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TATSURO YAMASHITAJOY
TATSURO YAMASHITA JOY Japanese record cover

JAPANESE ORIGINAL PRESSING · 1989

TATSURO YAMASHITA山下達郎

JOY

Drawn from years of performances, JOY documents the scale, discipline and warmth of Yamashita’s live band across two expansive discs.

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FULL TRACKLIST

SIDE A

  1. A1Last Step
  2. A2Sparkle
  3. A3Amaku Kiken na Kaori
  4. A4Rainy Day

SIDE B

  1. B1Plastic Love
  2. B2The War Song
  3. B3Soubou

SIDE C

  1. C1La La Means I Love You
  2. C2Dancer
  3. C3Love Space

SIDE D

  1. D1Introduction to Futari
  2. D2Futari
  3. D3Dreaming Day
  4. D4God Only Knows

SIDE E

  1. E1Merry-Go-Round
  2. E2Let's Dance Baby
  3. E3Loveland, Island
  4. E4Get Back in Love

SIDE F

  1. F1Koi no Boogie Woogie Train
  2. F2Down Town
  3. F3Ride on Time
  4. F4Oyasumi Rosie -Angel Baby e no Homage-

RELEASE DETAILS

LABEL
Moon
COUNTRY
Japan
FORMAT
LP · 33⅓ RPM
CATALOG NO.
MOON-63001~3
PRESSING
Japanese original

ABOUT THIS ALBUM

Released in 1989, JOY is far more than a conventional live album. Compiled from performances recorded in Tokyo, Sendai, Koriyama, Yokohama, and Osaka, the two-disc set functions as a history of Tatsuro Yamashita’s touring life across the 1980s. Its 21 tracks draw from nearly every phase of his career, including “SPARKLE,” “LOVE SPACE,” “DANCER,” “RIDE ON TIME,” “DOWN TOWN,” “Get Back in Love,” and “Sobo,” while also making room for covers and songs associated with other artists, including Mariya Takeuchi’s “Plastic Love.” The importance of JOY lies in how different these songs feel outside the studio. Yamashita is famous for obsessive production detail, yet on stage the arrangements become more elastic: rhythm sections push harder, instrumental sections expand, and the vocals gain a physical intensity that cannot be created through overdubbing alone. The album therefore reveals the live musicianship underneath the perfection of his records. Rather than reproducing studio versions, Yamashita and his band rework them as living arrangements, making JOY one of the clearest demonstrations of why his reputation as a live artist became as important as his studio craft.