Wrestling Rock with Lead Frieza Base Trunks Appears Trunks Powerup Perfect Cell Theme Droids vs. Bikers Yamcha Meets Droids Country Store Grand Kai Blues Grand Kai Rocks OX King Consoles Underwater Kame Sad Kame Tough Aristocratic British Aerobics Sage Music Gohan Angers 2 Gohan Angers Cell Juniors Theme Vegeta Knows His Son Gohan on Film Goku Dies Long Flashback Gohan Powers Up Mushroom March Flight Training Trunks and Goten Videl Gets Hit Videl Gets Up Mysterious B Videl Plummets Trunks and Goten Spar Doubler Doubler II Pre-Buu Frieza Transforms Planet Namek Destruction Energy Disk Music Frieza Begs Android 20 Destroys City Eerie Cell theme With Choir Cell and Piccolo Fight Cell Transforums King Kai King Kai Dies Snake Way Cell Returns New Earth Music Wimps Get Whacked Trunks Wins Pui Pui Fights Vegeta Pui Pui Struggles Room Music Yucon Sucks Goku amd Kai Standooff Relief Rock Satan Gives Speech Goku Vs.
Vegeta Trunks Jumps In Boys Put to Sleep Turbulance Tourney Talk Kid Buu is Waiting Buu is Fighting Uub In the Tournament DBZ Finale Goku vs. Ginyu Force Theme 4. Piccolo And Nail Fuse 5. Say Goodbye To Namek 7.
Cops Arriving Blowing Up The Lab Heaven Sent Trunks Episodic Trunks Krillin And Trunks Arrive Tournament March Jazzy Tunes Goku Volunteers Gohan King Yemma Pterodactyl Attack Gohan And Greasers Chi Chi And Videl Gohan Ruins The Shot Brass Fanfare Briefs II Face-Off Briefs III Doubler Does Kabito Yacon Blows Shin Panics Turned To Stone II Full Power Vegeta Stops Vegeta Fools Goku Boys Flying Gotenks Is Born Gohan Approaches Cell Yells 2.
Cell Kills Man 4. Cell Destroys Island 5. Cell 6. Cell Kills Gunman 7. Vegeta Snoozes 9. Race and Crash Fight Hits Vegeta Fights Frieza Goku and Shenron Piccolo vs. Frieza Bulma and the Frog Bulma and Bubbles Farm Destruction Garlic Transformation Crazy Fight Finding the Capsule Boogieman Gohan Meets Mr.
Shu Gohan and Chichi Argue Chichi Mission Industrial Goku is Falling Krillin Powers Up Caterpillar Maron Leaves Holy Water Gohan SSJ Gohan Hits Tree Trunks Tells His Story Trunks Power-up Funimation had listened to a bunch of my music, and we talked for about a month or so, and after about 30 days I got started with it. What did a typical day look like for you back then? Did you have a particular way for going about composing music for the series? All the work happened in my own studio.
I watched the show and that became the inspiration. I worked in the old school way, by starting with a music manuscript. I felt like it was a strong way of expressing myself without leaning on any crutch that technology might offer. I want the music to tell the story of the characters and the scenes.
Did you feel that working for a big company such as Funimation brought along some unwanted bureaucracy and red tape? Were there any downsides to it all?
Not really. There were a few people that I worked with one-on-one, such as the main producer. Occasionally some people helped him. Everyone brought a wish-list of what they were thinking about. As the seasons and characters changed, the music had to morph along with it. So there was always a collaboration of ideas of what the music would do in a general sense, though the specifics were always left up to me.
Were there any moments of difficulty when composing the Dragon Ball Z soundtrack, where your music was either rejected or negatively critiqued by Funimation or the show directors? One of the more interesting things about your DBZ soundtracks was how they hold their own when listened to outside the context of the show.
Thank you. Another aspect of good musical underscore is that unto itself it can be music that carries its own story.
How does it feel to still receive heavy association with a project that ended over a decade ago? Do you ever feel that people should let go of that, and focus on your newer projects? I hope that my newer projects have the same reaction later on, and if they do merit the same kind of attention, then I take it as a compliment. With growing popularity of anime, do you ever feel the need to score another equally popular series or film?
I work with people who call upon me and ask me to work with them. They called me up and asked me to score their feature film. I read it in one sitting and thought it was really good. Years after having scored the DBZ series, do you ever find yourself throwing on your CDs and listening to your own music? If so, what do you think of it in retrospect?
Sometimes I might pick it up. Not everyday though. Did you have any input on that? That was a curious situation, because I felt like a lot of that video game music was a comped and re-performed version.
But for some other titles, Atari used my theme as it was, and I liked that better. The main involvement I had in any of that was that I was the original composer of it. But the situation was that Atari approached Funimation and said they wanted to use it, and then Funimation took care of it for them.
A younger generation of bedroom producers have now emerge, thanks to advances in recording technology. Do you think this has led to a betterment in the electronic music scene? For example, you might watch a series of movies that use different composers for each installment. Not really, apart from the absence of any more musical filters. That was a call that resulted in work. They knew of my past music, called me, and said they wanted to work with me.
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