Tatsuro Yamashita
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I have been eager to talk about some of the work of Tatsuro Yamashita for a while now. Recently, I have had the absolute pleasure of being able to sit down with Ride on Time and give it plenty of listens. Tatsuro is famous for not having his music on streaming services. So, out of respect for the art, I went ahead and picked up one of his CD copies. Popping that CD into a stereo system and investing my full attention in the intricacies of his skill and ear for music gave me a whole newfound respect for the necessities of physical media. Tatsuro knows his music, he knows how it should be heard, and he won’t have it any other way.
Ride on Time serves as more than a spearhead for physical media. It stands its ground on what imagery albums are capable of as a whole. Not only is there an extremely high effort and attention to detail in skill, but the very same goes for the imagery that’s being portrayed. From start to finish, Ride on Time is an audio representation of a perfect day from dawn to dusk.
Starting off with the first track, “Someday”. Not only an introduction to the album, but to the day as well. As the bass greets us with its bounce and occasional slap, I see a world waking up. I love the use of bells and piano and how they complement each other’s rhythms and melodies. They aren’t in the forefront but can be heard perfectly. The piano fills the space with its chords, and the bells come in and assist the higher melodies. Each bell hit is heard, but it isn’t punching over anyone else. There’s no ‘hey, this is the melody. This is what you’re supposed to be listening to’ and I love that. Because everything isn’t supposed to be just heard, but felt. For another example: through the majority of the track, there is a rhythmic clicking. It’s noticeable in the beginning, but can also be heard during the chorus. It’s panned far right and isn’t very loud because it’s not supposed to be. It’s meant as a guide to rhythm. Its cadence keeps you engaged as an additional piece of percussion. And that’s called art. That’s what I love to hear. Some might question its existence since it’s so quiet and not contributing much. But to the painter, each brushstroke has a purpose. That’s what Tatsuro heard in his head, and that’s what he wants you to hear.
Ride on Time is filled almost to the brim with happy tunes, and each does a successful job of keeping you entertained. I’m conflicted about categorizing it all as either driving music or strolling music. I lean more towards strolling because all of this music makes me want to be more aware of the world and take it in more, rather than enjoying my speedy ride to work. It’s all light and upbeat and productive. “Daydream” exudes that stroll vibe to me the most. Just his vocal cadence alone throughout the verses mimics rambling, its rushed tone trying to catch up to the beat as if he caught himself in a daydream while in the middle of his walk. It has that ‘nothing can go wrong’ vibe that comes with daydreaming about future plans. Like who you are about to see and what you’ll say when you see them, and everything just plays out perfectly.
Tatsuro really loves panning his instruments, and I’m all for it. There are two guitars, one panned to each side. Both of them carrying the rhythm. The left hits more of the pops while the right fills the space more with a little use of sustaining a bit of the strumming. And with the bass right in the middle, all the space is, once again, filled without any muddiness or overwhelming clashes of instruments.
“Ride on Time”… man… Absolutely worthy of being the album title. This is definitely that driving music, but not to work. No, with this one you got to hit the city. No destination in mind, just good vibes and a killer song to represent the day. One of his most well-known songs, and for good reason too. The buildup starting with him and the piano acts like the beginning of the ride. Getting in your car and checking that everything is right and in place. And then you’re off. As everything else comes into place, it’s just cruising from here. It’s really just an immaculate vibe that nothing can get in the way of. Traffic? Who cares, I got Tatsuro Yamashita filling my car up with good vibes and pure joy. I got one speaker playing a riffing guitar and another one playing the groove. And as that groove is set into place, Tatsuro decides to have fun with the chorus. He came to show you just how good of a vocalist he can be. He’s aware of his range and plays right into it. From belting to a loud and clear falsetto, Tatsuro is in control.
“Wow, what a good song. I can’t wait to hear what comes ne-“ And then Tatsuro comes right back in with an a cappella section for the last fifteen seconds to give us that out-of-body experience. All him, just cementing that he is in his realm of expertise.
To keep up with the imagery, after “Ride on Time” we are approaching the evening aspect of the album. All of what we’ve heard so far has been rather upbeat and a range of fast paces. But from here on out, the sun is starting its descent in the sky. Our intro to this phase of the album is “The Door into Summer”. A chiller vibe than before. It definitely has the sunset vibe: we’re still out, still having fun; just a change of scenery. It’s a nice change of pace. Tatsuro’s voice takes the spotlight for this track as well as the following: “My Sugar Babe”. Some real slow-dancing material. The intimacy is sincere and is meant to be shared with another. Not only from the listener’s point of view, but from Tatsuro’s as well. As this one was written as an homage to his former band called Sugar Babe. You can hear the memories fall from his voice as he recalls the gratitude for the experience he garnered from his time with them. Stuff like that always brings a new appreciation to a song.
As the album ends, so too does the day. We depart with two songs that feel like the beginning of night: “Clouds” and “Kissing Goodnight”. It’s called “Clouds”, but to me, I see a night sky with those dark clouds that are slightly illuminated by the light of the moon. We’re settling down now, and the bass pulsates throughout the song in a soothing and comforting way. It’s like driving back home from a whole day out, having gotten everything done, no complaints.
“Kissing Goodnight” just feels like ‘thank you for listening, goodnight mwah’. It’s piano and Tatsuro for the majority of it, with a bit of a sequenced synth as well. I noticed that he didn’t really use a lot of synths throughout this album. Which I really appreciate. Everything you heard comes from an authentic source. Rather than creating it from scratch from a single tone. A great resolution to a great album. I really had fun breaking down this album.
Tatsuro Yamashita is a masterclass of a musician. As a musician myself, I resonate a lot with his work and attention to detail. He is insistent on not only what is heard, but how it is heard. He nurtures each track in each song. Nothing is out of place or where it isn’t supposed to be. There’s no such thing as ‘good enough’ or ‘decent’. It’s either ‘right’ or ‘wrong’. And he’s absolutely right for standing his ground with his works. There aren’t enough artists out there who do it like that anymore. Most of them leave the lyrics and music up to a team of producers and just give it a thumbs up if it works for them. Tatsuro starts with the sound of silence and weaves into place each sound and every instrument to portray an image of his choice. And I’m here for all of it.
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Highlights
DAYDREAM
Itsuka (Someday) 「いつか」
RIDE ON TIME
RAINY DAY
Tracklist
Itsuka (Someday) 「いつか」
DAYDREAM
SILENT SCREAMER
RIDE ON TIME
Natsu e no Tobira (The Door Into Summer) 「夏への扉」
MY SUGAR BABE
RAINY DAY
Kumo no Yukue ni (Clouds) 「雲のゆくえに」
Oyasumi (Kissing Goodnight) 「おやすみ」
