LOS JETS " 40 ANIVERSARIO "CD.
(Home
Made Records HMR037; Spain; 71 mins )
Zorongo
/Gonzalez* / Big Boy / Because They’re Young / The Stranger / Peace Pipe* /
Absolutely
superb! Los Jets have gone to a great deal of trouble and paid very careful
attention to detail in order to produce this first class release, which is a
fitting souvenir of their forty years in the business. For starters they’ve
used seven different vintage amps and at least eight different echo devices
(ancient and modern) and no fewer than twenty two assorted guitars! The current
line up of Santiago Gonzalez (rhythm), Eduardo Bartina (drums), Antonio Reyes
(bass), was completed by Michel Martinez (Lead) and Javier Honrrubia (Keyboards)
who both joined in late 2002. They are augmented here by six guest guitarists
(presumably friends and associates from the group’s forty year history) who
take the lead on ten tracks. Antonio plays lead on “How Deep Is Your Love” –
whilst drummer Eduardo performs that duty on “Theme From The Boys”. So
almost all of the tracks are cover versions, but at least quite a few are ones
that are seldom covered. Furthermore, they’re not just vapid hackneyed performances
that are just quickly knocked off either. The fact that (if you include the
group members) nine different lead guitarists are deployed adds a lot of tonal
variety and different stylings.
As
Alan Taylor notes in his sleeve comments “Zorongo” (new to many fans at Pipeline
2002 although it dates from 1961) “Is a classic ‘60s European guitar group instrumental,
a brilliant track that ranks in the Top 10 best ever of the genre. It remains
a stunning, driving, emotive performance that’s capable of stirring the blood
of hardened rock instrumental fans…” Alan’s comments are definitive and it’s
a pleasure to have a fine modern studio recording of this masterpiece on CD.
There are no fewer than fifteen Shads covers on offer. The playing is never
less than competent and the majority of the cuts are excellent. Los Jets add
their own little imaginative touches to the arrangements just to add a little
extra colour and interest. Santiago and Antonio perform their respective rhythm
and bass guitar duties in exemplary style throughout. It’s the classic story
– the undersung backing players providing a perfect backdrop enabling the various
lead players to cut loose as required.
“Gonzalez” is suitably fast and ‘twangtastic’ complete with lots of percussive
overdubs. “Big Boy” is given a sort of country ‘hoedown’ treatment with added
banjo and insistent tambourine – it actually works quite well. “The Stranger”
is powerful, almost heavy even, with overdriven lead and ‘dirty distortion’
and the track is urged on by the addition of a second rhythm guitar. “Peace
Pipe” sticks faithfully to the original and is enhanced by dual lead guitars.
Very pleasant. “Genie…” is in similar vein but this time with extra rhythm guitar
and discreet percussion overdubs. “Tales of A Raggy Tramline” also boasts two
rhythm guitars as well as some fine playing on bass and drums. “Fly Me To The
Moon” is a lovely, delightful, flowing performance that really swings. The lead
guitar is double-tracked in some passages. “Kon-Tiki” features ultra trebly
lead and its double-tracked nature doesn’t add to the overall lack of power.
A solid but mundane performance. There are some excellent drum’details’ from
Eduardo. “Theme From The Boys” sounds a little thin and the backing musicians
sound very distant in the mix with keyboards dominating too much. “The Miracle”
is different, being virtually all keyboards and glockenspiels covering the guitar
leads of the original. “The Wild Roses” works a treat with sprightly, vibrant
lead guitar and a good workout for two rhythm players. Tasty stuff! “The Windmills
of Your Mind” is a fine version in the style of Hank’s “Guitar Player” CD. “Foot
Tapper” is a splendid performance augmented by occasional double –tracked lead,
2nd. guitar and additional rhythm. “The Third Man” is a fine performance
and sticks faithfully to the Shadows 1981 original. Eduardo’s performance highlights
some deft and delicate drumming patterns. “TFYL” features strong lead playing
pitted against two rhythm guitars and keyboards. It bears more similarities
to the 1989 version than the 1964 original.
That
deals with the tracks with Hank/Shadows connections – so what about the ten
remaining items? “Because They’re Young” and “Rebel Rouser” don’t appeal to
me greatly. It’s purely a personal feeling – but they just don’t seem to match
the sheer raw power and tone of Duane’s mighty originals. “Rebel Rouser” is
‘countrified’ with vamping keyboards replacing the sax fills. Some wild guitar
towards the finale – maybe you’ll like it, but it wasn’t for me. “Wheels” is
a good solid reading in the Stringalongs style- but as that group featured four
or five guitars – would more overdubs have been appropriate? “Duck Swamp” is,
of course, “Saturday Night At The Duckpond” with rapid drumming, throbbing keyboards,
twanging lead and occasional ‘heavy’ second guitar. A pretty good workout. “How
Deep Is Your Love” would not have sounded out of place on one of those late
‘80’s Shadows Polydor albums. Fairly good, if a trifle long. “Ain’t No Sunshine”
is an outstanding track with the lead player emulating Carlos Santana to superb
effect. Very fluid soloing with solid backing. “Guitarra Enamorada” (aka “Lover’s
Guitar”) is sheer bliss. Beautiful playing, beautiful performance. ‘Nuff said.
Which leaves us with just two tracks and what fine tracks they are too. They’re
either originals or cover versions unknown to me. “Sun City” ( South African
playboys’ resort) features sea/waves FX and a huge drum/percussion sound. It’s
a massive guitar ballad number in the grand manner. Jangling synths complete
the picture as the track builds in intensity. This would’ve been a fine vehicle
for a certain Mr. HBM in recent years. “Midnight Eyes”? Wow – all of the comments
relating to “Sun City” apply and then some. Another superb guitar ballad that
gradually stokes up the atmosphere and intensity in magnificent style. Keyboards,
drums and bass lay a solid foundation with arpeggioed rhythm guitars before
the dark toned brooding lead begins its haunting, stalking passages. The main
theme is sonorous and enigmatic. The intense, hypnotic atmosphere builds and
builds as ever more overdubs are piled on. The volume gradually rises too before
giving way to a quiet keyboard interlude echoing the opening. Then the guitar
returns with the main theme gradually moving towards a towering finale. Phew!
What the Shads could have done with this number…
As
if all of this wasn’t enough – there’s also a CD - Rom featuring a biog of the
group in Spanish and English, a comprehensive discography and an excellent selection
of contemporary/archive photographs. Quite simply it’s a great package. “It’s
the best thing that they’ve ever done”, says Alan Taylor. As ever – he’s absolutely
right!! One final comment – it’s
obvious that the driving force behind Los Jets during the past twenty odd years
or so has been drummer Eduardo Bartrina. On this set, for example, he’s responsible
for many of the arrangements, the production and the recording of the CD. Listening
to the CD one realises what a truly great drummer he is. Eduardo is definitely
one of the finest Spanish drummers of his generation – a kind of Spanish Brian
Bennett if you will. As Dave Burke was often wont to say “Please purchase immediately!!”
Rob Bradford (Pipeline Magazine)