Overall Rating: 7/10
Favorite Tracks: Destination / Morning Dew / Do You Remember Me?
With the release of their self-titled album in 1983 AB'S found themselves with a very unexpected minor success on both sales as well as on the album charts. Why wouldn't they? The group that had been formed as part of Yoshino's personal back up band and that had grown to be a full time band had provided a very enjoyable, polished, and quite unique record, something that caught the eye of many due to how unusual it felt for the pop scene in Japan during the 80's. Indeed, their first album was very well done, a very special blend of pop with the aspects of jazz fusion, making up for tracks that shined due to the technicality in their execution, all of this possible thanks to the outstanding production and mixing that was present on every single song. The atmosphere that was presented was a very consistent one, but the album itself tackled two distinct sides, one that was much more upbeat and the other one which focused on the melancholic aspects of the night-time ambient that covered the entire project.
It was more of a collaborative effort than anything else, presenting an unusual lineup of talented and recognized musicians, making AB'S a sort of "City Pop Supergroup", with every member fulfilling a vital role in how the songs ended up. From Yoshino and Matsushita's wonderful guitar interactions and arrangements, Watanabe's powerful bass, Okamoto's explosive and simple drumming, as well as Ando's wonderful atmospheric keyboards and lyrical contributions; the first and most iconic lineup of the band had a lot to offer, and with their debut they showed their abilities and charm on the best way possible. It was a very special chemistry that made for a first studio effort that, although not perfect, was very promising for the future of the band, and these expectations were increased with the wonderful and energetic live shows that they provided across Japan.
But at that point, and with what seemed like a promising run just starting in such a competitive world, what could the next step be? Well, the most obvious and predictable answer would be to record a follow up that tried to take things a step further, and that certainly was the plan at first. In order to do this, the band went to London and started recording sessions in early 1984, with practically the same lineup and intentions to make something that stood out from what was common on pop at the time. During that time period, the band released their second and last single from their first period, which would be nothing else than "Deja Vu/Asian Moon", the two long tracks that opened each side of their debut (with Deja Vu ending up as perhaps the most popular song from their career). The single surprisingly charted on the British charts, which, along side some performances on small festivals and closed gigs, started gathering attention towards the band's upcoming second album, which would eventually come out under the name of AB'S 2 that same year.
While their debut had built some expectation towards a very specific kind of sound that was made possible thanks to the technical performances, AB'S 2 was somewhat of an odd follow up. For starters, the album was almost a step back compared to the unusual compositions and arrangements on relatively conventional song structures, instead going for something much more simple and straight forward in most of these aspects. The technical aspects were still there, as much as the chemistry between all the members, but things were obviously different in the music that was being presented. The tone would also be quite different as well, leaving aside the dynamic and varied aspects, but tackling a more mellow, calm and emotional atmosphere that would be consistent throughout the entire album. There is also a clear influence from their environment during recording sessions, with songs like Flight 007 and One Night In Moscow using very peculiar elements in their songwriting. In many ways, there was more balance regarding who wrote the songs and their placements on the album, but the end result was certainly less focused than their debut, ending on a mixed bag of an experience.
To what extent does this go? Well, it goes to the point where the best highlight of the album, the track that achieves what it sets up to do and that does it using all the elements on a fantastic way, is the opener. Destination is an immediate stand-out track, presenting the new style of melancholic atmosphere while being very close to the technical aspects in the performances that could have been found on the previous album. A strong bassline and powerful drums open the track, with very simple, yet effective, guitars following right over. Once the wonderful vocals step in, guitars and keyboard become one, offering a dynamic interaction that carries the track, eventually separating and making up for a very engaging melody until the upbeat and joyful chorus. A small reprise of this entire first half happens in order to further progress the song into the final section, with a wonderful guitar solo blending with the vocals, serving as a very memorable outro for such a fantastic opener. Destination sets things up on a great way, and it builds expectation for what could be a very pleasant experience, being on the same level as the songs of the debut, but sadly, that is not the case. The rest of the songs are all nice, none of them are bad or mediocre, they all have something to offer, but they also feel somewhat of a downgrade, specially compared to the level of quality that the opener presents.
Japanese Punkish Girl follows right after, presenting a slower and relaxed romance track, very much conventional for the pop standards around that time, feeling as if it were material for a very pleasant radio single. That was most likely the case, being a Matsushita track that stays simple in composition and arrangements, being laid back and almost reggae-like in the guitars and bass. There are no unexpected shifts in tone, no instrumental passages, and it doesn't really need those things in order to be good, but it is all very much calm in the structure, with a verse-chorus-verse pattern that repeats until a very sudden ending. It can feel somewhat repetitive, and even if the vocals are supposed to convey an emotion of love and emotion, they do feel somewhat out of place at first due to their intonation. But still, a nice change of pace, staying mostly under a consistent mellow atmosphere carried from the previous track. Morning Dew follows right after, and it offers practically the same approach to a simple composition and structure, but being carried on a much better way. Watanabe steps in putting his iconic bass as the backbone of the arrangements and the melody, being complemented and complementing both guitars as well as the calm drums. The vocal performances are sweet and dynamic, changing up and getting more upbeat with the chorus, offering a more effective and engaging hook. The production and mixing start showing their importance with how everything is balanced and subtly changed depending if there is a bridge or a verse. This time around the straight forward structure works at its best, offering something that doesn't stay still and that offers somewhat of a slight variation in tone depending on the segment while still progressing on a conventional way, until fading out slowly right at the end. It definitely helps to prove that the laid back and relatively simple style of arrangement and songwriting could very much work with the talent and abilities of AB'S, with very precise instrumentals and beautiful vocal performances.
Finally, Just A Rainy Blues follows right after in both consistency and execution, presenting a very adequate and charming closer for a pleasant first half, tackling a very peculiar mix of blues with 80's pop elements such as the synths or the drums. Yoshino takes the spotlight once again with his vocals from the very beginning, guiding the main melody of the track until the chorus, just to then introduce a versatile and engaging guitar solo carrying very conventional rock influences from the west, seen for the most part on songs from their first album. The chemistry and coordination of the band works very well with a relatively simple structure and arrangement that carries from beginning to end, with Yoshino's composition only breaking to leave space for the great guitar solos (the last of them closing the track on a very sudden way) and it all shows a promising premise that could work out nicely if it ended up being pulled off well, closing the first side of the record on a very nice note. However, all of the expectation doesn't last for long, with the sister tracks of the album, Flight 007 and One Night In Moscow, being somewhat of an underwhelming follow up as openers of the second side. The intentions of changing the tone while adapting even further to a passionate and mellow atmosphere don't work as well as they aim to do, being very much the most simple songs regarding arrangements and structure, with odd vocal performances and underwhelming instrumental arrangements, ending up as the most forgettable tracks on the entire album. There really isn't much more to say, the songs themselves are pretty decent for the most part, they just feel like a step back compared to other material from the band, even within the same release. Somewhat unfocused, unpolished, they could have fleshed out into something much more special and better executed (and I am sure that was the case on the live renditions), but as studio versions they leave a lot to be desired.
The pace is picked up once again with the final two tracks, with Correspondence somehow bringing back the aspects seen on the first side under a more upbeat tone, while still carrying the mellow atmosphere all the way through. A catchy chorus, a prominent bassline, simple drums, atmospheric keyboards, and dynamic guitars, all courtesy of Matsushita's compositions. The song itself has somewhat similar flaws to Japanese Punkish Girl, also a Matsushita track, in the way that it stretches for a bit too long, ending up a little bit repetitive at the end, but still making up for a very enjoyable track that brings back some of the main qualities of the record. Finally, Do You Remember Me? closes things off on a similar vein as the opener, being one of the songs from the record that is the closest to the style and approach of the first album, presenting arrangements that are varied and very dynamic, making up for interesting interactions between all the elements. An upbeat instrumentation that still carries a mellow tone on the guitars and the vocals, all being carried on a simple structure that keeps building up to a very engaging final section with a guitar solo and some potent drumming. The way everything is balanced and presented only improves the charisma and quality in the straight-forwardness of the composition and the performances. Definitely an improvement on the second side, a highlight on the album, and one really enjoyable closer for such an interesting experience.
AB'S 2 is an album that could have been so much better but that ended up being somewhat of a step back on the AB'S catalog. The lineup stayed the same, and the promises of a follow up that improved on what was seen on the wonderful debut were still present, but the scope and execution of the ideas on this new project went on a different road. The mellow atmosphere that stays consistent throughout the entire album is certainly pleasant, but the songs that want to adapt to that particular mood end up being quite the mixed bag in quality, with no song being bad or mediocre, but at the same time being somewhat underwhelming. Every song has something to offer on its own particular way, and there are tracks such as Destination, Morning Dew, or Do You Remember Me? that prove that this new focus of the band could have worked on a great way, but at the same time there are songs that don't end up working as well, feeling somewhat incomplete or out of place at times. If more time had been invested on the record it could have possibly ended up being as fleshed out as their first studio effort, but the result here is something that really leaves a lot to be desired in the end. The band is still full of five talented musicians providing a unique style of City Pop, regardless of the new straight forward and conventional approach to songwriting this time around, with a production that is as clean and wonderful as before, but it could have been so much more with the right execution of ideas. But, regardless of the unmeet expectations and a mixed result, AB'S 2 is still a good project overall.
Perhaps things could have improved in a follow up, refining the new ideas presented on this record, keeping up with the chemistry of this promising first lineup. It can be said that not a lot of attention had been put on the album, perhaps due to the fact that it was done at the same time as Yoshino and Matsushita were working on their own personal projects, so there was still some hope that the band could keep on growing further with each new release. Sadly, that would not be the case, because following the release of the 1984 record, Matsushita would leave AB'S in order to focus on his own music, starting the progressive rock band Paradigm Shift not long after, and bringing an unexpected shift to the future of the band. AB'S would still keep pushing forward, with the four remaining members releasing a follow up the following year, but it wouldn't last for long, with the original lineup breaking up completely not long after. Yoshino would still try to keep the band alive by bringing new members in 1988, but it certainly wasn't the same.
After that point, the original lineup was brought back in 2004 with some tours in 2005, then reuniting at different points throughout the years, with old and new members performing live and keeping up with new studio projects (even releasing a new one in 2020, with re-recordings of songs from their first album), but things had obviously changed. Still, the band keeps on performing their old songs with as much passion and talent as possible, and things like the excellent 2019 live version of Destination prove that perhaps AB'S 2 could have turned out to be something much more special and perhaps even better than their debut, but it is all in the past now. Still, the memory lives on, and oddities such as this one still remain as very special events on what was otherwise a somewhat generic and overwhelming music scene.
But not everything is bad, and AB'2 remains as a mellow journey that wonders around the realms "what could have been?", but that does so on a pleasant way. Sometimes living in the midnight blue is more than enough.
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