There Are Times Where She Must Sigh / AB'S - AB'3 (1985) Album Review

 

Overall Rating: 7/10

Favorite Track: Heavy Mental Rock / Borderline

The release of AB'S 2 marked a very crucial point for the history of AB'S in general. First of all, it would mark the departure of one of its most important founding members, guitarist and vocalist Makoto Matsushita, in order for him to focus on his personal projects as well as the new progressive rock band Paradigm Shift, marking the beginning of the end for the first iconic lineup of such a peculiar band on the Japanese pop scene of the 80's. Second of all, this particular departure from one of the band's members didn't mark the complete separation of the project, or unless not at that point. On their very essence, AB'S was more of a Fujimaru Yoshino driven project, or at least that is how they started, eventually branching out to become a full time band that was based on the collaboration between all the members in order to create something special. The chemistry had been very present and very promising from their great debut album, something that received an interestingly different approach with the release of the mellow and straight forward AB'S 2, but that still put the band on a promising light due to their fantastic live shows. Their career could have gone to different places, and it could have ended up being something much better with time, but Matsushita's departure seemed to mark an end to all of that, but that end would come a little bit further down the line.

Makoto himself had left the band, but the four remaining members were still part of AB'S, and they still seemed to want to push forward with the project. In late 1984 they entered recording sessions in order to try and build more material regardless of the loss of one of an important member, with Yoshino and Watanabe taking much more presence in the arrangements and compositions, while Ando stayed on lyrical duties for the most part. The loss of one guitarist made Yoshino put himself as the main guitar player of the group, working with multiple compositions that overlapped each other at first in order to retain the main essence of the band, but eventually backing up to seek convenience and try to adapt to the new conditions that the members had found themselves in. After production and mastering, AB'S 3 would be released in 1985, with the group trying to prove that they could push forward regardless of the complications with a fully fleshed out studio album. 

Well, if there is something to give to this record is the fact that it is definitely an improvement over AB'S 2, but at the same time it is a simplification of the formula that made the band special. AB'S 3 is a good album, but it is a slightly different, and at the same time noticeable, approach to songwriting and composition. The technicality of the jazz fusion aspects, with its respective tension building, its unconventional interaction between instruments, and the way everything was handled with a tight and polished production, is replaced for a more conventional approach to pop, focusing more on straight forward compositions and structures that end up being catchy more than intriguing. Of course, the loss of an important member justifies this change in many ways, being a band that just adapted to the conditions that they found themselves in due to a very sudden and unexpected change. This is not inherently bad, since AB'S 3 is definitely a very well crafted release, with very enjoyable pop songs that do have things to offer in the way they are built, but at the same time there is just not a lot to talk about.

There are great songs (like Heavy Mental Rock, Borderline, or the memorable opener By The End Of Century) that end up showing a new promising side of the group with more conventional pop tunes that end up being pulled of in a great way, but there are still a lot of things missing overall. There is just nothing that separates this from the standard and that makes this AB'S outside of the vocal performances. And even then, songs like Ethnic Cosmic, Cry Baby Blues, and Sequence Life end up breaking the pace a bit due to sudden tone changes that don't work all that well due to the lack of build up or a proper setup. The atmosphere could be called consistent, but at the same time it is something that doesn't have a lot of focus, and the same thing could be said about songwriting, arrangements, as well as even the production and mixing found here. It ends up being somewhat odd to find an album that has a lot going on behind it in what makes things right or wrong, but that also feels underwhelming and simple to the point of not being able to elaborate further about why things are the way they are.

It can be inferred that the band thought on a similar way as well, with the band not lasting for very long after this point, eventually breaking up for the first time, but not due to personal or creative differences (the members remained as friends, even collaborating between each other on multiple points across their career), more due to the fact that the initial spark seemed to have faded at that point. It is curious really, AB'S started as a very promising, talented, and very dynamic group that had a lot to offer due to standing out with their personality and musical abilities that differentiated them from the pop standard in 80's Japanese music just to then simplifying themselves even further in order to try to keep pushing forward. As it has been said many times before "it is better calling things to an end before starting delivering mediocrity", and it seems that the band just called it quits before whatever outcome the future could have had for them. 

Personally, 1985 marks the end of AB'S, the end of that group that had a lot to offer from their very first fantastic album and that still managed to provide enjoyable experiences with their following studio efforts. Yoshino would briefly bring back the project in 1988, with a different lineup of musicians and an even more conventional pop approach to songwriting and structure on AB'S 4, but it just wasn't the same, and the quality of that album was definitely nothing compared to their previous work. After that, the original lineup would reunite in 2004 and would keep on releasing music, disbanding and reuniting time and time again over the years, bringing back old and new members, and even getting to the point of Yoshina, Matsushita, and Okamoto, with the help of other new musicians, releasing a new album in 2020, with re-recordings of songs from their first studio effort. The band has produced four more albums after their first breakup (five if we count their 2004 reunion EP), but none of them come close to what they had to their last two albums before 1985, let alone to their wonderful debut. It is a shame really, but things are the way they are. Yoshino and the rest of members seemed to be most proud of that classic period, being that material the one that makes up for most of their usual live setlists nowadays, and for very good reasons. It is such a shame that the band didn't really took things to the next step, but still, their fantastic live shows show their fantastic chemistry even after all these years, regardless if that aspect hasn't been able to be put on studio form yet. Maybe AB'S will redeem themselves in their next project, which is highly unlikely, but one can still dream. Thankfully we have their first three albums as a very pleasant memory of what was a very special band for the deep and convoluted world that is City Pop.

And even if it doesn't stand out that much, AB'3 is still part of that sweet memory, providing simple and captivating melodies that just distract from everything and take one to a place of joy and emotion. A nice album, somewhat underwhelming for a final note to their first era, but still something that I would listen to without complaining one bit.

Midnight Blue / AB'S - AB'S 2 (1984) Album Review

 

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.

You'll Never Fall In Love Again / AB'S - AB'S (1983) Album Review

 

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.