even if I can exchange half of my heart with yours
\nAnd unite as one, I still desire to see you
\nOnly one person forever
\nOnly one love forever<\/p>\n

When I close my eyes, happy days cross my mind
\nI remember the star of my beloved always glittering
\nTo love is to believe
\nTo believe is to love
\nTo love<\/p>\n

To love is to believe
\nTo believe is to love
\nTo love\n<\/div>\n

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Life of Love<\/h3>\n

Lyrics: Yoko Yamaguchi
\nMusic: Kingo Hamada \/ Arrangement: Osamu Totsuka
\nVocal: Hiromi Iwasaki<\/em><\/p>\n

If I hold you in my arms
\nCan you, will you, try to get away?
\nSo happy together, in love with each other
\nThe stars forever twinkle to our love<\/p>\n

Love is felt strongest when we’re apart
\nWhen I close my eyes I see love so clear
\nLet’s meet again at the end of this dark night
\nI await you, my love
\nJust like the wind and the light in the sky<\/p>\n

The storm that overwhelms me
\nWill courage and love remain?
\nA promise, a burning kiss
\nThe call of the eternal stars<\/p>\n

When you part, you understand love
\nIn your time of loneliness, you can see it
\nYou hold on for the day you can meet again
\nI am waiting for you
\nLike the wind and light that fill the sky\n<\/div>\n

<\/p>\n

These songs can be found on the following albums (see other discographies for data):
\nTop row: Eternal Edition File No. 10 ‘The Best’ & ‘The Best II,’ Main Title Hit Song Collection, Song Collection CD.
\nBottom row: 4-song EP, Mitsuko Horie Anime Best Hit, Mitsuko Horie\/Walking Songs, Music Encyclopedia of Leiji Matsumoto.<\/p>\n

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At some later time (probably 1980), Galaxy Legend<\/em> was also featured on this cassette from Victor Music, which seems tailored to enhance your drive time. <\/p>\n

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Be Forever Yamato<\/em> Music Collection Part 2<\/h3>\n

Symphonic Album, 9\/10\/1980
\nNippon Columbia, LP: CQ-7052 Cassette: CAK-712<\/em><\/p>\n

This was one of the first Yamato<\/em> albums that included actual score from the film. When the movie went into its ‘Warp Dimension’ changeover, the picture size widened and the soundtrack shifted from monaural sound to 4-channel stereo. It was the first time cinematic sound quality measured up to what could be heard on an LP, so it gave the orchestra a rare opportunity to place a symphonic arrangement directly into the film.<\/p>\n

Both of the Be Forever<\/em> Music Collection albums made their way to CD 15 years later in the double-disc set shown below left (Nippon Columbia, COCC-12230~31), which was part of the 1995 reissue of the entire Yamato<\/em> catalog. They were remastered for the 2004 Eternal Edition Premium<\/a> set, shown below right (Columbia Music Entertainment, COCX-33021).<\/p>\n

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Posters given away in stores with purchase. Left: symphonic album 1 poster. Right: symphonic album 2 poster.<\/p>\n

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Be Forever Yamato<\/em> and The New Voyage<\/em><\/h3>\n

33-1\/3 rpm EP, 9\/10\/1980
\nNippon Columbia, CH-3009<\/em><\/p>\n

Since The New Voyage<\/em> and Be Forever<\/em> were essentially a single body of work (unofficially referred to as ‘Yamato<\/em> Part 3′) it was a natural to pack four of its songs onto a single release. Yamato!! The New Voyage<\/em> and Sasha My Love<\/em> from the first story, backed with Pendant of Stars<\/em> and Face in the Stars<\/em> from the second.<\/p>\n

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Be Forever Yamato<\/em><\/h3>\n

Drama album, 10\/10\/1980
\nNippon Columbia, LP: CB-7099~7101 Cassette: CBY:527~8<\/em><\/p>\n

The extraordinary length of Be Forever<\/em> meant that even when edited down it still needed three LPs to hold it all…which lead to the first Yamato<\/em> triple album set. It opened up into a 14-page color storybook with substantial passages from the script. Like the movie, the first half is recorded in mono and shifts to stereo in time with the ‘Warp Dimension’ changeover. The song Life of Love<\/em> was re-recorded by singer Mitsuko Horie in order to clear the copyright for Nippon Columbia, and since a sample of Tchiakovsky’s Swan Lake<\/em> (Act 3 No. 17 Allegro and Waltz) was used as source music inside the lair of the Dark Nebula Empire, the track itself appeared on this album.<\/p>\n

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The triple-LP set became the triple-CD set shown below, in Columbia’s 1995 reissue of all the Yamato<\/em> drama albums, along with a miniaturized–and simplified–version of the storybook. (Nippon Columbia, COCC-12482~84)<\/p>\n

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Space Battleship Yamato<\/em> 4 Song Single<\/h3>\n

33-1\/3 rpm EP, 12\/10\/1980
\nNippon Columbia, CH-3016<\/em><\/p>\n

Approaching the end of another record-breaking year of Yamato<\/em> music sales, Nippon Columbia released this all-Sasaki EP that featured signature pieces from each of the three blockbuster theatrical films: the Yamato Theme, From Yamato With Love, Pendant of Stars,<\/em> and his cover of Until The Day of Love.<\/em> But Columbia had one more album pending before the year was out, and it was truly one of a kind…
\n<\/br><\/br><\/br><\/br><\/br><\/br><\/br><\/br><\/br><\/br><\/br><\/p>\n

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’80 Yamato<\/em> Festival in Budokan Live<\/h3>\n

Live concert album, 12\/25\/1980
\nNippon Columbia, LP: CQ-7059~60 Cassette: CAK-717~8<\/em><\/p>\n

If Tokyo can be said to have its own Carnegie Hall, it would have to be the Budokan Martial Arts Arena. This goliath was originally built for the 1964 olympics and later became a world-class venue for large-scale rock concerts. Yamato<\/em>‘s arrival here was as good a measure as any of how far it had come. <\/p>\n

The Festival was one of the two biggest promotional events of 1980 (the other being a sea crusise), seen by over 20,000 people when it was performed twice on July 24. It had been over two years since a live Yamato<\/em> recording was released (on The World of Hiroshi Miyagawa,<\/em> 1978) and though this double album did not include some of the non-musical portions of the concert, the real treat even decades later is to hear the heartfelt reactions of the audience caught in the grip of Yamato<\/em> fever.<\/p>\n

Read a full account of the Festival in Budokan (and other concert events) here.<\/a><\/p>\n

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First CD release, 11\/21\/1995: COCC-13037~38<\/p>\n

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Second CD release, 11\/21\/2012: COCX-37392<\/p>\n

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Be Forever Yamato<\/em> Original BGM Collection<\/h3>\n

CD, Nippon Columbia
\nCOCC-12872 (1995 edition\/above left), COCX-33203 (2005 edition\/above right)<\/em><\/p>\n

The pure soundtrack of the film was finally released 15 years after the film itself in the mid-90s revival that finally brought Columbia’s entire catalog to CD and augmented it with new albums like this one.<\/p>\n

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Be Forever Yamato<\/em> Eternal Edition
File No. 6<\/h3>\n

CD, 12\/30\/2000
\nColumbia Records, COCX-31157~8<\/em><\/p>\n

In 2000, a Be Forever<\/em> music collection was released as part of the Eternal Edition CD series. This disc faithfully reproduced all the music used in the film, including some cues that vary from the earlier BGM Collection. This disc was packaged along with Eternal Edition File No. 5, which featured the soundtrack to The New Voyage.<\/em><\/p>\n

Read the translated Eternal Edition liner notes here.<\/a><\/p>\n

Click here<\/a> to read about the entire Eternal Edition series.<\/p>\n

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Yamato<\/em> Sound Almanac Series, 1980-I Be Forever Yamato<\/em> Music Collection Part 1<\/h3>\n

CD, 11\/21\/12
\nNippon Columbia, COCX-37392<\/em><\/p>\n

<\/p>\n

Yamato<\/em> Sound Almanac Series, 1980-II Be Forever Yamato<\/em> Music Collection Part 2<\/h3>\n

CD, 11\/21\/12
\nNippon Columbia, COCX-37393<\/em><\/p>\n

This reissue of the two symphonic albums contained an entire extra album: the Yamato Choral and Piano Suite<\/em>, arranged by Jo Hisaishi (composer of the Studio Ghibli films) and originally released in 1979. It had been issued on CD once before, but quickly went out of print and became a collector’s item. Side A is presented on Part 1 and Side B is on Part 2.<\/p>\n

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Yamato<\/em> Sound Almanac Series, 1980-IV Be Forever Yamato<\/em> BGM collection<\/h3>\n

CD, 5\/22\/13
\nNippon Columbia, COCX-37394<\/em><\/p>\n

This disc collected the music actually heard in the movie (as opposed to rearrangements heard on the symphonic albums) along with three bonus tracks that were recorded for Be Forever<\/em> but not used until Yamato III<\/em>.<\/p>\n

The Sound Almanac series was an ambitious 2-year project (2012-2014) to reissue the entire Yamato<\/em> catalog on 30 discs, all remastered to “Blu-spec CD” quality and brimming with bonus tracks. Extensive new liner notes introduced classic Yamato<\/em> music to new fans brought in by Yamato 2199<\/em> and also contained plenty of previously-unknown trivia for the veterans.<\/p>\n

Read all about the series and find liner notes here<\/a>.<\/p>\n

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Continue to the Yamato III<\/em> Discography<\/a><\/p>\n

Below:<\/em> Music advertising from Nippon Columbia and King Records, 1980<\/p>\n

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Special thanks to superfan Steve Harrison for research assistance.<\/p>\n

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