The Southern Hemisphere seems tobe delivering a steady stream of guitar bands playingbubblegum rock, with never a minor chord to be heard.Most of the albums follow a similar format of a fewdistorted power chord rock songs influenced by The Rolling Stones, accompanied by a handful ofballads, with a piano thrown in for good measure. It’sa music scene, and in the case of Australian outfit Jet,it’s a Ford Mustang in a sea of Mondeos.
With any band coming out ofAustralia there are going to be immediate comparisonswith The Vines. To be fair, there is asimilarity, but then I would be more surprised ifthere was not. Get Born is not the most complicatedalbum musically; in fact, any guitar player with a hintof talent could learn to play this album cover tocover in a matter of hours. This lukewarm fact doesnot make this album bad – on the contrary, it’s damngood.
Its simplicity is its biggestasset. The songs are, on the whole, short. There is notime for unwanted choruses and solos. The catchyguitars are reminiscent of many of the greats. Onopening track Last Dance, the riff is straight fromAC/DC‘s Highway To Hell.
The recent single, Are You GonnaBe My Girl has hints of Iggy Pop, The SexPistols and The Rolling Stones. Surprisinglythough, Radio Song and Come Around Again wouldn’tsound out of place on a Stereophonics album.One highlight is the subtle country twang that isadded to Move On, which makes an otherwise ordinaryballad a lot more than the sum of its parts.
Rollover DJ has a more funkybite to it, and perhaps the best lyric on the album,in reference to any DJ: “Well I know that you thinkyou’re a star/A pill-popping jukebox is all that youare.”
Perhaps the best track on thealbum, Cold Hard Bitch has all the edginess, vitalityand presence that a song of this nature should have.It slowly builds to the point where the singer screamsand then enters a riff that will go down a storm inany venue it is played live this winter.
The T-Rex laced Lazy Gun comesacross as something of an experiment in relation tothe other songs. This is a nice addition, especiallyas it appears late on in the album, by which time youfeel the band have just about exhausted their backcatalogue. This is given further evidence by thepresence of Timothy, a dire dirge that shouldn’t be onthe album. Thankfully this is really the only weak spot in what isotherwise a very competent, catchy and youthfulalbum.