Liner Notes from "Cool Cool Bye" (OST)

 

The original soundtrack release for Tomonori Kogawa's Cool Cool Bye OVA from the 80s contains an illustration insert booklet and an insert sleeve with lyrics, a tracklist, staff credits, and some written notes from Kogawa himself. I was interested in figuring out what he talks about here, and given my recently-ignited interest in album liner notes the past month or so, I took it upon myself to commission an English translation of this. Throughout these notes, you can find Kogawa talking a bit about how the production was like for this OVA, and he goes a little in-depth over the story too.

Translated by "justj22".

(Relevant, but the OST can be found on my YT channel here if you'd like to listen to it) 

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The second original video COOL COOL BYE has finally been released. Unlike the first in the series, the goal of COOL COOL BYE was to capture the fun and joy of visual media while also showcasing the passion of our young staff.
    
The methods we've adopted to define the direction of our video productions are basically a series of adventures and challenges. In GREED, the production itself was an adventure in the name of schedule management. In COOL COOL BYE, the adventure is how to create something and be considerate on top.

All of our animation staff, each with their own style, put everything they had into the project, despite the video being a one-off 30-minute episode.

The staff referred to the project by its initials 'C.C.B.'. They would ask things like 'Kogawa! Is the storyboard for C.C.B. finished yet?"

For the production, I had several young staff members flesh out my plot into storyboards and organized them into something whole. For the animation, our key animators established the overall direction for everyone to work on together. I just let the coloring staff do whatever they needed to do, but they handled it with tremendous care and as far as color design goes, I can only express my gratitude to them. For art direction, I entrusted someone I had worked with before, and despite the tight schedule and demanding conditions, they pulled it off. Filming was a desperate struggle won with a shorthanded team. The sound team, as always, made their presence heard, delivering something both powerful and gentle. It was my first time meeting the composer, but we share the same hometown, same generation, even similar sensibilities, and they were very open to my ideas. As for the editing, it was handled by a highly accomplished veteran.
    
Together, the staff somehow managed to give shape to images and ideas of myself, an inexperienced rookie, to the video medium on a modest budget. It was an inspirational show of professionalism, which gave me a glimpse of what the future might hold.

As for the story itself, the objective this time around was less about vanquishing evil, and more about defeating the giant robot Penguine which had appeared nearby at first. That's because while we all know what the word 'evil' is, it's not exactly easy to comprehend. After Penguine was defeated later in the story, that should've been the end of our objective, yet the real question was Tanguine, and how to deal with him. With only 30 minutes of runtime, the only way to explain his story would have been through exposition, so we decided to omit it altogether.
Perhaps it's because I myself resonate with Tanguine. Everyone has a hidden talent deep inside, but when it begins to awaken and we start to recognize it, we can become so obsessed with it and lose sight of everything else. But once you overcome it, your horizons will open without limitations...

There's someone else in C.C.B. we should talk about. I'm talking about Klee. Not Cooly, even though it does fit her when you think about it, but as far as her name goes, it's Klee.

Not much has been revealed about Klee, but if this story does become a series, I intend to slowly develop and integrate ideas about her character into the story.  In C.C.B, she effortlessly acted like she governed life itself, but I hope you treat that scene and C.C.B in general as a prologue to Klee's story. What if the idea of 'life' itself, the big question of humanity itself, exists on the screen?  Would it be possible to objectively value ourselves as humanity from the perspective of life itself? I'd like you to think of Klee as my attempt to give a form to the great question of life, which is why future incarnations of Klee might be a different character every time you see them—but I'm thinking of using the character as a way to express all my thoughts on what life entails.

I believe I mentioned this in my comments for GREED—video production remains an uncertain business, and it's not even clear where it is headed. However, after we made the shift to self-contained 30-minute works (or to be precise, 26 minutes of actual runtime), I believe we've begun to see a way forward. For our third and fourth entries, we still plan to continue the original concept of our productions, and starting with the fifth, we should be able to develop and create a more concrete vision for our original videos. With that in mind, I want each of our first four videos to be of the best quality possible.
    
I believe that with C.C.B., our animation staff at Bebow have come to understand what will be necessary for our future original video productions. As our workflow has begun to take shape (including long-term ones), as far as animation as a comprehensive creative endeavor is concerned, we're on the verge of a breakthrough, and we must get there, or else we'll be stuck in a dull world where there is no room to talk about artistic individuality and people would just dismiss it all as 'it's just a cartoon!'. I believe that we must always discover new things through our ventures, and I hope other staff feels the same. Even if one such venture ends in failure, there will be always countless adventures waiting for us.
    
-Tomonori Kogawa

Liner Notes from Takeo Miyate's "Za Za Za"

 

"Za Za Za" was a Japanese synth-pop LP from 1984 by Takeo Miyate which I had made my own digitally-restored vinyl rip of back in the not-so-distant past of 2022. Unfortunately, the upload I had put up for this album didn't quite make it big as much as I had hoped for (which is a shame, cause it's a really neat album), but regardless, I still hold some appreciation for this album and I have recently demonstrated that by commissioning an English translation of the liner notes included on this album, written by music critic Yasufumi Amatatsu.

I found this to be a pretty interesting read. If what the notes say are to be believed, Takeo had been good friends with Yuji Toriyama (the arranger for this album) for a while now, and their relationship appears to have been what led to Toriyama's involvement on this album. Both the subjects of these tracks and the lyrics are simple, and Miyate specifically recommended this album for junior high schoolers for those reasons alone—regretfully, I cannot comment on this any further as I don't have translations for the songs at all 😅 but reading these liner notes convinced me to go and give it a shot someday.

Anyways, the liner notes can be ready below. Thanks to "justj22" for translating this.

(Unrelated note, but if you'd like to check the album, you can do so here)

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Imagine, an afternoon in September. You're walking through the crowd on Shibuya's Koen-dori in a hurry. You're supposed to meet your friend, and yet you're already late. But as you pass a lady bearing the faint smell of autumn, you begin to wonder if maybe, just maybe, your friend would forgive you for stopping. To savor the lingering aftertaste, to take a breath, just a little deeper than usual.
    
That is what Takeo Miyate's debut album, Za Za Za, feels like. A record that evokes familiar yet strikingly vibrant encounters around the town. It slips effortlessly into the city landscape, yet never quite becomes one with it, as it brings with it a stubborn breeze blowing in from a new horizon. Whether that comes from Takeo being the man that he is, or from something that has taken shape within his songs, I'm still not sure.

This may be his first album, but if you ask the circle around Bread & Butter, his debut was always something long overdue. Before his debut, one of his songs was previously introduced in the omnibus record Summer Breeze, which eventually became the title track of this album. Born and raised in Shonan in February 1957, his journey began when he started singing and playing the guitar in junior high. His musical encounters during his high school days eventually defined his path as a professional artist. From Bob Dylan at the center, all the way to The Band, PP&M and The Ventures. On the Japanese side, he said he was drawn to Kansai folk artists, represented by Nobuyasu Okabayashi. However, as he himself recalls, "I did listen to all kind of music to broaden my horizon, but there was never any particular artist I became obsessed with". When it came to his folk songs, he also never liked expressing direct anti-war sentiments.

For his debut album, Fuyumi Iwasawa of Bread & Butter himself provided his full support as producer. The arrangements were handled by Yuji Toriyama. The two have been friends since they first began working within the Bread & Butter circle, and they had apparently been talking about working together since then. "For my first album, I wanted to introduce a new sound to my music. I wanted something not limited to a certain audience, but something with broader appeal. I'm the type of person that would be content just playing acoustic guitars and I know that might not be a good thing. That's why I wanted to work with Toriyama, because he's always interested in trying out novel ideas" Personally, I'd say the combination was a success, giving his songs a youthful feeling of contemporary life, complementing the simple yet already powerful music of his.

Of the ten songs in this album, you could argue that half are songs he wrote entirely himself, while the other half are songs he originally wrote, but later entrusted others to refine. The youthful momentum and bold arrangements of "Seaside Highway" and the dynamic funky rhtyhms of "Sayonara Lady no Tame ni". The tropical mood created by the percussion in "Ai no Adlib", or the exotic atmosphere of "Za Za Za". The creeping sorrow of "Hoshizora no TAO" and a glimpse of something massive in "Maria". And so many more.
    
There is nothing new or experimental about the arrangements themselves. The subjects he chooses to sing about are also very mundane, everyday concepts. Sketches of what he saw in his daily life in his hometown of Shonan. It might be a song he conceived while walking alone along the shoreline, or a song created from moments of drinking together with dear friends. Memories of summer taken away by the waves, yet brought back by the winds of autumn. This feeling of a refreshing breeze is what I felt as I found myself enjoying "Shiokaze", "Gogo no Kishibe", and other songs in the album.
    
For some, his songs might blend effortlessly into their lives. It is undeniable that his songs have a certain simplicity to it. Yet for others, there is also defined purpose, a firm stubbornness that refuses to be absorbed into the modern landscape. I would think that this is born from his strong relationship with music, one nurtured through his experiences ever since he immersed himself in folk music. In this album, that relationship takes form into a delicate expression, fit for a new age. To me, his musical sensibilities show that the new currents emerging in the world of pop over the past year or so definitely has their merits, and in it his tenacious voice with charming mid-range is most certainly his strength.
    
When asked if he has something to say, he answered, with an embarrassed smile, "I'd be happy if junior high schoolers listened to it. I know the lyrics are quite simple and may lack the impact they wanted. But junior high school age is when we are most receptive to new ideas, and personally, my experience from back then still form the basis for how I perceive things today."

-Yasufumi Amatatsu (July 1984)

Liner Notes from Rie Murakami's "SAHARA" (Part 3)

Part three of the translated liner notes from Rie Murakami's SAHARA. This part contains the newly-added written commentary included in the 2022 JP CD release of the album, written by Hitoshi Kurimoto.

Read Part 1 here.
Read Part 2 here.

As usual, thanks to Windii for translating this.

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Years after their initial release, these works are being reevaluated from unexpected angles. Such phenomena have been occurring frequently in the Japanese music scene over the past few years. Led by the pop music of the 1970s and 1980s—known as "City Pop"—the so-called "Japanese Groove" boom continues to gain momentum. The trend spans a wide range of genres, extending beyond pop to include jazz fusion, new wave, ambient music, and more, giving rise to new keywords such as "Cosmic" "Obscure," and "Walearic." Listening to music through these new lenses is incredibly enjoyable and leads to great discoveries.

Rie Murakami's sole album, "SAHARA," released in 1984, is one such work that has been steadily gaining recognition amid this trend. Fundamentally, could she be described as a jazz singer? She is reportedly the niece of jazz drummer Hiroshi Murakami—known for his collaborations with Sadao Watanabe and Masabumi Kikuchi—but little else is known about her. However, this sole album, "SAHARA," is a highly unique vocal album that cannot be fully captured by the label of "jazz" alone.

One major reason for this is likely the fact that it was produced by Masanori Sasaji. While today he is best known as a hit producer who has worked with bands like UNICORN, SPITZ, and KOBUKURO, back then he was an avant-garde musician with a background in jazz fusion. In particular, the band Mariah, active from 1980 to 1983, was categorized as fusion, but in reality, they delivered an intense, eclectic sound that incorporated elements of new wave and even techno. Recently, the band has garnered high acclaim overseas, and their albums have even been reissued on vinyl.

This album, "SAHARA," features guitarist Takayuki Hijikata, a longtime ally of Mariah. It showcases a genre-defying sound that draws directly from Mariah's legacy. Starting with the opening track "FALL IN LOVE," which has a techno-pop feel, followed by "SAHARA" with its ethno-funk vibe reminiscent of Mariah, and then "EVERY SONG IS SING," which evokes Steely Dan, the album features a lineup of unique tracks that cannot simply be dismissed as a jazz singer's album. It is also interesting to note that the list of original songwriters includes not only Masanori Sasaji but also Masahiro Andoh (THE SQUARE*), Etsuko Yamakawa, and Yasuo Inada. The lineup is impressive, bringing together musicians who have recently been gaining renewed recognition across various fields: Jun Aoyama (drums), Yuuichi Tokashiki (drums), Kenji Takamizu (bass), Yasuo Tomikura (bass), Takehiro Honda (piano), and Yumi Murata (backing vocals). The song selection for covers—featuring artists like Paul Williams and Leon Ware—is also outstanding. Rie Murakami, who sings all tracks in English, brings a sense of unity to this seemingly eclectic collection of songs, resulting in an album that strikes a truly unique balance.

If listening with a modern sensibility, "SAY CHEESE"—which could be appreciated from a city pop perspective—is particularly recommended. This track features a medium groove with a subtly mellow feel, and the fusion of the vocals—which sing a floating melody reminiscent of Tomoko Aran's "Midnight Pretenders" (which became a major talking point after being sampled by The Weeknd)—with a stylish, black contemporary-flavored backing track is outstanding. This track was also composed by Masahiro Andoh, but it is the only song on the album featuring a different lineup of musicians. In addition to Masanori Sasaji and Takayuki Hijikata, the entire backing band consists of members from NAZCA—the progressive pop band Sasaji had formed—namely Norio Sakai (bass) and Reuben Tsujino (drums). The result is an edgy take on city pop.

That said, Rie Murakami's talent is undeniable—she effortlessly navigates this incredibly diverse range of sounds and delivers her vocals with a cool, poised presence. It's a real shame that this is her only recorded work, but that's precisely why it's an album I want to cherish and listen to over and over again.

October 2022
Hiroshi Kurimoto (Travel & Music Writer/Music Curator)

*Band name and spelling as of 1984

Liner Notes from Rie Murakami's "SAHARA" (Part 2)

Part two of the translated liner notes from Rie Murakami's SAHARA. This part, as previously mentioned in the previous post (which you can read here) goes over the track list descriptions for each song on this album. Still written by Hiraku Aoki, and still translated by Windii.

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[Side A]

1) Fall In Love
An original song expressing the anticipation and joy of falling in love. The techno-pop-style sound, which incorporates LinnDrum, is intriguing, and Rie's vocals are fantastic.

2) Sahara
This is also an original, written by Sasaji and Linda Hennrick (English lyrics; based in Tokyo). A fine track infused with an exotic charm. The backing vocals and horn section are also wonderful. It makes me happy to think of it as a 1980s version of the Ellington number "Caravan."

3) Every Song I Sing
Written by Sasaji and Linda. A cheerful love song about how there's a song in my heart and everything is going great thanks to you… Rie's vivid, swinging vocals are also delightful.

4) I Won't Last A Day Without You
Co-written by Paul Williams (lyrics) and Roger Nichols (music) in 1972. It became a hit in 1973 with Maureen McGovern and again in 1973 with the Carpenters. Rie Murakami's sweet vocals, Masami Nakagawa's flute, and the handling of the rhythm are all very impressive.

5) T.N.T.
This is a different song from the hit "TNT" sung by drummer Grady Tate. It's a song about an amazing 17-year-old girl who's as powerful as a bomb.

[Side B]

6) Eternally ~ Smile
A number by the King of Comedy, Charlie Chaplin. "Eternally" is "Terry's Theme" from the 1952 film "Limelight," but here it's an instrumental only. "Smile" is the "Love Theme" from the 1936 film "Modern Times." Tony Bennett's recording of it was a hit in 1959.

7) Say Cheese
A witty original. Rie pleads, "Be my lover…," and Takayuki Hijikata's guitar solo is excellent.

8) I'm The One For You
An original that showcases Rie Murakami's talent as a songwriter. A beautiful love ballad. Kousuke Mine's tenor saxophone brilliantly builds the atmosphere.

9) If I Ever Lose This Heaven
Written by Leon Ware and Pam Sawyer. Originally performed by Ware and Minnie Riperton on Quincy Jones' 1974 album "Body Heat," it was released as a single and became a hit that fall. Rie delivers a powerful and compelling performance.

10) Take Me Home
An original ballad that brings to mind the style of Randy Newman. In a duet with Takehiro Honda, Rie sings beautifully and with deep emotion.

1984.3. Aoki Hiraku

*The liner notes from the time of the LP's release are included here.
The spelling of Takehiro Honda's name is as it appeared in 1984 (including the credits on the lyrics sheet).

Liner Notes from Rie Murakami's "SAHARA" (Part 1)

I recently posted onto my main YT channel a CD rip of the 1984 album SAHARA by Rie Murakami. All the existing rips on YouTube, as of me writing this out, were sourced from a rather poor vinyl rip and nobody else had seemingly ripped the JP CD release at all. Privately or publicly, at least... to my knowledge.

Anyways, this was an album that I had been listening to pretty frequently several months ago. The album contains an enormous quantity of liner notes—considering the scarce amount of info that exists for this artist online, I decided to go ahead and commission an English translation of it to rectify that a little bit (and because I was admittedly interested in checking out Murakami's background myself).

There's a lot to unpack here, but just as a quick summary: exactly what I had gotten translated into English will be split into three parts. The first part (which is what you're currently on right now) talks about Murakami's musical background and the origins of it from when she was a child, and ends with a "Where will she go from here?" type of epilogue. The second part goes over the track list descriptions, and the final part is a translation of a new piece of written commentary that was included in the album's 2022 JP CD release. Both the first & second parts are written by Hiraku Aoki (青木啓), and the third part is written by Hitoshi Kurimoto (栗本斉).

Site note: interestingly enough, she is apparently related to drummer Hiroshi Murakami... or so these liner notes say. Not that I don't believe it, I just find it surprising because no other English sites seem to make any mention of this. 

Anyways, the translation for part 1 can be found below. Thanks to Windii for translating this!

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This album marks the debut of Rie Murakami, a rising star making waves in the music scene. Packed with a diverse selection of excellent tracks—including original songs brimming with contemporary pop sensibilities, BCM numbers, and jazz standards—this album sees the young lady Rie Murakami make a dazzling debut, radiating a truly fresh charm.

Although Rie Murakami has only recently begun her career as a professional singer, she has already gained popularity by performing at famous Tokyo jazz spots and live music clubs—such as Satin Doll in Ginza, The Carnival in Shinjuku, and Swing in Shinbashi—and is garnering attention on par with her more seasoned peers. I imagine that some of you who have picked up this album have had the chance to experience her live performances. For some of you, an image of what kind of singer Rie Murakami is may already be taking shape. However, by listening to this album, you will likely find yourself nodding in agreement, realizing, "Ah, so she is this kind of singer as well."

First, I suppose I should introduce RIe Murakami's background. She was born in Tokyo on February 21, 1961 (Shouwa 36). She loved music and singing, and it all began when she joined a children's song class near her home at the age of three. She also began taking classical piano lessons at age eight, steadily developing her musical talents. At that time, her uncle, Hiroshi Murakami, was living with her family. He was a renowned drummer who later achieved great success with groups led by Masabumi Kikuch iand Sadao Watanabe, as well as with Native Son, which featured Takehiro Honda and Kousuke Mine. There is no doubt that Rie Murakami was influenced to no small extent by this wonderful uncle.

Reportedly, Rie Murakami was deeply moved after watching the film "Lady Sings the Blues" (starring Diana Ross; released in Japan in 1973) when she was in the fifth grade. This film was not a strictly factual portrayal of the life of the one-and-only genius jazz singer Billie Holiday, nor does it fully demonstrate just how unique and exceptional her singing was; however, Diana Ross's passionate performance left a strong impression, and it was an interesting film that sparked a renewed appreciation for Billie Holiday—or rather, a movement to bring her to the attention of the general public. It's fascinating to think that Rie, a fifth-grader, was so moved by this that it sparked her awareness of jazz and became the starting point for her growing interest in the genre. Come to think of it, though it's quite an old story, I recall Sadao Watanabe telling me how he was blown away by the film "Birth of the Blues" back when he was studying electrical engineering at Utsunomiya Technical High School. The film tells the story of a group of young white men in New Orleans shortly after the birth of jazz who form a jazz band, struggle to spread the appeal of jazz to the public, and eventually make their way to the big city. Jack Teagarden, a giant of the jazz trombone and a renowned singer, also appeared in the film, but Sadao Watanabe was captivated by the clarinet played by the lead actor, Bing Crosby. It is said that learning the clarinet became his motivation for entering the jazz world, which is also quite interesting.

That aside, Rie Murakami went on from junior high school to Seijo Gakuen High School, where she took vocal and classical guitar lessons alongside her academic studies. She left for the United States immediately after finishing the first semester of her senior year of high school. She spent a year studying abroad at Caledonia High School in Minnesota. During this time, she took private vocal lessons and joined a chorus group; it seems she gained a great deal in terms of her vocal training, and life in America itself must have been a valuable experience in many ways.

Although she had been singing in a band with friends since her school days, she decided to pursue a career as a professional singer after returning to Japan and began studying jazz. For the past two years or so, she has been performing on stages across the country as a guest singer with Native Son, and has further honed her skills by performing with groups led by Takehiro Honda, Kousuke Mine, Mikio Masuda, Tsuyoshi Yamamoto, Isao Suzuki, Toshio Osumi, and other top-tier jazz musicians.

Rie Murakami often sang jazz standards accompanied by a jazz combo at live music clubs. This is truly excellent training for a singer; it can be said to lay the foundation for her career. So, will Rie Murakami pursue a career as a jazz singer? Will she become a singer who expresses herself by applying the same idioms as instrumental jazz musicians—that is, through improvisational ad-libs, instrumental phrasing, and infusing her creativity and individuality into the feel of the music? I believe that possibility exists. However, the current Rie Murakami exudes a truly fresh charm in her work as a pop singer who, while influenced by jazz and utilizing its free, creative expression techniques, sings faithfully to the original compositions. If I were to cite American singers of that type here (though, of course, their styles and tones differ from Rie's), the names of women like Patti Austin, Randy Crawford, Jean Carn, Melba Moore, Angela Bofill, and Phyllis Hyman come to mind. These singers can be viewed as either fusion-style artists or Black Contemporary Music (BCM) artists; while veterans like Dee Dee Bridgewater and Marina Shaw also fall into this category, they can be described as contemporary pop singers. There are few Japanese female singers of this type. For that very reason, the presence of the young Rie Murakami is a cause for great joy and deserves our attention.

Rie Murakami has a very cute voice and a charming, endearing expression. Saying that might make her sound like some kind of "gaudy gal" or "cutie" singer, which could be misleading, but she is not one of those young singers with a squeaky, whiny voice. Her appealing charm lies in the way her carefree openness and clarity, her vital punch and sharp precision, her infectious energy, and her beautiful emotional expression all come together—creating a sense of substance in her singing that goes beyond simply flowing pleasantly by. Singing is truly a difficult art, and while Rie Murakami still has much to learn and will likely grow through life experiences to eventually deliver songs of maturity, the youthful vitality she displays today—along with the charm of her singing, which shines with a flexible and sharp sensibility—is immense and thoroughly enjoyable.

This debut album was produced by Masanori Sasaji (though track 5 on side B was produced by Takehiro Honda). Sasaji (born in 1955) is a keyboardist who is currently very active primarily in the fusion scene and is also famous for his great talent in composition and arrangement. Here, he has gathered a large number of accomplished jazz and fusion musicians, demonstrating his prowess as a sound creator while showcasing Rie Murakami's talent, charm, and vast potential as a contemporary pop singer. It is an album where Rie's vocals and Sasaji's sound come together on equal footing.

Armor Hunter Mellowlink - BGM Collection Liner Notes

  

The liner notes for this soundtrack were also translated at around the same time that the notes for "THE MUSIC FROM LAYZNER" were TL'ed & finished, though I must admit that laziness was partially to blame for me not having posted this earlier.

In any case, here are the liner notes from the vinyl version of Mellowlink's OST. Not as detailed as my previous post... and I do wish it could have been a little bit longer, but this still has some interesting bits regardless. This includes comments from both director Takeyuki Kanda and Votoms creator Ryousuke Takahashi.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

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A series' BGM can change a lot depending on the story—but approximately 80-100 songs are recorded at once, composed before the film is even done by conveying the song's story & image (etc.) to the composer. Something long can be about three to four minutes, while a short piece like "Ding... ♪" can be a mere 1.5 seconds.
At this point, if you think about it—from the perspective of those listening, having to go through an insanely huge collection of BGM like this can make listening to everything difficult. However, as the art gets done, the story flows, and it becomes a very satisfying feeling when the BGM overlaps with it.

Additionally, when you're done with the series, it has the strange effect of bringing back to mind the scene at the time when you're listening to it again.
During my time working on the sound, there's one thing I regret a lot: it's that feeling of "If the scene was just ten seconds longer, the entire thing could've been played..." or "This line—if it didn't have that specific sound effect, the BGM would've been able to hype things up more..." and so on. My apologies to Inui.

With this in mind, I would be honored if you enjoy this BGM collection and it causes you to remember all of the different scenes.

-Takeyuki Kanda (Director)

<The Winds of Nepal Blowing in the World of Mellowlink>

It has been 6 years since I met with Inui. My impression of him has not changed. He's a quiet but cheerful and bubbly person. It's likely because he drinks good alcohol and eats plenty of delicious first, I think...

More so than my outward image, though, Inui left me with a very strong impression of "one who goes to Nepal." Requesting work from Inui is, in a way, to also adjust the schedule to fit in his journey to Nepal. I once asked him why he goes to Nepal, but there isn't really a reason. He probably just really likes Nepal.

The world of Votoms is brutal and unmoving. After all, in order to survive, the protagonist is willing to kill without hesitation. He does not feel guilt. The protagonist's heart is... devoid.

Over the course of a year, the protagonist's empty heart grows to feel sadness, happiness, friendship and love. And in the end, we reach a happy ending... this means that to those of us who wanted to borrow the form of a serious mecha story and turn it on its head—even though the vibes are brutal, that's just a part of the style. We really wanted to avoid developing it into a brutal, unredeemable atmosphere... but the story and imagery sometimes happened to exceed that boundary. In the end, I feel like it was saved by the music instead.

This time, with Armor Hunter Mellowlink, we have a story of revenge. With a goal in mind, the 17-year-old youth continues on his journey of murder... if we messed up, it ran the risk of giving birth to a work which would leave a bad taste in one's mouth.

However, Inui's music probably helped to purify the actions and emotions of the protagonist. Somehow, when I listened to the music this time, the winds and great plains of Nepal were being etched into my mind.

By the way, how many times has Inui gone to Nepal?

-Ryousuke Takahashi (Original Work)

Liner Notes from Hiroki Inui's "THE MUSIC FROM LAYZNER"

Back with some more liner note translations.

This one had actually been translated since May of this year, though I had chosen not to post it immediately since I wanted to wait first until I could get new scans of this album.

They were just finished recently, so I decided now would be a good time to finally put these up.
(Slightly unrelated—I actually have some liner notes translated from some other OSTs... they were translated around the same time that Layzner's notes were worked on, but I'm unsure when I'll be putting up here).

Having said that—the liner notes for this album were written up by Tatsuo Oba, who had previously been the producer/director on various other Starchild albums. He talks a little bit about the music's production before providing some descriptions for each track on the album.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

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"The Music From LAYZNER" has an ethnic sound!

The Layzner project was born on a Saturday early in the afternoon—four to five days after talks with Inui over pizza and beer at the end of June, near the live house Ruido in Shinjuku. You likely already know "The Music Of VOTOMS" and this album can be considered a sequel to it.

In performance, a "One Night Stand Band" is the name for an ad-hoc one night band of musicians created at live houses and the like.

This time, aside from guitarist Toru Aoyama, drummer Yuichi Togashiki and bassist Akira Okazawa were added as new members—and they all put on a splendid performance. Whatever the case, they are all first-rate musicians, and if you listen to it, you'll hard agree on the members.

Also, when it comes to composing, editing and his performance on the keyboard, Inui—who demonstrated his abilities on an unregrettable level—is a big shot who graduated from the music science faculty of Tokyo's University of the Arts because he has a kind look in his eyes and is someone I hold very dear to me. While Inui was busy composing and editing for NHK's Minna no Uta and Okaa-san to Issho, he flew to Nepal when he found the time for it and planned the compositions while gazing at Mount Everest. This album was made using both Layzner's BGM as a motif while incorporating these experiences of his as well.

● Side 1

1) Blue Diamond
This piece, which starts off with a piano solo, is a light-hearted one that fits very well as the album's opening piece. The title, "Blue Diamond", is the name of the hotel that Inui frequented while residing in Kathmandu.

2) Prithvi Highway
It starts with a unique, oriental motif. That sound in the intro and midway through that sounds like a percussive instrument was made using a synthesizer. Additionally, the melody in the middle segment which sounds like a synthy merry-go-round was made by sampling a bicycle bell. The title is the name of the highway going from Kathmandu to Pokhara.

3) Capriccio
"Capriccio" doesn't refer to the name of the cake shop in Roppongi. In music terms, it refers to a "Kisoukyoku" (a short, cheerful and whimsical piano piece). Inui's piano solo was really solid.

4) Contemplation
To be deep in thought. The straightforward start to the piece, followed by bassist Akira Okazawa's solo & continued by Aoyama's guitar solo, steadily builds up then fades out. The finger cymbal that clings during the piece belongs to Inui and was made in Nepal with an Adamski UFO shape.

● Side 2

1) Last-Minutes
The final moment. The executioners platform. It's a jazz-like piece that starts with a thrilling drum solo with a drum solo wedge in the middle of the song, fitting perfectly with the performance. It's a piece I'd really want to listen to in a live house.

2) Walk Upstream
It means to walk against the flow. I wonder if the melody came to them while they were trekking along the base of Everest. In the BGM, this should have been M-29.

3) Night Owl
One who remains awake long after dark. While everyone is silently asleep, at night is the best time to be making a song. Even tonight, Inui is likely facing his Fender Rose (Electric Piano) and continuing to produce some splendid music.

4) Capriccio II
In the BGM, it is used a lot in the main show as EM-11—but unfortunately, it wasn't recorded in the LP. For this album, all the string instrument sounds were created with a synthesizer.

5) Orchid
This refers to the orchid flower. Whenever Inui goes to Nepal, the Thai Airline he frequently uses has an inflight service called the Royal Orchid Service—passengers are all given an orchid as a present. If you put it in a cup of water at the hotel, it will continue to bloom on. I hope this album continues to become one of your favorite pieces from here on out...


- 1986.6.22 (T. OBA) 

Transformers G1 Japanese Soundtrack - Liner Notes from Shiro Sagisu

 

Back with another translation post. This one will focus on the liner notes left behind by Shiro Sagisu from the album Fight! Super Robot Lifeform Transformers Original Soundtrack (or, as some others might put it, the JP OST to Transformers G1)—the tracklist description is included in here as well. 

Thanks to Windii for helping translate this.

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When "they" are no longer dreams...

Indeed, it is almost there... in fact, the time has already come. The other day, a team of Japanese scientists, ahead of the rest of the world, finally completed a "robot with emotions." It seems that this was completed at an unscheduled speed for them, so the dream is no longer just a dream. As you may have already read in the newspapers, the robot is a woman (I think it even had a name. The only thing I remember well is that the name was a rather silly pun, as if it were something a scientist would come up with) and has the personality of a modern-day college student, which is very popular in our country. However, the research itself was only the completion of the first stage, and the character seems to have been very single-minded.

But this is a bit of a... no, not just a bit, it's a big deal, a huge feat. If you think about it, it's beyond "amazing" that a robot can work whether it likes it or not, and it has reached the point where it's "scary." For example, in a few years from now (maybe two or three at this point), a female college student personal computer robot will be made, and rich men will be able to program it, but shabby office workers will not accept it at all, and even though it's a computer, it will be sold in different departments, JJ-style with close-cropped hair... (hm, but the idea of turning a college girl's personality into a robot is also amazing, and not something I would expect a scientist to do, but it's very astute! It's really timely.)

Now that the story has developed to this point, this topic will surely come up... indeed, the question of whether HAL's antics in 2001: A Space Odyssey will ever become a reality... well, that's an exaggeration, but I'd like you to find the answer in Transformers.

This is not the robot story of a decade ago! In an age when robots with feelings have really come into being... with the super-life form robots Transformers really coming into being, this is the very story of the present day.

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A-1 "4TH DIMENSION" The fourth dimension... it is a universe where robots roam. Sometimes they are gentle and peaceful, sometimes angry and explosive. But no matter what happens, seconds later, it is a mysterious space where the silence returns again, where nothing ever happened. A-2 "GRUESOME WARS" It is a fierce and gruesome attack by the Destrons. But at all times, Cybertron, the warrior, stands up to such evil. The battle between these two sides is tremendous. In a crazy rhythm... A-3 "TRANSFORMER" After all, robots have feelings... indeed, they are super-life forms. And they, like human society, have rules, and they have to fight against those who come at them, whether they want to or not. This theme song is a triumph of this. A-4 "CAR WALKIN'" A car walks?! Don't be surprised. The first stage of the robots' transformation is a car. Not Kafka's cockroach, but the transformed form of the Transformers. A-5 "CYBETRON I" A symbol of justice, it is also kindness. Remembering to be kind to the weak is the Cybertronian way of life. A-6 "PEACE OF MIND" However robotic, peace of mind is necessary. Yes, especially after a long, long battle. It is also an important source of energy, a stock for tomorrow. This is what it means to be a super-life form! A-7 "SPINNIN'" The driving machine = the robot is ready to get in the groove of the rhythm of rock music! And then it bursts into action. A-8 "CYBERTRON II" The graceful figure of the fighting Cybertrons, a kind of march that resembles a fanfare. Their aim is peace, but to achieve this, they must first defeat the Destrons and win the war. The ballad in the second half of the song is the theme for that. B-1 "YOU CAN FIGHT" No matter what happens, the fight goes on. It will always go on. The struggle against evil is the sound of this heroic trumpet, and the free improvisation, the justice that must always be had. B-2 "MECHANICAL VOICE" Do the robots' dynamic movements come from the rapping of their mechanical voices, or do they prance like dancers in a swirl of rhythms that come in like a flood? High-voiced robots, low-voiced robots, each robot has its own personality and is alive. B-3 "BATTLE" The tremendous tension in the face of crisis... building it up and up for the battle to come... a kind of pressure, I suppose. It is truly an emergency alert song. B-4 "WHO'S GOD" What should we believe in to live? Who is God to a robot? The solemn harpsichord music is a melody offered to an as yet unseen God. B-5 "CHASE" The rhythm of the shuffle is also a theme of the chase. Cybertron and Destron chase and confuse each other. B-6 "DESTRON" This is the theme of the evil Destrons, who have tremendous ambitions. Their wiles boil up like a fountain and continue endlessly. And the grudge against Cybertron will never disappear. It is also a theme of civil war, slander and violence itself. B-7 "PEACE AGAIN" When will that peace we glimpsed as children return? For these robots, the déjà vu phenomenon is always the same. Is that peace for them? B-8 "FUTURIST'S DREAM" The Mobius strip, where the futurist's dreams are endless and lead to reality... indeed, we can control everything - from the future to the past, and from the past to the future. This is our future and the Mobius Transform.

"Heavy Metal L-Gaim" LD Box Set - Liner Notes from MIO

 

A continuation of liner notes that were included in a 90s LD box set that was released for Sunrise's Heavy Metal L-Gaim.

Whereas the last post focused on Kei Wakakusa, this focuses on MIO—the singer for the 1st OP & ED. LD scans were taken from Erik's site (of PPP) and English translation was provided by Windii (again).

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Xabungle, Dunbine, and L-Gaim. One unforgettable element of Tomino's works is MIO's vocals. How did she first encounter anime songs, which she continues to sing to this day with the support of her fans?

MIO: Born October 3, 1956 in Tottori Prefecture. She has sung theme songs and insert songs for a series of Tomino's anime such as Combat Mecha Xabungle, Aura Battler Dunbine, Heavy Metal L-Gaim, etc. The theme song for L-Gaim ("L-Gaim ~Time for L-GAIM~") reached the 16th highest position on the Oricon Chart. Recently, she sang the theme song for Mobile Suit Gundam 0083, and her singing can be heard on the 4th Super Robot Wars S CD. In July 1996, she is scheduled to perform a live concert focusing on anime songs.

A little coincidence led me to start singing anime songs.

My first song for animation was an insert song for Xabungle directed by Tomino. After that, I sang the theme song for Dunbine, which led to L-Gaim.

I started singing when I moved to Tokyo for college, and at first I sang part-time. At that time, I sang anything and everything, and through doing so, I realized that I liked 16-beat African-American music. Then I joined a soul band and started singing at US military camps and music venues, and at the time of Xabungle, the director wanted a singer who did not sing for anime all that much to sing, so I, who used to sing at discos, was given the opportunity out of many candidates. So, they gave me the chance to listen to the song, and it was a great song. I was very eager to give it a shot (laughs)! So I was able to enjoy singing it very much.

The lyrics that Director Tomino writes have very deep meanings, as does "Starlight Shower", which was the ending of L-Gaim. I am not very familiar with anime, but I think those lyrics are unique. It's simple, but I think it's something novel that transcends the boundaries of new and old. The lyrics make me sad, even though they don't say anything specific. So rather than trying to sing it well, I sang it with a simple mind. Of course, he has written a lot of lyrics, but I think he has a lot of words that you can't find in a professional lyricist. In fact, he wrote lyrics for two songs on my album, which are very much in Tomino's world (laughs).

For the opening song, L-Gaim, Mr. Kyouhei Tsutsumi came to the studio to record it. The recording went smoothly and without much difficulty, since the song was very groovy. I remember Mr. Tsutsumi praised the high pitched scream (laughs) of "L-Gaim!" at the end of the song (laughs).

I would like to continue singing anime songs.

When I decided to release my solo album, I recorded English versions of Dunbine and L-Gaim as well. I made them on the spur of the moment, but it was almost like I was in my element (laughs). I like the groove of English. The year before last and last year, I was invited to an event called "Anime East" on the East Coast of the United States, where I sang the English version of L-Gaim. Of course, the people who came to the event were all foreigners, but they knew the L-Gaim theme song and sang "heavy metal!" and the chorus (laughs).

I watched Dunbine and L-Gaim on TV, but not every time. I still have the impression that L-Gaim was just a cool series. L-Gaim was very fashionable and I liked it. It's nice to see it come back to life like this after so many years. Because of this, I think I have to sing each song with care (laughs). I would like to sing more and more anime songs in the future if I am asked to do so.

(March 1996, at Roppongi music venue SPATS)

"Heavy Metal L-Gaim" LD Box Set - Liner Notes from Kei Wakakusa

 

A LD box set that was released for Sunrise's Heavy Metal L-Gaim in the 90s contains lots of liner notes with interviews of various people that were involved with the show's production—on the music side of things, MIO (1st OP/ED singer) and Kei Wakakusa (BGM composer) have their own spotlights on here!

This post will focus on Kei Wakakusa. LD scans were taken from Erik's site (of PPP) and English translation was provided by Windii.

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Many fans of Heavy Metal L-Gaim would probably cite the charm of the music created by Kei Wakakusa as one of the most appealing aspects of the series. The two-side L-Gaim Odyssey album released at the time of the broadcast also showcases the talent and passion of Mr. Wakakusa. We let him recount his thoughts and feelings at the time.

Kei Wakakusa: Born February 10, 1949 in Yamagata Prefecture. Belongs to Imagine Inc. He is active in a wide range of fields including musical arrangements, TV dramas, animation, and films. His major works include anime and tokusatsu like "Six God Combination God Mars", "My Daddy-Long-Legs", "Moldiver", and "Blue SWAT", TV dramas like "The Hangman" series and "The Art of Loving", arrangements for songs like "Kamome Wa Kamome" (Singer: Naoko Ken, winner of Japan Record Award Gold Prize), "Aisarete Serenade" (Singer: Yang Soo Kyung, winner of Japan Record Award for Best Arranger), etc.

As with the visuals, we aimed for something new in the music as well.

This is my second work of music for an animation, following God Mars, which I was very absorbed in, and I think that with L-Gaim I was able to sublimate that in a way. Of course I have my regrets, but I put a lot of effort into it, and I think the fusion of music and animation worked out rather well in this series. Director Tomino had already had success with Gundam, and this is a follow-up to that. When I met him, I felt his enthusiasm for L-Gaim. I was impressed by what Director Tomino said: "Animation is performed by pictures, not people, so it lives or dies depending on the music."

I heard that many young artists were used for this work, and I was also inspired by Mr. Tomino's willingness and attempt to create something new. At the time, John Williams's soundtracks were already highly acclaimed, and the era was one in which a full orchestra was the norm for background music. I tried to create something different, so I devised a lot of different ideas. L-Gaim had the impression of "heavy metal" in its title, and I tried to create pieces that made extensive use of step recording. At the time, we only had a 24-channel multi-recorder, and that wasn't enough at all (laughs). So we linked two recorders together to make 48 channels, and we did a lot of other things to make it work. It was a very rewarding job. I made an album called L-Gaim Odyssey as well as a soundtrack album of the series, and it was an album that reflected my inner self. It is the lore of L-Gaim that was created by feeding back the world created by Mr. Tomino deeply into my mind. It is an album in which I put out what I felt in my heart. I used melodies from the soundtrack, but I took that as my theme and developed it freely according to the story I had in mind. At the time, albums like that sold quite well (laughs). I was also able to make various interesting attempts, such as featuring the sounds of insects and drums. Odyssey is still the job I feel most attached to.

In the days of L-Gaim, music was valued and rewarding.

Originally, I wanted to do film music, and that's how I got into this field. I think that film music can express the feelings behind the story, or in other words, what is written between the lines of a text. I like grandiose music, but I am interested in expressing the inner life of human beings through music. Film music allows me to pursue this. However, there are so many jobs that are X years in conception, X years in production, and X weeks in music. There is no way that something created in a few weeks can compete with something that took years of work by the filmmakers. In that sense, the status of music in animation is higher than in Japanese live-action films, and it is more rewarding because budgets are available. Budget is very important for music. It determines what kind of musicians you can use and how many musicians you can use in a group. At the time of L-Gaim, music was valued even more than it is now, and it was a particularly rewarding job. The luxury of those days made for a favorable environment, and it was a great learning experience for me as well.
(At Mr. Wakakusa's home in March 1996)

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A note: L-Gaim Odyssey refers to two albums by Kei Wakakusa based off Heavy Metal L-Gaim, containing image music centered around the world of L-Gaim, as well as alternate arrangements of BGM used in the show.

Rokushin Gattai God Mars - Liner Notes from BGM Collection Vol. 1, by Sei Toujoubeppu & Kei Wakakusa (Part 2)

 

This is a continuation of an English-translated version of liner notes that were included in God Mars' first BGM collection. Whereas the first part discussed comments left by Mr. Toujoubeppu—the music selector for the show—this part will cover the comments left by composer Kei Wakakusa.

Translated by "Yume".

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"This was the first anime I worked on: Rokushin Gattai God Mars"

Composer: Kei Wakakusa

"Rokushin Gattai God Mars" was the first anime I worked on. That's why I approached it with a great deal of enthusiasm. However, looking back at this project I realize I was driven by the desire to get it done properly, and so ended up rushing things. Because of the constrained schedule, I was really worried if I had enough time to finish everything I wanted. To compose so many tunes, I needed a whole month at the very minimum—but asking for this would have been outright selfish of me...
Having said that, I am really grateful to Mr. Toujoubeppu for the guidance he provided to all the staff members. I believe there were many things I couldn't have done without his assistance.

Either way, this was the first time I wrote a score for an anime. I had to write the tunes while imagining the corresponding scenes. This job was really fun, but also really complicated. "What if I am not skilled enough to, so to say, turn the visuals into music properly?" Such a thought kept weighing on me. For example, my tunes had to evoke the images of Emperor Zel and Planet Gishin, as well as the different types of evil and justice...
I held long conversations with Mr. Toujoubeppu, and then had to find the correct approach by trial and error. Now I'd like to describe some of the troubles I faced.

I have used two drums while arranging the show's theme song, and its tempo was unusually fast. Even the best studio musicians struggled to play it. Also, when I was writing the intro, I struggled to convey the sense of awe which God Mars, a 50-meter high robot, would strike into the onlookers. I believe I did my best to write the soundtrack for this show. Mr. Mizushima's singing was really good. Also, I am really thankful to Mr. Toujoubeppu for using my songs this effectively.

Speaking in general, this job had both extremely fun and extremely difficult moments. I felt considerable time pressure working on it. If I had a chance to redo this, I'd need some more time to further improve and refine my work. 

I would like to express my utmost gratitude to Mr. Toujoubeppu in particular, but also to all the people whom I worked with, and all those who supported me. I am thankful to all the staff members.

Rokushin Gattai God Mars - Liner Notes from BGM Collection Vol. 1, by Sei Toujoubeppu & Kei Wakakusa (Part 1)

 

The liner notes inside the gatefold pages of God Mars' first BGM collection release (K22G-7068) contain some comments left behind by Sei Toujoubeppu, the show's music selector, and Kei Wakakusa, the show's music composer. I decided to scan said comments back when I used to own a copy of this release and passed it off to someone else for translating.

An English translation of these comments (courtesy of "Yume") can be found below :)
This post will cover the comments written by Mr. Toujoubeppu.

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"The challenges we faced while producing BGM for "Rokushin Gattai God Mars"

Music Editor: Sei Toujoubeppu

Kei Wakakusa was in charge of the music production for "Rokushin Gattai God Mars", and this is how we got to know each other. This was the first time Mr. Wakakusa had to work on an anime, which forced us to hold staff meetings over and over again.

For example, we wanted a soundtrack piece titled "Planet Gishin" to convey the idea of evil spreading through the universe, and it was really difficult for us to get such a vague idea across. We'd like you listen to the results of our hard work, and to compare the images evoked by both parts of this song. Another point of concern was the need to properly convey the image of Zel, the villain who lives on said planet. In a sense, Mr. Wakakusa could have been opposed to the very idea of such a villain residing somewhere in space. The melody he composed to be used as the villain's theme was so beautiful, it wasn't easy to properly incorporate it into the series. I believe each and every of the songs composed by Mr. Wakakusa reflects his own personality, the kindness and warmth of his heart.

The show's theme song is called "The King of Space! God Mars". When we listened to its demo tape for the first time, we thought it was impressive far beyond our wildest expectations. We also thought it has been arranged in a wonderfully professional manner. Before I met Mr. Wakakusa, somebody told me he is a real workaholic. I didn't realize the sheer extent of that until we started to work together.

Now, let me shed some light on the way we picked specific tunes to use. First, the dialogue was recorded and synchronized with the footage in a process called "timing". That's how a rush print was made. Then we watched said rush print and decided where to insert the music, aiming to achieve the most dramatic effect. Afterwards we took the footage with the voices we have previously recorded, and selected one from over a hundred BGM pieces to be added to each given scene. Naturally, we kept each of the BGM pieces in mind while doing so. The hardest part here was matching the BGM to the timing of each scene, so we felt truly indescribable joy when we got the timing just right.

Our field of work may seem really fun from a layman's point of view, but in fact it is really complicated. I believe only those who call editing their passion would be able to get things done. I could go as far as to say even the most ardent music appreciators may find this line of work too hard for them. So to say, on many occasions outstanding music painstakingly created by the composers becomes nothing more than background music after it passes through my hands…

Kojika Monogatari (THE YEARLING) Music Collection - Liner Notes from Koichi Sugiyama

 

So, as far as I know, Pony Canyon's vinyl releases of anime soundtracks never typically contained liner notes of any sort. Usually just a tracklist, lyrics, and a text description of the anime's story...

This is where Kojika Monogatari breaks the mold, though! Shockingly enough, the first page of the album's gatefold contents contain some notes left behind by show composer Koichi Sugiyama. Below is an English translation of said notes—it's a bit of a long read but I promise you it's worth it :)

Translated by sotoo.

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The Music of Kojika Monogatari
by Koichi Sugiyama

Kojika Monogatari is not only a story that has touched many boys and girls, but also a story that stirs us adults to thought. It has a certain depth to it. It cannot be said that it is only a sweet story of the friendship between Jody, a boy, and Flag, a deer, since it also tackles the issue of the boy's psychological maturation, the conflict that emerges between rationalism and human emotions while trying to survive in the unforgiving great outdoors, and many other issues that will make today's parents think.

What I mean to say is, children who watch this animation will be able to enjoy it for what it is within their own understanding, while at the same time, young people and adults who see it will, through their own point of view, experience many different ways of appreciation and feeling.

My wish in my composition was to somehow follow the animation and its depths musically. Even though it was difficult, it was truly a job worth doing.

This album contains three songs, including the theme song, and a number of other music tracks used in Kojika Monogatari. In my composing of this music, rather than what might be called typical anime-esque music that precisely follows the action on-screen, I intended to emphasize the main character's thoughts and emotions and the depictions of nature and the environment.

Even though I like the electronic sound produced by the synthesizers so common in today's pop music, which has a unique appeal of its own, I intended to use the expressiveness of raw instruments as much as I could in my composition for this story. For example, to me the sound of a violin somehow evokes the sound of the wood itself. Violin melodies and harmonies include a human touch in the form of the player's breaths, as well.
The outstanding electronic technology of today can identically reproduce the sound of a violin through a synthesizer, but I can feel that that sound is not the sound of the wood, the one with the breath of a living human being in it.

In a way, I could say that representing Kojika Monogatari primarily via orchestral music played on raw instruments was an inevitable outcome for me.

As a composer, I feel fortunate that I was able to complete this challenging task, and I wish to, from the heart, thank everybody who will listen to this record.

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Some random thoughts:

-Koichi Sugiyama mentions that he specifically wanted to avoid synthesizers for this anime—I find this to be a particularly interesting comment, considering he never used synthesizers in, well...practically every other anime he's done at the time LOL. Perhaps he meant that he was just reluctant to use synthesizers as replacements for real instruments? 

-Sugiyama mentions that the show would definitely make parents think...I recall checking some JP reviews for the show that said it was a REALLY good anime. And yet it still has no proper JP home media release 💀
Lame!!

Sono Go no Sengoku Majin GoShogun (Image Album) - Liner Notes from Takeshi Shudo

 

Here's something interesting you guys might like!
Several years ago, I posted onto YT an English-subbed version of the drama dialogue featured in the image album "Sono Go no Sengoku Majin GoShogun"—the album itself was an adaptation of a novel of the same name, taking place after the TV show.

The vinyl record for the image album comes included with an insert booklet, of which there are liner notes from a certain somebody on the back page...show creator Takeshi Shudo! (I've only just recently found out it was Shudo this entire time lol)

For the longest time I've always wondered what comments Shudo left behind. Previously I wasn't able to get anyone to translate much stuff for me but that has now changed—I introduce to you all an English-translated version of the notes Shudo wrote for this album. Thanks to Windii for translating!

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"I'm not gonna die..."
-Takeshi Shudo

It has already been two years since "Warring States Devil GoShogun" ended its television run in an extremely low-key manner. Its existence should be forgotten by restless anime fans. The ratings weren't that great, and the toys and plastic models didn't sell that well.

Even for me, I was too busy protecting my pink-haired magical girl from a group of terrifying lolicon-obsessed boys to think about the boy who had flown to the ends of the universe. The production staff and cast are now all scattered and active in their own fields. Many things have happened, many encounters and partings have occurred. The only things that have not changed are their lack of sleep and the fact that their favorite foods are cup noodles, hot bento boxes, and health drinks... Even Big Soul, who is no God, hasn't the slightest idea how we could "SEE YOU AGAIN."

If I recall, "GoShogun" was a robot animation in which none of the main cast members died. If the main cast dies in a good-looking way, the popularity will increase temporarily. In fact, when "GoShogun" started, it was the heyday of such anime. At first, "GoShogun" had such a sacrifice prepared for one of the main cast members.

However, when the voices were decided by the exquisite casting of Mr. Matsuura, the sound director, and they started to come alive with the character designs, they appeared in my head night after night and started to scream.

"I'm not gonna die!"

Not only the main cast members, but also OVA, Keluna, and all the other mecha that appeared in the series began to shout. 

"We can't die!"

Their cries brightened up the originally gloomy storyline and turned it into a quirky robot anime like the one I gave you. Soon, the work itself began to rant and rave.

"We can't die... oh, hey! Original creator guy, if you put a 'Fin' on that, you'll never get away with it!"

Thus, the TV version ended with a final indicator of SEE YOU AGAIN, a rarity for a TV program. And their cries certainly lived on. What a bunch of stubborn runts...

(After Warring States Devil GoShogun)
Even if the stage of their lives changed from anime to novels, and even if the record company changed...? They are still alive! The frivolous original creator is now relieved...

I'm so glad that they didn't give it a title like "GoShogun Complete" or "Farewell GoShogun" or "GoShogun Perfect Edition"... Phew!

So, once again, SEE YOU AGAIN!

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Some notes:
1. "Keluna" refers to the character "Kernagul", from the Dokuga Crime Syndicate
2. I honestly don't remember anymore if the show makes any mention of this—I certainly couldn't find any English page that mentions it either, so: "Big Soul" is from GoShogun, a "discarnate entity of the universe" (according to Wikipedia JP). This is where the Beamler energy from the show drives its powers from.