Your rock & roll ship has come in. Or, more rightly, your Jet has landed. This quartet from Melbourne, Australia has quickly become one of the most talked about new bands on the planet, and anyone who has heard their music or seen them in concert already knows why. Their four-song Dirty Sweet EP heralded the arrival of a naturally gifted young band who place as much emphasis on melody and gritty soul as they do on blazing guitars, and now the promise of the EP is more than fulfilled on Get Born, their full-length debut album. Produced by Dave Sardy (Red Hot Chili Peppers, Marilyn Manson, among others), Get Born's thirteen songs celebrate the magic of tight jeans, tighter harmonies and loose morals, with a scrappy swagger and a thunderous roar. One listen makes it clear why Jet have won gushing praise from NME and the rest of the UK music press for their songwriting smarts, not to mention the chaotic power of their live shows.
Sometimes having good, original ideas is the worst thing you can do in rock music. To paraphrase Jim Dickinson on the Beastie Boys, rock and roll is theft, and it's not so much about whether or not one steals but why, how much and how well (i.e. from whom). Riff-heavy in all the right ways, this is a very well-produced retro-rock record with handclaps, catchy choruses, and plenty of attitude. They freely cop from AC/DC, the Stones, the Verve, Oasis, Humble Pie, Aerosmith, Black Crowes, and Mooney Suzuki, and they do it very well. The only problems with the album lie in the words, and in the softer material. Most of the lyrics are so banal ("Now you don't need money with a face like that, do ya") they were seemingly written by some newfangled songwriting program set to "1973." And half the album consists of ballads that are just pretty good: the Oasis-y "Look What You've Done," the Pink Floyd -esque "Timothy" and the Small Faces-ish "Move On.". But it's the mid-to-uptempo stompers that this group excels at. --Mike McGonigal