Review Summary: Super-hyped Melbourne boys love their dad, Oasis and jamming; sometimes all at the same time.
It wasn’t going to be an easy job. You’ve taken the rock world head on, and gained respect from alternative and mainstream rock radio. The whole world knows your songs (well, one at least). How on earth are you going to follow up this album that everybody knows and loves? Melbourne-based quartet Jet must have been severely anxious about the whole thing- it’s taken them three years to follow it up. Nevertheless, the band have pulled through with an excellent sophomore album Shine On(apparently named in reference to a line in a John Lennon song “Instant Karma!”), dominant to its predecessor, 2003’s Get Born (named in reference to a line in a Bob Dylan song “Subterranean Homesick Blues”), in many ways.
Firstly, whereas the first record was low on more drawn back songs, this record offers plenty. And this is where Jet, forgive the pun, really take off. “King’s Horses” is a soft, melodic pop number with a 40s/50s sound, lyrically focusing on some on the hardships that the band has been through between their last record and this one; the title track is a superbly done tribute to the late, great John Cester- father to lead vocalist and guitarist Nic and drummer, acoustic guitarist, backing vocalist and occasional lead vocalist Chris. Nic, lyrically, seems to take on the character of his dad, bequeathing one final message to his beloved kids, giving one last promise- “We will meet again one day, and I will shine on for everyone”. Even those who dismiss Jet as nothing but a coattail-riding retro rock act can respect and admire Cester’s songwriting on this track- deeply personal, poetic, meaningful- everything that a ballad like one in its nature should be.
And then there’s “Elanor”. Well, what can be said about this track? It’s the best track this band have ever done, and their strongest since Get Born closer “Timothy”. This is ironic, given it’s simply the Cester brothers on acoustic guitars, harmonising perfectly (a little too much in the vein of the Gallaghers, but that doesn’t matter) with the subject matter of convincing a girl (namely, Elanor) to not run away. “There’s no reason to feel a love misgiven”, they tell her, before pleading “Stay with me, Elanor. Your life’s in your hands, I swear”. And they sing like they really mean it. This is a great album as is, but that track alone is what makes this album fantastic. The band could never have achieved something like that on their last album.
The production on this album has improved as well, with the band once again working with D. Sardy. The harmonies are improved and the instruments altogether sound much better mixed together. One would suppose that, given the time it has taken to release this record, the longer the band are in the studio, the more time they can perfect a sound and roll with it.
There’s no “Are You Gonna Be My Girl?” on this record; i.e no obvious hit single, but given this LP’s quality as an overall album, it doesn’t really matter. Hell, even the more generic rock tracks (single “Rip It Up”, “Holiday” and the Kasabian-like “That’s All Lies”) sound good and are a major improvement on tracks like Get Born’s “Get What You Need” and “Rollover DJ”.
Musically, all four are older and wiser on their respective instruments- Nic has really improved his vocals (notably on tracks like “Put Your Money Where Your Mouth Is” and “Bring It On Back”); guitarist Cameron Muncey has a lot of memorable riffs to offer throughout; bassist and pianist Mark Wilson blends his instruments into the album well, giving the tracks good backbone; and Chris Cester can only get better on the drums, even with such a limiting kit (his drum kit doesn’t even have a crash cymbal). Additional help from touring keyboardist/percussionist and long-time collaborator Stevie Hesketh and backing vocalists Maxine & Julia Waters and Alex Brown (on the title track and closer “All You Have To Do”) help in making the sound richer and more expansive.
Sure this record has faults (what the hell is up with the opener “L’Esprit D’escalier”? Or the string section at the end of “Bring It All Back”?) and a few barely passable tracks (“Skin And Bones” comes to mind) , but how many records are being made in this day and age that are perfect?
Basically, if you’re looking for an example of Aussie-band-made-good out to prove that they’ve more to offer than just a track on an iPod advert, then suss this album out. Oh, and leave your premonitions at the door.
