Overall Rating: 8.5/10
Favorite Track: Dee-Dee-Phone / Asian Moon / Girl / In The City Night
As with many genres and different movement within the vast world of music, City Pop is a surprisingly wide genre. Why wouldn't it be? The world of City Pop as a whole is intriguing for foreign audiences, with the internet practically giving new life to the genre overseas with the help of big names like Tatsuro Yamashita, Taeko Ohnuki, and Mariya Takeuchi taking internet culture by storm. The genre was incredibly overwhelming, specially during it's prime, and even though there are artists tackling that particular style of pop music nowadays, it will just never be as intense as it used to be. A lot of people from different backgrounds, from models trying to expand their business to young folks eager to get into the world on a professional way, stepped into the music scene trying their luck locally or on a national scale, but few were the names that really stood out. It came to the point of oversaturation on a highly competitive scene where it all eventually seemed to take upon a particular style and it was all about getting playtime on the radio in order to sell mostly mediocre/ bland records built around the concept of selling what was expected to be the big single, with only a handful artists providing something different, that didn't rely on filler and instead focused on building a complete album. It is only obvious to come to the conclusion that, due to all these aspects, artists only lasted for a couple of efforts or simply got satisfied with one successful hit, if it even had success in the charts to begin with, before retiring for good, with their music getting lost in the never-ending sea that was the genre during the 80s.
But still, even considering all of that, the fact that City Pop was a relatively short-lived and very contained movement in Japanese music history throws light at some curious things. Even if someone decides to get slightly interested in the different artists and records found within the genre, it is a fact that they will start noticing different names getting repeated on the credits from album to album, regardless of the date or the scope of that particular record. This is no surprise because, as it was mentioned before, the economy was unstable during the 80s in Japan, and artists couldn't really make a living out of radio play or record sales unless they were massively popular (and even then the artists had to rely on things like successful live performances in order to truly make a living out of their solo careers), so most musicians participated in different projects outside of their own. From writing jingles for commercials, to acting, to becoming backup musicians in both live and studio settings, the need to get to the end of the month was evident, and it all culminated on a scene where most people knew each other behind the curtains. Due to these factors, it is only natural to think that some of these encounters would lead to something special, and it did multiple times with variable results. Of course, City Pop was truly an oversaturated genre, but even among the pile of mediocrity and filler there are projects and artists that shine because of how unique and talented they end up being, and that is the case with the 80's Jazz Fusion-City Pop supergroup: AB'S.
AB'S formed in 1982 in Japan, at first being a sporadic and in-the-moment project that would grow into a group that lasted until this very day. The group started after Fujimaru Yoshino (ex member of the funk and city pop band SHOGUN, and who worked with artists like Hiromasa Suzuki, Mariya Takeuchi, Miki Matsubara, and Junko Ohashi; and who would go to work with people like Shiro Sagisu in 1995 for the Neon Genesus Evangelion OST) heard Makoto Matsushita's (who had worked with artists like Mai Yamane, Seiko Matsuda, legendary Eiichi Ohtaki, Toshiki Kadomatsu, and Junko Yagami among many others) work on his 1981 solo album "First Light", with Fujimaru asking for help in order to make a record with a similar sound and atmosphere. For that purpose, Yoshino and Matsushina would both take the role of guitarists, being complemented by Yoshihiko Ando (ex-member of City Pop band Parachute) on keyboards, Naoki Watanabe (ex-member of the Japanese fusion band Spectrum, who had been working with small artists like Kuniko Yamada and Naomi Kawashima) on bass, and Atsuo Okamoto (also ex-member of Spectrum, who would work with artists like Akina Nakamori and Hiroshi Sato) on drums. Everyone was recruited as session musicians at first, starting as Yoshino's personal studio backup band, and making its proper appearance on his 1982 solo album "Yoshino Fujimal". All the members got along well on the recording sessions, and fortifying that bond by working with artist Haruko Kuwana on "Moonlight Island" that same year, and eventually form AB'S around August of that same year. The name came to be after realizing that most members shared that particular blood type, and it also had the purpose of helping them be near the top of any alphabetical list and chart from that time. It was very unusual for a group of session musicians to form a band, but they wasted no time and started recording sessions right away, releasing the Girl/Django single by December of 1982, and their self titled debut album in January of 1983.
The reason why AB'S came to be is very peculiar, but so is the musical style that they offered with their studio recordings. If it could be compared to anything it would be to something in the same vein as what Casiopea were already presenting around that time. AB'S debut offered a much more technical approach to city pop, at first being a very particular blend of Jazz Fusion and Jazz Funk with Pop structures that would go to expand and dive into somewhat different atmospheres with each passing record. It is definitely not perfect, and it has a lot of things that could have been fleshed out in the songwriting, but those end up being minor details that don't take much away from the experience. The production is very much clean and ahead of its time, and it is one of the main strengths of the record, with every member having their own space in the mix, and making up for a very upbeat and captivating sound. The instrumentals are not really unique, they don't really focus on discovering new ground, it is more of an expansion of what was seen at first on Yoshino's solo album, being something remarkable due to their execution. All the talented members of the band give their all, with Yoshihiko Ando providing the lyrics for most of the songs and the rest of the members, particularly Yoshino and Matsushita, focusing on the compositions. It all created an atmosphere that incites nostalgia, happiness, and passion from beginning to end.
Just looking at the opener is enough to see the potential and talent of the band on all aspects. Deja Vu is relatively calm, but it is also really dynamic in most aspects, specially with the interactions between bass and guitar. It is an excellent presentation card from the band, a track that shows the evident chemistry shared between all the members, with the particular vocal performances and build up helping to make an engaging composition that knows when and how to shift tones. One can definitely tell the track was written by Watanabe because of the focus on that heavy and groovy bass, being complemented by the upbeat and rhythmic guitar arrangements, the simple yet effective atmospheric keyboards, and the wonderful drums that tie it all up. The vocal interactions also have their charm, with most members singing at the same time and conveying a very particular and engaging tone. It is no wonder that this is one of the more popular songs from the band, also used as a single in 1984 in promotion of their second album, mainly due to its very engaging and catchy nature. It is a highly balanced harmony that uses its 6 minutes of runtime to its best extent, eventually fading out an leaving place for the more upbeat Dee-Dee-Phone. This second track changes the mood and the tone, using the particular productions aspects and the mix to present something very captivating, with instruments staying in the background, but still being as effective as ever. Matsushita's guitar explodes with joy and energy after the volume goes back to normal for the members to sing the title of the song, with Watanabe's basslines and Okamoto's drums to complement in the best way possible. Without a doubt one of the albums highlights, a track that manages to be extremely catchy while using the technical aspects to their best extent, showing the abilities of the members on a very good way, and making up for a highly engaging composition.
After the guitar solos slowly fade out in the mix, Django, one of the two songs released in promotion of the album and also a Matsushita composition, takes the spotlight. The track ends up being one of the more unconventional regarding its approach to songwriting, mainly due to the peculiar guitar arrangements that carry the main melody of the track, shifting in tone and tempo for the verses and the somewhat mellow yet charming chorus segments. It is all a very standard structure, but it is handled on a great way, regardless if the instrumentals don't end up sitting all that well in the end. aside from it being very enjoyable, it does help to show the talent of the band and the approaches that they tackled in order to separate themselves from other pop acts. Immediately after the tone is contrasted once again with a more upbeat and somewhat conventional tune in the form of Fill The Sail, with Yoshino stepping in for the arrangements. An upbeat melody, a structure that just fulfills its purpose on the best way possible thanks to the simple, melodic, and effective guitar chords being used. The drums have much more impact, and the bass just takes a bigger presence overall. It is a very nice track that has a fantastic break at the end, with a guitar duel that is carried with the members singing a reprise of the chorus, finishing the first side of the album on a very nice light.
The second side seems like it wants to start on a similar way to Deja Vu, with Asian Moon taking a close time length but offering a big contrast not only to that great opener, but to the entire first side. It is somewhat more mellow on its atmosphere at first, but it returns to the upbeat and technical arrangements after a short keyboard intro with the vocals being repeated in order to settle a tone that would be expanded later on. It is a peculiar blend of jazz and pop, once again being composed by Watanabe and presenting a prominent bassline that stands as one of the most important elements of the entire song, being in a great synchronization with the rest of elements. It offers a slight and surprising derail that stands as one of the highlights of the entire album, being an instrumental section not inclined to pop, but to pure and carefully crafted jazz fusion, with the production aspects being very well polished and clear on everything being presented. The instrumental segment implements the use of vocals and a very intense break lead by the drums, the guitars, and the bass; with the wonderful and atmospheric keyboards stepping back once again in order to mark the end of the song. A similar concept to Deja Vu, but executed on a much better way when it comes to the technical aspects, ending up on a very unique, polished, and memorable song. A festival of emotion and passion carried under the light of the bright moon that shines melancholically at midnight.
In The City Night steps in with a more conventional pop structure, being the only track written by Okamoto but having a lot in common with Matsushita's writing style, but still carrying some of the night-time aspects of Asian Moon, offering a different approach to the unique pop arrangements that the band had fleshed out in the first half. A catchy chorus, a mellow feeling, and, of course, the wonderful technicality on the bass and the guitars. It all makes up for a very particular highlight of the album, something that ends up being as effective due to its placement on the record, almost as if it was an unexpected break to the rest. And this particular break is carried even further with Girl, the main single of the album, stepping in and shining on a fantastic way. It is something that continues with that night aspect and gives it a more upbeat chorus and harmony, with a powerful guitar marking the different segments on a fantastic way, with what seems like a latin influence going on with the way the solos are carried, very reminiscent of Santana's 70's material. It all builds up slowly leading to a very passionate and energetic guitar outro that fades out into the moonlight. A short, emotional, and very engaging track, with the vocal parts being delivered by all the five members on a great way. Very peculiar, somewhat simple, yet extremely charming from beginning to end, specially with memorable lines such as "I'll Never Fall In Love Again" and "Wanted Girl".
Finally, Just You steps in as a very particular closer. It is, without a doubt, the most unique and different song from the entire album. It rejects all the upbeat aspects, instead going for a full melancholic energy with no breaks or unexpected jumps in tone, being very consistent with the atmosphere and the mood in all the instruments. The haunting guitar notes being sustained in order to adapt to that particular focus, carrying the track from beginning to end, to the mellow and emotional vocal performances and the somber bass solo, it is a track that stays attached to the initial mood that it presented. In many ways it feels a little bit out of place, and it is still the weakest song on the album, but it still manages to be memorable and charming regardless of its particular melancholy. Undeniably unique, and very emotional in nature. A passionate closer, something that focuses on the loneliness and sadness of the night in order to remember old loves, communicating all those emotions on the adequate instrumental arrangements, making for a bittersweet ending.
AB'S debut is very unique within the world of City Pop. Not only is it that way due to the fact that it presents a very memorable and unique blend of Jazz Fusion with Pop, but because it is all carried on a very dynamic and engaging experience that has a lot to offer despite how simple it looks at first. From the very first track to the last lonely note, AB'S present their talent, passion, and their evident potential on a collection of songs that is varied, unique, and very enjoyable; with two distinct sides that contrast each other but that also expand and flesh out different aspects of songwriting, production, and the performances (with the first side being more upbeat and energetic and the second one tackling a more mellow tone).
From the upbeat and engaging presentation card that is Deja Vu, the energetic and infectious rhythm of the excellent Dee-Dee-Phone, the impressive instrumental chemistry on the technical aspects of Django, the melodic guitar and impactful drums on Fill The Sail, the wonderful midnight mood on the unconventionally Jazz Fusion driven Asian Moon, the memorable lyrics and harmonies on Girl and In The City Night, to even the unique melancholy and loneliness being embraced on Just You; it all makes up for a varied experience that jumps around different styles while staying within one particular atmosphere. A record that shines due to how unique it feels on its approach to conventional songwriting, being engaging with its catchy compositions and surprising with every twist and turn it takes from time to time. It is very evident that the songs were built mostly with a live setting in mind, where there was more freedom to flesh out concepts due to the improvisation aspects of the band, ending up in very memorable quality performances such as the one of the energetic and explosive Dee-Dee-Phone available on Youtube, with all the original members making up for one hell of a rendition.
Fujimaru Yoshino might have unconsciously formed the band looking for something that suited the sound he was looking for, but he ended up getting something much more special. This is not a personal project, or something where only one person steals the spotlight, it is a proper band, where every member has their moment to shine and where they all collaborated on the songwriting and arrangements. The production and mixing on this record is equally as superb, very polished and highly balanced, but it also proves some very unique things depending on the track and the scope of the song, something that was very much ahead of its time and that helps to offer a space of its own to every element used on the recording. Thanks to it, one is able to see that all five of them gave their all with their respective instruments, where all their different musical influences and backgrounds came to be on a very unique and explosive record that takes the listener through many different lighthearted, captivating, emotional, and technical soundscapes. It is definitely the most effective and memorable lineup and material that came to be during the early period of the band, before their first breakup in 1988, and it mostly is due to the initial chemistry found between all the members, specially the interactions between Yoshino and Matsushita on guitar. For it being a debut album it was very impressive, and it showed the potential and talent of the band in the best way possible, building up expectation for a possible follow up that could refine all the aspects and offer something even more polished in the long run.
Sadly, that would not be the case, with Matsushita leaving the band in 1984 after a small involvement with the band on the recording and writing of their second album in order to focus on his own personal band, Japanese prog rock act Paradigm Shift. After that point, AB'S became more focused on bringing different session musicians, but most of the main lineup stayed consistent until AB'S 3, but it was evident that the energy and chemistry changed after Yoshino stepped in as the main consistent figure behind the band. Still, the following volumes after that point were still good, and they still had a lot to offer regarding their music, and even if it can't be helped to wonder what would have been if the band continued with this promising and talented original lineup, the debut album is still something that stays as a legacy of all those wonderful things. Definitely a unique Japanese pop gem that captivates and marvels everyone who is willing to get lost on the music.
A festival of joy and sadness, of passion and melancholy, all being carried under the bright and wonderful light of the wonderful midnight moon.
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