Pelican West 40＜限定盤＞

ネオアコ～ファンカラティーナの流れの先鞭を付けたとされる英国のバンド＝ヘアカット100が1982年にリリースしたデビュー・アルバム『Pelican West』の40周年を記念した4枚組アニヴァーサリー・エディション！このセットは、1982年2月に初めてリリースされ、英国で2位、米国で31位に達したデビュー・アルバム『Pelican West』のオリジナル・テープからの新しいマスタリングを収録したCD-1をはじめ、拡張バージョン、B面、スペシャル・リミックスのディスクや、1982年夏の終わりに『Pelican West』のフォローアップ・アルバム用に取り組んでいた『Blue Hat For A Blue Day』と題された未完のセカンド・アルバムのデモ、1982年春のハマースミス・オデオン公演を収録した計4枚のディスクを収納。54曲中24曲が未発表音源で、その中には後のニック・ヘイワードのソロ・ヒット曲「Whistle Down The Wind」「Blue Hat For A Blue Day」「Sunny Boy, Sunny Girl」の初期ヴァージョンも収録。また、メンバー全員にインタビューした当時のバンドヒストリーを掲載し、独占写真を含む44ページの豪華ブックレットも付属。

If Orange Juice famously wanted to sound like a combination of Chic and the Velvet Underground, then Haircut One Hundred must have wanted to sound like a combination of Orange Juice and Chic. On their debut and only album with band founder Nick Heyward, Pelican West, the group display all the skittery beats, deep-voiced crooning, and pop smarts of OJ, while adding more funk and saxophone than Edwyn Collins and co. probably ever imagined. That Haircut One Hundred scored a bigger hit than the band they so clearly idolized must have rubbed the lads in Orange Juice the worst way, but its clear from even one listen through Pelican West that Haircut 100 were more than just mere copycats. "Love Plus One" is that aforementioned mega hit and it deserved to be a timeless classic. Nick Heyward knew how to write pop hooks and the band fills it in with brilliant subtlety. There are siblings to that song scattered across the record. "Favourite Shirts (Boy Meets Girl)," "Marine Boy," and the ecstatic "Fantastic Day" all have wonderfully snappy melodies and huge choruses, "Milk Film," "Surprise Me Again," and "Snow Girl" have a refined pop sound that skews a little less gleeful and a little more melancholy. Sure, they are all prone to sax breakdowns and horn section crescendos that sound like Chicago happened by the studio, but the bulk of the album is first-rate 80s sophisti-pop. The few tracks that cast aside the traditional song structure and jump over to the Chic side of the equation are fun, though very much of their time. "Loves Got Me in Triangles" and "Calling Captain Autumn" are both quite British, with a sort of awkward kind of funk almost quaint in its unfunkiness. Heywards attempts at rapping on the latter achieve beat poet-meets-Captain Sensible levels of uncoolness that circle back around to coolness in the end somehow. The entire record is a little like that. From their corny outfits to their lighter-than-air sound, Haircut One Hundred were never going to be dangerous or sexy. The best they could hope for was escapist, but never mindless fun, and on Pelican West they bury their arrows dead center in the middle of that target. ~ Tim Sendra