History Main / AnimeThemeSong

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has 20+ openings and 18 endings in 1000+ episodes, or ''Manga/CaseClosed'', which so far has a utterly staggering 50+ openings and 60+ endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''. (That said, it's still very possible for individual songs to become emblematic of a franchise as a whole, even after the show formally moves on from it - "Give A Reason For Life" from Megumi Hayashibara is often considered ''the'' ''Literature/{{Slayers}}'' anthem, for example, ''Mezase Pokemon Master'' from Rica Matsumoto is ''the'' theme song of ''Anime/PokemonTheSeries'' in Japan (with "I Want To Be The Very Best" by Jason Paige being nearly as iconic to the English version), "Catch You Catch Me" is ''the'' theme of ''Manga/CardCaptorSakura'', and so on.)

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has 20+ openings and 18 endings in 1000+ episodes, or ''Manga/CaseClosed'', which so far has a utterly staggering 50+ openings and 60+ endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''. (That said, it's still very possible for individual songs to become emblematic of a franchise as a whole, even after the show formally moves on from it - "Give A Reason For Life" from Megumi Hayashibara is often considered ''the'' ''Literature/{{Slayers}}'' anthem, for example, ''Mezase Pokemon Master'' from Rica Matsumoto is ''the'' theme song of ''Anime/PokemonTheSeries'' in Japan (with "I Want To Be The Very Best" by Jason Paige being nearly as iconic to the English version), "Butter-Fly" is ''the'' ''Franchise/{{Digimon}}'' theme even outside of [[Anime/DigimonAdventure the original show]], and so on.)

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has 20+ openings and 18 endings in 1000+ episodes, or ''Manga/CaseClosed'', which so far has a utterly staggering 50+ openings and 60+ endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''. That said, it's still very possible for individual songs to still become emblematic of a franchise as a whole, even after the show formally moves on from it - "Give A Reason For Life" from Megumi Hayashibara is often considered ''the'' ''Literature/{{Slayers}}'' anthem, for example, ''Mezase Pokemon Master'' from Rica Matsumoto is ''the'' theme song of ''Anime/PokemonTheSeries'' in Japan (with "I Want To Be The Very Best" by Jason Paige being nearly as iconic to the English version), "Butter-Fly" is ''the'' ''Franchise/{{Digimon}}'' even outside of [[Anime/DigimonAdventure the original show]], and so on.

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has 20+ openings and 18 endings in 1000+ episodes, or ''Manga/CaseClosed'', which so far has a utterly staggering 50+ openings and 60+ endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''.

When an anime reaches the American and International broadcast market (as opposed to direct DVD sales), their theme songs are often either shortened or [[AlternativeForeignThemeSong changed entirely.]] When a broadcaster does use new credits (Toonami and other outlets are notorious for ''not'' bothering to do so), a vocal performance may replaced with instrumentals; a case in point would be ''Anime/TheVisionOfEscaflowne'', whose vocal song was traded for an "adventure-style music" opening. Other times the original melody is kept (perhaps with a little modification), and new English lyrics unrelated to the original are written for it; an example of this would be ''Manga/SailorMoon'', whose theme, "Moonlight Densetsu", was turned into a standard Western {{Expository|ThemeTune}} ThemeTuneRollCall.

This doesn't just apply to just anime. Given the relationship between the game and animation industries in Japan (and how a lot of game creators have grown up on the examples cited elsewhere on this page), video games from Japan will also have theme songs in this style that are used in openings, endings, or cutscenes (with one example being "[[https://www.youtube.com/watch?v=3gm3p7jq4fs Suteki da Ne]]" for ''VideoGame/FinalFantasyX'', and something like [[https://www.youtube.com/watch?v=-Zti2skfcFc the opening]] to the first ''VideoGame/{{Growlanser}}'' being much more directly cut like the theme to an OVA of the period), and commercials to promote both singer(s) and game. Usually, the song will be released by the artists before the game itself is, and will have no actual ties to it, but occasionally the song will be written with the specific game in mind (a good example being ''VideoGame/TalesOfPhantasia'' and "Yume wo Owaranai").

Beginning in early 90s, the theme music for most anime began to tend to be catchy songs deliberately written for release to the pop/rock music market, if they weren't already [[RealSongThemeTune actual pop/rock songs]], and by the new millennium, this trend was etched in stone, with an entire sub-industry in the music business, including [[https://en.wikipedia.org/wiki/Lantis_(company) an entire music label]], dedicated to the creation of "anisong" tunes. As a result, in the new millennium in particular, the animation and music industries in Japan are tied extremely closely together, and artistic collaboration between the two is incredibly common.

Whatever their style and content, though, anime theme songs are generally written and performed with the same attention and care that in the United States is reserved for [[OscarBait potential Oscar-winning compositions]]. Quite a few can be very catchy - one example, "Hare Hare Yukai" from ''LightNovel/HaruhiSuzumiya'', was been wildly popular as both a song and a dance at American and Japanese conventions for a decade or more.

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has (thus far) 18 openings and 18 endings in 692 episodes, or ''Manga/CaseClosed'', which so far has a utterly staggering 39 openings and 49 endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''.

Much like the animation industry of the States, though, early Japanese animated series of the [=60s=] and [=70s=] tended to feature purpose-created theme songs, often in a rather big band style with either "smooth" (and arguably inoffensive) baritone singers or choirs of kids. (''[[https://www.youtube.com/watch?v=SyRoF689VRE Mazinger Z]]'' and the early ''[[https://www.youtube.com/watch?v=eY-UHYo-QWI Astro Boy]]'' themes are nigh-canonical examples of the phenomenon in action.) Even as far forward as the original ''Anime/MobileSuitGundam'', [[https://www.youtube.com/watch?v=rdZxHfUNmvY the theme]] was still being produced in this style (which became a bit memetic among the fan base, as the theme song was ''completely'' out of sync with the character of the rest of the show, especially the emotionally twisty back half).

One other thing of note concerning theme songs for anime: where in the United States a theme song is usually a vital part of the ''identity'' of a show (and, as noted up in the history, back in the [=60s=] and [=70s=] Japanese creators took a somewhat similar position), anime shows, especially in the new millenium, often change both opening and closing theme songs on a regular basis. The best example of this would be (again) ''Manga/RanmaOneHalf'', which had a different set of theme songs for each of its seven seasons and for its {{OVA}} series. Another good example is ''Manga/OnePiece'', which has (thus far) 18 openings and 18 endings in 692 episodes, or ''Manga/DetectiveConan'', which so far has a utterly staggering 39 openings and 49 endings. Similarly, episodes may feature several different renditions or versions of the same theme, as with "Fly Me to the Moon" from ''Anime/NeonGenesisEvangelion'' or "A-LY-YA!" from ''Anime/NegimaSecondSeason''.

On the other hand, some importers have tried to create local language versions of theme songs faithful to the original Japanese lyrics, with mixed results. Difficulties have included license constraints on North American distributors from Japanese parent corporations, and the problem that American voice actors are rarely trained singers - as Viz's [[http://www.google.com/url?sa=t&source=web&cd=4&ved=0CCYQFjAD&url=http%3A%2F%2Fwww.animenewsnetwork.com%2Freview%2Franma-oav%2Fvhs-2&ei=uHZLTLjeNY_ksQPmk-FI&usg=AFQjCNH7oPO6xNVS_BbYceK2cWdG2qriPQ&sig2=hQuw6b9l4UfUk7F8WrkNhg famously bad]] [[http://www.google.com/#hl=en&tbs=vid%3A1&q=ranma+english+%22equal+romance%22&aq=f&aqi=&aql=&oq=&gs_rfai=&fp=1fa44aa86303d3d attempt]] to create "[=DoCo=] America" proved. In the late 1970s, ''Anime/SpaceBattleshipYamato'''s theme was dubbed reasonably well, even allowing for the changes that turned the series into ''Star Blazers'', and the same was done in the 1980s with some of the themes from ''Manga/RanmaOneHalf''. Pioneer (later known as Creator/{{Geneon}}) sometimes did the same in following decades, even going so far as to release full English-language [=CDs=] for some of their imports. Creator/{{Funimation}} revived the practice in TheEarly2000s, with mixed results. Mexican, Chilean, and even a few Colombian dubs of anime have also translated some songs, often with good results; the Latin Spanish versions of ''Anime/MazingerZ'', ''Anime/ScienceNinjaTeamGatchaman'', ''Anime/DragonBallZ'' and ''Manga/YoureUnderArrest'' themes are as memorable and loved as the originals.

On the other hand, some importers have tried to create local language versions of theme songs faithful to the original Japanese lyrics, with mixed results. Difficulties have included license constraints on North American distributors from Japanese parent corporations, and the problem that American voice actors are rarely trained singers - as Viz's [[http://www.google.com/url?sa=t&source=web&cd=4&ved=0CCYQFjAD&url=http%3A%2F%2Fwww.animenewsnetwork.com%2Freview%2Franma-oav%2Fvhs-2&ei=uHZLTLjeNY_ksQPmk-FI&usg=AFQjCNH7oPO6xNVS_BbYceK2cWdG2qriPQ&sig2=hQuw6b9l4UfUk7F8WrkNhg famously bad]] [[http://www.google.com/#hl=en&tbs=vid%3A1&q=ranma+english+%22equal+romance%22&aq=f&aqi=&aql=&oq=&gs_rfai=&fp=1fa44aa86303d3d attempt]] to create "[=DoCo=] America" proved. In the late 1970s, ''Anime/SpaceBattleshipYamato'''s theme was dubbed reasonably well, even allowing for the changes that turned the series into ''Star Blazers'', and the same was done in the 1980s with some of the themes from ''Manga/RanmaOneHalf''. Pioneer (later known as Creator/{{Geneon}}) sometimes did the same in following decades, even going so far as to release full English-language [=CDs=] for some of their imports. Creator/{{Funimation}} revived the practice in TheEarly2000s, with mixed results. Mexican and Chilean dubs of anime have also translated some songs, often with good results; the Latin Spanish versions of ''Anime/MazingerZ'', ''Anime/ScienceNinjaTeamGatchaman'', ''Anime/DragonBallZ'' and ''Manga/YoureUnderArrest'' themes are as memorable and loved as the originals.

On the other hand, some importers have tried to create local language versions of theme songs faithful to the original Japanese lyrics, with mixed results. Difficulties have included license constraints on North American distributors from Japanese parent corporations, and the problem that American voice actors are rarely trained singers - as Viz's [[http://www.google.com/url?sa=t&source=web&cd=4&ved=0CCYQFjAD&url=http%3A%2F%2Fwww.animenewsnetwork.com%2Freview%2Franma-oav%2Fvhs-2&ei=uHZLTLjeNY_ksQPmk-FI&usg=AFQjCNH7oPO6xNVS_BbYceK2cWdG2qriPQ&sig2=hQuw6b9l4UfUk7F8WrkNhg famously bad]] [[http://www.google.com/#hl=en&tbs=vid%3A1&q=ranma+english+%22equal+romance%22&aq=f&aqi=&aql=&oq=&gs_rfai=&fp=1fa44aa86303d3d attempt]] to create "[=DoCo=] America" proved. In the late 1970s, ''Anime/SpaceBattleshipYamato'''s theme was dubbed reasonably well, even allowing for the changes that turned the series into ''Star Blazers'', and the same was done in the 1980s with some of the themes from ''Manga/RanmaOneHalf''. Pioneer (later known as Creator/{{Geneon}}) sometimes did the same in following decades, even going so far as to release full English-language [=CDs=] for some of their imports. Creator/{{Funimation}} has revived the practice, with mixed results. Mexican and Chilean dubs of anime have also translated some songs, often with good results; the Latin Spanish versions of ''Anime/MazingerZ'', ''Anime/ScienceNinjaTeamGatchaman'', ''Anime/DragonBallZ'' and ''Manga/YoureUnderArrest'' themes are as memorable and loved as the originals.

As a result, many anime theme songs of the modern era, following those examples set in the mid-[=80s=], have little to do with the subject matter of their shows. To western ears, it may just seem like they're singing about fate, destiny, and really nothing else in particular. Many are romantic songs of one flavor or another, ostensibly showing the point of view of one of the show's main characters. (This isn't limited to {{shojo}} or {{josei}} - there are plenty of cases of seemingly-"effeminate" love songs being used for {{shonen}} anime,[[note]]For example, "Ohayō" from the 1999 ''Manga/HunterXHunter'' anime[[/note]] once again probably encouraged by the precedent "Silent Voice" in ''Gundam ZZ'', among others, set.) Alternately, they may be {{Thematic Theme Tune}}s, [[ImageSong reflective "personality" pieces]], [[SurrealThemeTune nonsense patter songs]], or [[InstrumentalThemeTune instrumentals]].

As a result, many anime theme songs of the modern era, following those examples set in the mid-[=80s=], have little to do with the subject matter of their shows. To western ears, it may just seem like they're singing about fate, destiny, and really nothing else in particular. Many are romantic songs of one flavor or another, ostensibly showing the point of view of one of the show's main characters. (This isn't limited to {{shojo}} or {{josei}} - there are plenty of cases of seemingly-"effeminate" love songs being used for {{shonen}} anime, once again probably encouraged by the precedent "Silent Voice" in ''Gundam ZZ'', among others, set.) Alternately, they may be {{Thematic Theme Tune}}s, [[ImageSong reflective "personality" pieces]], [[SurrealThemeTune nonsense patter songs]], or [[InstrumentalThemeTune instrumentals]].

The songs also frequently follow a specific pattern: the first verse is usually about a minute along (i.e., just the right size for a standard opening credit sequence), and changes to a different tune around halfway through. There is an instrumental of a few seconds before the song repeats, with different lyrics (although some will stay the same). The song then has a longer instrumental (throwing lyrics in there isn't unheard of, but they are always different to the lyrics from both verses), before repeating the second part of the first verse. Some anime like to play with this format: for instance, ''Anime/NeonGenesisEvangelion'''s theme, "The Cruel Angel's Thesis", had the longer instrumental (with lyrics for a few seconds) between the first and second verses, and had the rest of the song (second verse, lyrics in between, and repeat of half of first verse) in quick succession. This specific format is what's come to be known as the ''anisong'', and many artists in the [=21st=] century produce them independently with the hopes of having one or more picked up for use in a show. The record label Lantis, a company of its own before being folded back into the larger structure of its Bandai-Namco founder (though retained as a label itself), specializes in supporting artists who create songs for this purpose.

At this point, the writing was virtually on the wall; while the concept of commissioned themes for shows would continue to persist for a while longer, this emerging arrangement simply had too many advantages, for the artists and production companies both, for the wider industry to ignore, and the trend of licensing songs, or "encouraging" artists to come up with something on their own that could be used in a show, would begin to dominate and take the shape detailed below under "Why This Arrangement?". While commissioned theme songs in the style of the mid-century would still occasionally crop up, even in the [=90s=] and the new century, in {{Kodomomuke}} shows and ones that focused on being {{Genre Throwback}}s[[note]][[https://www.youtube.com/watch?v=tpqwY7tsZS4 Turn A Gundam]], [[https://www.youtube.com/watch?v=zgAazreoQqA GaoGaiGar]] and [[https://www.youtube.com/watch?v=p9m3LOUzZs4 Overman King Gainer]] being examples - Creator/{{Sunrise}}, and particularly Creator/YoshiyukiTomino, seeming to be a bit fond this, which is ironic given their works' place in helping to overturn the old style[[/note]], by the time 1990 dawned, the "anime theme song" practice described by this entry had become the standard.

It was Gundam and some of its contemporaries, however, that would start to transform things in the [=1980s=]. While 1982's ''Anime/SuperDimensionFortressMacross'' had [[https://www.youtube.com/watch?v=P-r4wx5ZYHI a commissioned theme song]] in the typical style, part of what made the show notable and attractive was the amount of original, not-obviously-''Macross''-branded music that the show produced, with a lot of it being quite catchy and memorable... and then the theatrical adaptation gave us the titular ''[[https://www.youtube.com/watch?v=00L0ed_Z7hA Do You Remember Love]]'', which while critical to the narrative, was absolutely capable of being a stand-alone single.

Which it was. And which proceeded to almost completely vaporize the Japanese music charts of 1984, with the film's OST sitting at #9 ''and'' the ''DYRL'' single sitting at #7. For anyone to accomplish this would be impressive; for a song inspired by an animation to hang in the same chart as groups like The Checkers, ''twice over'', was '''''unheard of'''''.

Contemporaneously, and perhaps inspired by this success, other shows began experimenting with different kinds of music for major themes, notably 1985's ''Anime/ZetaGundam''. The hotly-anticipated Gundam sequel opened with [[https://www.youtube.com/watch?v=lQrDASSYKmw the jazzy "Zeta - Toki wo Koete"]] from Mami Ayukawa, which had still been written ''for'' the show, but aside from one reference to "believe in a sign of Zeta", there was no obvious indication it had anything to do with ''Zeta Gundam'' itself and could easily exist as its own song. This was due to its origins - it was essentially an adaptation of "Zeta" songwriter Music/NeilSedaka's own "Better Days Are Coming". He pulled a similar trick for ''Zeta Gundam''[='s=] ending theme, with "Hoshizora no Believe" being adapted from "Bad And Beautiful".

Needless to say, the songs were again immediate smash hits, and the music and the show more or less helped to promote each other -- fans of ''Gundam'' happily snapped up these new, highly fresh and memorable songs, while fans of Mami Ayukawa and Hiroko Moriguchi (who sang the second opening theme, [[https://youtu.be/XSycojV_L1A "Mizu no Hoshi e Ai wo Komete"]], another Sedaka song "For Us to Decide"), not to mention Sedaka fans in the know, would check out ''Gundam'' out of curiosity.

It was 1986's ''Anime/MobileSuitGundamZZ'' that would take this exact step; as was that show's wont, it flew off the expected rails from the very start by opening with [[https://www.youtube.com/watch?v=0MLuwuzQd_I "Anime ja nai"]], which was an [=80s=] tech-rock piece from Masahito Arai that 1) was hugely unlike any previous ''Gundam'' opening (even ''Zeta'' having the jazzy Sedaka tunes which were ''somewhat'' in keeping with previous trends) and 2) had '''absolutely nothing to do whatsoever''' with the show. If anything, ''Gundam ZZ'' is possibly the single most "anime" ''Gundam'' show ever made by the hands of man, being {{Troperiffic}} in a way that original ''Gundam'' and ''Zeta'' never were; this gave the song an almost memetic power during the show's first run in Japan and became an emblem of how comparatively "weird" ''ZZ'' was compared to its stablemates. And thus, its single sold like crazy. When the show took a more serious turn later in its run, it switched to [[https://www.youtube.com/watch?v=N0LKHt0JBFg "Silent Voice"]] by Jun Hiroe, which was again a melodramatic rock piece with absolutely no link to the show, leagues away from the big band theme tunes of yesteryear. Fans loved it and helped it sell like hotcakes, too.

It was Gundam and some of its contemporaries, however, that would start to transform things in the [=1980s=]. While 1982's ''Anime/SuperDimensionFortressMacross'' had [[https://www.youtube.com/watch?v=P-r4wx5ZYHI a commissioned theme song]] in the typical style, part of what made the show notable and attractive was the amount of original, not-obviously-Macross-branded music that the show produced, with a lot of it being quite catchy and memorable... and then the theatrical adaptation gave us the titular ''[[https://www.youtube.com/watch?v=00L0ed_Z7hA Do You Remember Love]]'', which while critical to the narrative, was absolutely capable of being a stand-alone single.

At this point, the writing was virtually on the wall; while the concept of commissioned themes for shows would continue to persist for a while longer, this emerging arrangement simply had too many advantages, for the artists and production companies both, for the wider industry to ignore, and the trend of licensing songs, or "encouraging" artists to come up with something on their own that could be used in a show, would begin to dominate and take the shape detailed below under "Why This Arrangement". While commissioned theme songs in the style of the mid-century would still occasionally crop up, even in the [=90s=] and the new century, in shows that focused on being {{Genre Throwback}}s[[note]][[https://www.youtube.com/watch?v=tpqwY7tsZS4 Turn A Gundam]], [[https://www.youtube.com/watch?v=zgAazreoQqA GaoGaiGar]] and [[https://www.youtube.com/watch?v=p9m3LOUzZs4 Overman King Gainer]] being examples - Creator/{{Sunrise}}, and particularly Creator/YoshiyukiTomino, seeming to be a bit fond this, which is ironic given their works' place in helping to overturn the old style[[/note]], by the time 1990 dawned, the "anime theme song" practice described by this entry had become the standard.

Contemporaneously, and perhaps inspired by this success, other shows began experimenting with different kinds of music for major themes, notably 1985's ''Anime/ZetaGundam''. The hotly-anticipated Gundam sequel opened with [[https://www.youtube.com/watch?v=lQrDASSYKmw the jazzy "Zeta Toki wo Koete"]] from Mami Ayukawa, which had still been written ''for'' the show, but aside from one reference to "believe in a sign of Zeta", there was no obvious indication it had anything to do with ''Zeta Gundam'' itself and could easily exist as its own song. This was due to its origins - it was essentially an adaptation of "Zeta" songwriter Music/NeilSedaka's own "Better Days Are Coming". He pulled a similar trick for ''Zeta Gundam''[='s=] ending theme, with "Hoshizora no Believe" being adapted from "Bad And Beautiful".

Needless to say, the songs were again immediate smash hits, and the music and the show more or less helped to promote each other -- fans of ''Gundam'' happily snapped up these new, highly fresh and memorable songs, while fans of Mami Ayukawa and Hiroko Moriguchi (who sang the second opening theme, "Mizu no Hoshi e Ai wo Komete", another Sedaka song), not to mention Sedaka fans in the know, would check out ''Gundam'' out of curiosity.

The Sedaka connection, however, would end up being something of a licensing nightmare, particularly for potential releases of ''Zeta'' outside of Japan; since Sedaka was American, and the songs were adapted from his previous work, he still owned full rights and royalties for the songs in America, which made using them overseas, in America especially, prohibitively expensive since he and his music labels wanted the full rights to all related songs to be part of the package. They could still be used in the original context of the shows in Japan, but beyond that, their licensing was a nightmare (and years later even affected works like ''VideoGame/SuperRobotWars'', who found it confoundingly difficult to consistently license "Zeta Toki wo Koete" in particular).

Whatever their style and content, though, anime theme songs are generally written and performed with the same attention and care that in the United States is reserved for [[OscarBait potential Oscar-winning compositions]]. Quite a few can reach EarWorm status - one example, "Hare Hare Yukai" from ''LightNovel/HaruhiSuzumiya'', was been wildly popular as both a song and a dance at American and Japanese conventions for a decade or more.

On the other hand, some importers have tried to create local language versions of theme songs faithful to the original Japanese lyrics, with mixed results. Difficulties have included license constraints on North American distributors from Japanese parent corporations, and the problem that American voice actors are rarely trained singers - as Viz's [[http://www.google.com/url?sa=t&source=web&cd=4&ved=0CCYQFjAD&url=http%3A%2F%2Fwww.animenewsnetwork.com%2Freview%2Franma-oav%2Fvhs-2&ei=uHZLTLjeNY_ksQPmk-FI&usg=AFQjCNH7oPO6xNVS_BbYceK2cWdG2qriPQ&sig2=hQuw6b9l4UfUk7F8WrkNhg famously bad]] [[http://www.google.com/#hl=en&tbs=vid%3A1&q=ranma+english+%22equal+romance%22&aq=f&aqi=&aql=&oq=&gs_rfai=&fp=1fa44aa86303d3d attempt]] to create "[=DoCo=] America" proved. In the late 1970s, ''Anime/SpaceBattleshipYamato'''s theme was dubbed reasonably well, even allowing for the changes that turned the series into ''Star Blazers'', and the same was done in the 1980s with some of the themes from ''Manga/RanmaOneHalf''. Pioneer (later known as Creator/{{Geneon}}) sometimes did the same in following decades, even going so far as to release full English-language [=CDs=] for some of their imports. Creator/{{Funimation}} has revived the practice, with [[EarWorm mixed results]]. Mexican and Chilean dubs of anime have also translated some songs, often with good results; the Latin Spanish versions of ''Anime/MazingerZ'', ''Anime/ScienceNinjaTeamGatchaman'', ''Anime/DragonBallZ'' and ''Manga/YoureUnderArrest'' themes are as memorable and loved as the originals.