Final Yamato Discography

By the time Yamato reached its final year, the unique combination of music and image was fully established and infused the entire project from start to finish. In truth, Yamato had always been made with music at its heart. Most other movies and TV shows basically treated music as an afterthought, something to be added at the end of the process. Yamato went the other way, making music an integral part of the process from the earliest stage.

Preparing for the soundtrack recording sessions: Hiroshi Miyagawa (in blue), Sound Director Atsumi Tashiro (in red), Kentaro Haneda (first photo, center), and Producer Yoshinobu Nishizaki (last photo, far right)

It was a common occurrence, for example, for a story to be changed to accomodate a specific piece of music that could enhance a scene. In other cases, a cue was recorded shortly before a movie opened in a rush of last-minute inspiration. (Final Yamato, was famously delivered to theatres on the morning of its release date after an all-night session to fine-tune the finished product.)

Furthermore, the most vivid and engaging pop music styles of the time were sought out to enliven the viewing experience, a move that had started out as innovation and was now expected. This was first and foremost the responsibility of Producer Yoshinobu Nishizaki, who had to thoroughly understand the emotional power of the complete presentation, and then the music staff who had the creative and technical skills needed to fulfill his vision. The two elements had to be mutually dependent and confident in each other for the system to function.

When reviewing all the high points of Yamato music, Final Yamato arguably represents the highest. Hiroshi Miyagawa said it himself in the film’s program book:

No other producer surpasses Mr. Nishizaki in his sense for music that seizes the audience’s mind. I have devoted all my energy to this film, for the chance to enjoy working with him again. I believe that the music in Final Yamato is the best in the series.

Conductor Naoto Otomo leads the orchestra

The scale of this undertaking can be better understood by the rollout of seven new songs on three different labels and no less than five symphonic LPs with a total of 57 tracks (only a handful of which were duplicates). Such a huge body of work was made possible by the advancement of pianist/composer Kentaro Haneda up the ranks of the Symphony Orchestra Yamato to work alongside Hiroshi Miyagawa. The maestro’s roots in pop music and expertise with lively melodies made him better-equipped to write new themes for the film’s characters, whereas Haneda’s classic training positioned him to write big-scale pieces that expressed the majesty of space and the epic scope of the story.

This distribution of labor and skill produced a massive, fearless score that was superior to what either man could create on his own. This unique combination turned the experience into pure pageantry, sending Final Yamato off to outer space on the best possible closing note.

Final Yamato discography in release order:

Prelude [Overture] to Final Yamato

Symphonic album, 5/21/1982
Nippon Columbia, LP: CX-7055 Cassette: CAY-569

This ‘overture’ album was released about 10 months before the premiere of Final Yamato and featured a mix of music and spoken-word narration. The voice of Michio Hazama and new compositions by Hiroshi Miyagawa made for a very high-quality album.

The four tracks on side A were arranged by Hiroshi Miyagawa’s son Akira and open with a traditional Yayoi-period flute performance (an instrument dating back over 2,000 years). Several themes for Final Yamato were already written by this time, and three of the tracks on this album were further developed into BGM for the film. The synthesizer player in Symphonic Orchestra Yamato was Jun Fukamachi, who also created two Yamato ‘Digital Trip’ albums. (Below left: Kentaro Haneda at the piano.)

The first six tracks all featured music being developed for Final Yamato along with dramatic narration by Michio Hazama. The final track, a 12-minute tour de force called Space Battleship Yamato Memorial was a medley of themes from across the entire saga with uncredited narration by Yoshinobu Nishizaki himself.

Click here for a complete track listing.

Click here for Nishizaki’s liner notes.

Prelude to Final Yamato was released by Nippon Columbia on CD in 1996 (below left, COCC-13262) and remastered for the Eternal Edition Premium box set (below right, COCX-33021). A version without narration was included on the Eternal Edition File No. 9 disc (shown elsewhere on this page).

Final Yamato Theme Music Collection 1

Symphonic album, 1/21/1983
Tokuma/Animage, LP: ANL-1001 Cassette: 25AN1

Final Yamato‘s first musical surprise came before the movie opened when the Tokuma Company debuted an album right alongside Nippon Columbia. Tokuma had released Yamato music once before, in the equally surprising Theme Song and BGM Collection in 1979. (Read about that album here.) As the publisher of Animage Magazine, Tokuma had built a strong relationship with Yamato from its very first issue. When the scope of Final Yamato grew beyond anything that had come before it, additional financing was sought out, and Tokuma became a major partner in the production. This album was just one of a string of products that resulted.

Conductor Naoto Otomo, Miyagawa, and Nishizaki

Hiroshi Miyagawa’s liner notes:

Starting from 1974, I have been associated with Yamato for about 10 years. Our first music meeting took place in the summer of 1973, and after many heartfelt, all-night discussions, the concept for Yamato music took shape. When I think back on it, the main purpose was for me to confirm what kind of composer and music the producer was looking for to support his film.

The music in this latest production has a new feeling to it thanks to the contribution of Kentaro Haneda. He’s a musician who regards classical music as his base. Therefore, this new Yamato score has a much more classical tone than the previous ones, along the lines of Tchiakovsky, Sibelius, or Faure. Producer Nishizaki’s purpose for bringing him into the mix was to open up a new world of music. Because I’ve known him for ten years, I fully understood Nishizaki’s intentions.

Haneda is an excellent pianist, and I have been struck by this many times during our collaborations. He brought a lot of energy to the compositions produced some outstanding pieces, particularly Mobile Fortress and The Battle of Pluto.

I have many memories of Yamato, and I’m really glad we met. I have been privileged to work on it as a composer. I’m looking forward to watching this last film as a fan in the audience. I think Yamato is the greatest masterpiece in anime film history, and I’m very happy to have created its music. I hope to work with Producer Nishizaki again if the opportunity arises.

Long live Yamato fans!

Click here for a complete track listing.

Final Yamato Music Collection 1

Symphonic album 1/21/1983
Nippon Columbia, LP: CX-7081 Cassette: CAY-598

The naming of the rival albums from Columbia and Tokuma may have indicated little difference between the two, but the content told another story. Each of the five symphonic albums had something unique to offer, from alternate takes with slight variations to exclusive tracks with completely different arrangements. The first of the three Nippon Columbia albums, for example, focused primarily on character themes.

Click here for a complete track listing.

Rainbow to Tomorrow b/w Fight! Cosmo Tiger [instrumental]

45rpm single, 1/25/1983
Tokuma/Animage, ANS-2001

Tokuma also laid claim on the first single to be released for Final Yamato, which happened to be one of the last songs heard in film. Rainbow to Tomorrow, the first of two songs heard in the epilogue sequence, is immediately recognizable to English-speaking fans for the lyric, “Have a nice dream.” Tranzam was the group who performed the song with vocal accompaniment from Tomoko Kuwae (at left), who contributed another single to the movie. One of the few songs that did not involve Hiroshi Miyagawa, its break from the established “Yamato sound” underscored the transition of the characters into a new phase of their lives.

Rainbow to Tomorrow

Lyrics: Yu Aku
Music: Daisuke Inoue
Arrangement and vocals: Tranzam and Tomoko Kuwae

Have a nice dream
Child, let’s all sing together again
Have a nice dream
Child, lets’ all sing together again

Tomorrow will always be tomorrow
In the distance, not today
We all know this
And build a rainbow to tomorrow
Repeating a mysterious dream
Dyed in the color of passion
When we reach the far side
We build a bridge to the future

Have a nice dream
Child, let’s all sing together again
Have a nice dream
Child, let’s all sing together again
Have a nice dream

When you catch up to tomorrow
Time disappears from this world
We all know this
Tomorrow we’ll begin to run
Just look up at the rainbow
I can’t find a friend to talk to
But we aim for the same tower
We build a rainbow to tomorrow

This song can be found on the following albums
(see other discographies for data):

Top: Final Yamato Drama, Eternal Edition File No. 10 ‘The Best.’
Bottom: Music Encyclopedia of Leiji Matsumoto 1999, Animage Singles Collection 1983.

The Love of Two b/w See You Again

45rpm single, 1/25/1983
Tokuma/Animage, ANS-2003

Released on the same day, The Love of Two was told from Yuki’s perspective while flying with Kodai in the Cosmo Zero. Her flashbacks in that scene give a great sense of history and depth, reminding you that you’ve been with these two for a long time. The sequence also stands out as a rare moment when the two are alone and working in tandem. The B-side had nothing to do with Yamato, but was another song that resulted from Kuwae’s sessions with Tranzam.

This song can be found on the same albums as Rainbow to Tomorrow (see above)

The Love of Two

Lyrics: Kuni Kawachi
Music: Daisuke Inoue, Arrangement: Hiroshi Miyagawa
Vocals: Tomoko Kuwae

Your eyes whisper to me
Your words break into me
The love of two that stops time
Two hearts that are bared to each other

The wide, wide realm without tears
We could find happiness now
I want to find happiness now
My smiling face eases into you

My future will be happy with you
The love of two that stops time
Two hearts that are bared to each other

Looking toward the deep, deep tomorrow
We could find happiness now
I want to find happiness now

Kodai (I) and Yamato b/w
Yamato Tribute~Poseidon

45rpm single, 2/1/1983
Nippon Columbia, CH-116

Naturally, Isao Sasaki was called upon to reprise his role as the ‘Voice of Yamato’ on both of these new songs. Kodai and Yamato (which was a sort of wordplay, since ‘Kodai’ is also an antiquated Japanese word for ‘self’ or ‘I’) is the first song heard in the film. It is loaded with emotion, symbolic of Kodai and his feelings of guilt as he ponders his relationship to Yamato.

The B-side was not heard in the movie. Yamato Tribute is a refreshing, optimistic song with Sasaki at his manliest. It carries the soul of Yamato outside the scope of the anime and handily demonstrates the standard of excellence reached after years of collaboration between Aku, Miyagawa, and Sasaski.

Kodai [I] and Yamato

Lyrics: Yu Aku
Music: Hiroshi Miyagawa
Vocal: Isao Sasaki

Yamato are you my brother, Yamato are you my father
Or Yamato are you my friend

My older brother would raise his hand
to scold and punish me
My father is strength in my chest
Carrying me through a storm
My friend shares the time of my youth
And we burn together without regret

Farewell Yamato, we are parting
And I now descend alone

Yamato are you my brother, Yamato are you my father
Or Yamato are you my friend

My older brother would be with me any time
Showing me the model of a man
My father shines in the distance
The light by which I find my way
My friend speaks of romance
Going forward into the unknown

Farewell Yamato, we will meet again
And I now descend alone

The friend who shared my youth
Burns without regret in the deep blue
Farewell Yamato, we are parting
And I now descend alone

Yamato Tribute~Poseidon

Lyrics: Yu Aku
Music: Hiroshi Miyagawa
Vocal: Isao Sasaki

I do not speak to Father Poseidon
Silence is my protection
I watch the seasons flow past

And an eternal dream pours out
I rise up to fly
The spray of water sticks to me
I rise, I rise to fly

Toward a distant star
Our Earth is formed of green
And the color of a golden sea
The star of home retreats away

I leave with my limitless promise
There is a striking sound
The beat of passion
It strikes, and strikes again

An exploration of love
Going deep in time
Across a sea of darkness
The rosy faces of the young

The generous thought continues
I will return
Upon the heart of the lovely maiden
I will return, return
To the rhythm of the waves

These songs can be found on the following albums (see other discographies for data):
Final Yamato Drama, Eternal Edition File No. 10 ‘The Best” and ‘The Best II,’ The World of Leiji Matsumoto (two editions), SF & Space Animation Vol. 3.

Love Supreme b/w Love of Yuki [instrumental]

45rpm single, 3/1/1983
Discomate, DSF-239

Another of the very few Yamato songs by women, this was written for the love scene in the Final Yamato epilogue. It beautifully expresses Yuki’s comfort and happiness at completing her growth to womanhood.

Love Supreme

Lyrics and vocal: Junko Yagami
Music: Hiroshi Miyagawa

Love supreme
In the mirror of your eyes
Love supreme
The truth is reflected

It surrounds and finds me
It directs all your love to me
Only now
The starry sky shines on two people
Waiting through the lonely night

Love supreme
In the ocean of your heart
Love supreme
Let me see your dream

Even when it is far in the distance
This love surely strengthens me

Love supreme
To believe in each other
Love supreme
Two people turn to each other
Love supreme
To love each other

See a performance by vocalist Junko Yagami here.

This song can also be found on these albums (see other discographies for data):

Final Yamato drama, Eternal Edition File Nol. 10, MusicEncyclopedia of Leiji Matsumoto, Lonely Girl by Junko Yagami (Victor, 1983).

Space Battleship Yamato ’83 b/w
Yamato ’83 Karaoke Version

45rpm single, 3/1/1983
Nippon Columbia, CH-118

Recorded to commemorate Yamato’s 10th anniversary (of production commencement in 1973), this updated version of the classic opening theme starts with bridge sound effects leading into a slow-tempo first verse, then both verses at full speed. It perfectly recaptures the spirit of the original with gusto and determination from Sasaki. The background scat was provided by Kazuko Kawashima, who had also participated from the beginning. Both would be reunited again for Leiji Matsumoto’s Rail of Fantasy concerts in the late 90s.

This song can be found on the following albums (see other discographies for data):

Top row: Final Yamato Drama, Eternal Edition File No. 10 ‘The Best’ & ‘The Best II,’ SF & Space Animation Vol. 3.
Bottom row: World of Leiji Matsumoto (two editions), Music Encyclopedia of Leiji Matsumoto 1999, Isao Sasaki/Poetry of Man.

Yamato 10 Year Tribute b/w Instrumental themes

33-1/3 EP, 3/21/1983
Nippon Columbia, CE-3058

More a long-form poem than a song, 10 Year Tribute uses three movements to look back at the first voyageand trace the axis of friendships that emerged, especially the love between Kodai and Yuki.

This departs from the structure of a theme song and brings a sense of closure to the saga, ending as it does with reference to a wedding. As the last Final Yamato single to be released, it was appropriately timed to go on sale three days after the film’s premiere. It has only been re-released once, on the Eternal Edition CD, ‘The Best II.’

Yamato 10 Year Tribute

Lyrics: Yu Aku
Music: Hiroshi Miyagawa
Vocal: Isao Sasaki

Wake up, Yamato, a tragedy to repay
The raw, forgotten fight
Leave the waters for outer space
You become a messenger of peace

A fleeting dream slipping away?
A peaceful song enwraps Yamato
A wave scatters space and time
Going toward an infinite sea

The year 2000, the 21st century
The Earth loses its green light
The Earth, the wind, the flow of time
Reaching the end of its days

Earth’s remaining days are numbered
One year, 365 days
Our survival depends on you
Hurry, Yamato, to Iscandar

The journey is filled with trial and strife
But always a person’s heart shines
It can believe in love
It can also dream of the future

It met an enemy in that time
And also the woman fated to meet
Knowing sorrow, knowing anger
And the joy of living for togetherness

One day remains to save the Earth
To return the everlasting peace
The dream of Yamato’s return
Brings happiness to those we love

They look up into distant space
Romance and dreams and fairy tales
Flowing up into the sky
Can you also sleep, Yamato?

With all the people depending on you
I wish to live in a small house
A place to meet and talk and live
There will be two of us one day

Two together, as one living spirit
As for the one who fights, who scatters flames
Kodai calls to Dessler, it is good
A black hole and a friend

Then time passes, and burns away
But love stood firm and still
All the stars turn to green
I engrave them with my wish

That Yamato never bear a scar
A song and a flower, made for you
The excited voice of my friends raised high
You can hear it on the wedding bell
That Yamato never bear a scar
You can hear it on the wedding bell

Final Yamato Theme Music Collection 2

Symphonic album, 4/1/1983
Tokuma/Animage, LP: ANL-1004 Cassette: 25AN3

The second of Tokuma’s symphonic albums held up the high standards of its predecessor and had an interesting feature on its outer banner (called an ‘obi’): a photo of Yoshinori Kaneda, a very popular anime artist of the early 1980s. His dynamic visual style had enlivened Be Forever and Yamato III to such a degree that he was made a production designer on Final Yamato. He also had a relationship with Animage as the illustrator of their Final Yamato novelizations. One of his pieces became a promotional poster for this album (shown below center with the April 1983 issue of Animage magazine).

Kentaro Haneda’s liner notes:

I kept company with Yamato for many years as a pianist, but now under the auspices of Producer Nishizaki and the blessing of master Hiroshi Miyagawa, I have joined the production staff. Our first meeting took place during the severe heat of summer at the office of Westcape Corporation. We had 7 or 8 meetings over 2 or 3 weeks, during which time I came to know Mr. Nishizaki’s passion and seriousness.

There were times late at night when I would remember an image from those meetings and hot tears would come to my eyes. It appeared that Maestro Miyagawa loved Yamato as much as Mr. Nishizaki, which came out during their heated discussions.

My long-held beliefs are that the music must be beautiful and we must be happy with it. This is the policy I kept as I created my own world of sound.

I start writing a theme by thinking about the melody line. It evolves during a staff meeting, we have discussions and then the arrangement begins. This is when we decide who should be in the orchestra, and we choose the best performers in the nation.

This included Japan’s best violinist, Tsugio Tokunaga (who was a member of my alma mater) and especially the young conductor of our last recording, Naoto Otomo. Though an orchestra can sometimes sound like an enormous monster stamping on the ground, the waves can quickly vanish only to live on as a tremor in the heart. Music is love and love is music. The heart knows the weight of love and the body knows the flow of time. And both know the beauty of music.

I’ve gone on too long. Drop the needle onto the record and let’s enjoy it together.

Click here for a complete track listing.

Both of the Tokuma/Animage symphonic LPs were reissued in a two-CD set titled Final Yamato Best Collection (Animage records, 27ATC-124~5) in 1986, making it only the fourth Yamato CD behind the first two symphonic suites and the Grand Symphony (1985).

“Best Collection” cassettes, probably foreign editions of the two Best Collection albums.

Final Yamato Music Collection II

Symphonic album 4/21/1983
Nippon Columbia, LP: CX-7095 Cassette: CAY-613

The second of Columbia’s symphonic albums was ordered to follow the flow of the story and concluded with Kentaro Haneda’s personal masterpiece, the Symphony of the Aquarius: a huge, sprawling concerto written for the movie’s climax. Haneda himself was the pianist on this 10-minute track, turning in a virtuoso performance that became a masterpiece in the history of anime music.

Haneda: I was able to compose music for Final Yamato as a co-production with Miyagawa because I thoroughly understood the atmosphere of Yamato after many earlier recordings. We lived in the same apartment building for a while, and I begged him to let me join up. I first saw Yamato on TV back in my school days and thought the music was really cool. It had great scale and set ‘anime sound’ on a healthy path. We recorded this piece with the scene projected on a monitor next to the conductor. Including the mike check, it took about an hour and half.

Clickhere for a complete track listing.

Final Yamato Music Collection III

Symphonic album 8/21/1983
Nippon Columbia, LP: CX-7095 Cassette: CAY-613

The third and last symphonic album from Columbia was organized more loosely than the others, providing a sort of ‘easy listening’ collection of varying styles. All three of the Columbia albums were released a number of times, including in cassette form (shown at right) and twice on CD. The first of these was a triple-disc set that was part of Columbia’s reissue of the entire Yamato catalog in 1995 (below left, COCC-12233~35). They appeared again in the 2004 Eternal Edition Premium set, which made all of Columbia’s symphonic albums available in a single collection (below right, COCX-33021).

Final Yamato

Drama album, 5/21/1983
Nippon Columbia, LP: CS-7256~8 Cassette: CBY-565~6

Like Be Forever, the drama album for Final Yamato was a three-record extravaganza that included soundtrack scores not heard on the symphonic LPs. It came with a 14-page color storybook and the photo of Yoshinobu Nishizaki on the front cover was yet another reminder that the Executive Producer of Yamato was nearly as famous as his creation. (Below: the Final Yamato drama cassettes.)

Along with all of the other drama albums, this one was released on CD in 1995 (COCC-12487~89) when Nippon Columbia reissued its entire Yamato catalog.

Final Yamato Digital Trip Synthesizer Fantasy

Synthesizer Fantasy, 6/21/1983
Nippon Columbia, LP: CX-7102 Cassette:CAY-617

This was the most unusual of Final Yamato‘s many albums, an all-synthesizer concept recording by artist Jun Fukamachi. It was actually his second effort, his first being the Space Battleship Yamato Digital Trip from a year earlier. He had also performed on synthesizer with the Symphony Orchestra Yamato on the Prelude to Final album.

This album went out of print after its first LP release, and a reissue would not appear until early 2014 as part of the Yamato Sound Almanac series. Read all about it here

Space Battleship Yamato Complete Music Works Model Performance

Yamato Fan Club special product, T-891445

This limited-edition cassette tape accompanied a collection of sheet music titled Space Battleship Yamato Complete Music Works, published by Tokyo Music Academy on August 20, 1983. It was a limited-edition cassette tape that could only be purchased by direct mail order from the Yamato Fan Club headquarters for 5400 yen (4500Y for the score and 900Y for the tape). In all, 29 songs were carefully selected from the score and performed on piano by Hiroshi Miyagawa and Kentaro Haneda. For the next 30 years, it was an exceedingly rare collector’s item that only occasionally appeared in online auctions. (A copy sold for 100 times its original price in late 2011.)

Fortunately, that long dark age finally came to an end in 2013 when this material was reissued as bonus tracks split across the three “Rhapsody” albums in the Yamato Sound Almanac CD series. Read all about it here.

Final Yamato Original BGM Collection

CD, Nippon Columbia
COCC-12874 (1995 edition/above left), COCX-33205 (2005 edition/above right)

Because of the vast differences in fidelity between an LP and Japanese cinemas at the time, the soundtrack heard in the film itself was often recorded monophonically, separate from the symphonic album tracks. This was true throughout the entire history of the saga, and was still the case in 1983. Because of this same fidelity issue, it took many more years for the original BGM (Back Ground Music) soundtracks to earn themselves a commercial release, but it finally happened when Nippon Columbia issued the entire Yamato catalog on CD in 1995.

Click here for a complete track listing.

Final Yamato Eternal Edition File No. 8 and 9

2-CD set, 11/1/2000
Columbia Records, COCX-31160~61

Very similar (but not identical) to the BGM collection, the Eternal Edition filled in the few remaining holes and finally put the complete original soundtrack into the hands of a grateful public. The first of these two discs was pure soundtrack, while the second was a bonus disc containing the Prelude to Final Yamato album and the Yamato half of Anime Piano: Yamato & Gundam.

Click here to read about the entire Eternal Edition series.

The entire suite of Final Yamato albums (sans the Theme Music LPs) was revived in 2013/2014 as part of the Yamato Sound Almanac series.

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

Read all about the series and find liner notes here.

Continue to the Legacy Years Discography

Below: Advertising from Tokuma/Animage and Nippon Columbia, circa 1983.

Promotional posters from Nippon Columbia (left & center) and Tokuma/Animage (right)

Special thanks to superfan Steve Harrison for research assistance.

4 thoughts on “Final Yamato Discography

  1. Been comparing BGMs and Eternal Editions lately, here’s the list of tracks on the Final Yamato BGM but are not on the Eternal Edition or EE Premium CDs (a good 37 min. of music):
    Title/Time/Track No.
    Disaster in Space: Two Galaxies 1:22 1 of 22
    – Drowning of Deingil Suite 7:58 2 of 22
    Yuki: Yuki’s Theme 2:32 4 of 22
    – Yuki’s Sorrow 2:22 5 of 22
    – “Kodai, you’re all right” 1:05 6 of 22
    Deingil Boy: Deingil Boy’s Theme 2:19 7 of 22
    – Innocent Deingil Boy 0:44 8 of 22
    – Unfortunate Deingil Boy 1:05 9 of 22
    – Deingil Boy’s Death 1:06 10 of 22
    Shima Daisuke: Shima Daisuke’s Theme 2:13 11 of 22
    – Requiem for Shima (Shima’s Struggle ) 1:21 12 of 22
    – Shima’s Struggle 1:20 13 of 22
    Okita and Kodai: Farewell 1:19 14 of 22
    – Father and Son 2:49 15 of 22
    – Decision 1:10 16 of 22
    – Chords (Various) 1:39 21 of 22
    – Final Yamato 5:15 22 of 22

    On all the Eternal Edition and EE Premium CDs there are duplicates as well, or sometimes edited versions of tracks on a previous edition. Kinda sneaky! But still, as far as I’ve discovered between all 3 editions there are still 4 hours 21 min of Final Yamato music. And it’s all actually pretty great!

  2. Hello. I recently watched Johann Lurf’s movie called, “★” and it includes a scene from final Yamato with this wonderful almost elegiac song, sung by a male over the unobstructed, animated night sky. I shazamed the song but for some reason it does not show up in my shazam library, and I am really desperate to find the actual full length song since it is in my head. Please email me if you know which scene/song I am talking about: — i would be mot appreciative.

Leave a Reply to Ryan McGurk Cancel reply

Your email address will not be published. Required fields are marked *