Still going strong with the 57th album — that's right, 57th! — of his illustrious career, British blues maestro John Mayall turns 76 this month, on Nov. 29. His latest record, Tough, on Eagle Rock, continues to tread the same well-worn musical path he's been on for years and years, but it's one that's always worth taking a long walk on again and again.






What people often forget about Mayall is what a late start he got — at least professionally — in music. He'd been to art college and spent three years in Korea with the British Army before getting into graphic design as a career. It wasn't until age 30 that he heeded the call as a blues singer and player. Prior to that, he was dabbling in it part-time, spearheading The Powerhouse Four between 1956-1962 and then The Blue Syndicate. Meeting Alexis Korner set the change in motion that would lead him to establish The Bluesbreakers, in essence a blues academy that graduated such greats as Eric Clapton, Peter Green and Mick Taylor, among others.

So what was it exactly that took him so long?

"The kind of music I was playing was blues," says Mayall. "There wasn't any kind of indication that would become something viable, you know, as a career. I didn't know anything about anybody else who was playing the same kind of music, but after the jazz thing was winding down, Alexis Korner and Cyril Davies got together and kicked off the blues movement, and within weeks it was just the new thing and drawing people into the clubs like that. And it kind of revolutionized the club business."

Some might wonder if Mayall felt some trepidation about making the switch at 30, especially in the late '60s, when the young were told not to trust anybody above that age. Mayall didn't think it was strange at all.

"No, I think I only saw it as an advantage really, because, you know, I knew more about the blues and jazz than somebody who was 14 or 15 years old," says Mayall,  who taught himself to play music around the age of 13, playing a neighbor's piano and whatever guitars his dad, a guitarist, had lying around. "So I had a 10-year start on people who were around me in the music scene."

As Tough bears out, Mayall is still a step ahead of everybody else in the blues-rock game. More of our interview with Mayall will be included in the Dec. 20 issue of Goldmine.

To get caught up on all news related to the multi-instrumentalist, whose harmonica playing is superb on Tough, visit www.johnmayall.com.

Not many artists can say they were "discovered" twice. Colin Hay is the exception, and he has an American TV show to thank for it.






Hay, of course, gained fame with the eccentric Australian pop band Men At Work, who were doing a residency at a place called the Cricketer's Arms Hotel before the strong following they built helped propel them to the top of the charts Down Under.

For a two-year stretch in the early '80s, few bands could boast the chart success of Men At Work, fronted by Hay, who served as the group's main songwriter. The comic paranoia of "Who Can It Be Now?" staked out for the group a seat at the table reserved for the biggest hitmakers of that era, reaching #1 in the U.S. in October of 1982. Business As Usual, the band's debut album, followed suit, going to #1 and staying there for 12 weeks. A second single, "Down Under," also went to #1, and by January 1983, Men At Work scored a rare double play, holding down the top album and single spot on both the U.S. and U.K. charts at the same time.

Men At Work would soon unravel, breaking up in 1986. In an interview conducted today with Hay, he said that he knew early on that Men At Work " ... wasn't meant to go the distance." Still, the band had an incredible run.

But in the aftermath, Hay had trouble regaining his footing as a solo artist, and in 1991, he'd been dropped by a major record label. And that, it seemed, was that.

Then along came Zach Braff. Just another struggling actor when he first encountered Hay and his music, Braff would get the break of a lifetime, getting a starring role on a new TV medical comedy called "Scrubs." Braff didn't forget Hay.

"He'd come to California, and we had a mutual friend, so he was brought along and he saw me play one night," relates Hay. "You know, I had my CDs [there], and soon after that, he got the gig in 'Scrubs' and said, 'I might wanna try and get your songs played on the television show that I've just got a job in and become the star of.'"

True to his promise, Braff did just that ... with a little help.

"So that's what he did and the guy, Bill Lawrence, who created 'Scrubs,' he was largely responsible for that turnaround, if you like, in my career," says Hay. "He came down to see me play one night and said, 'Why aren't these songs on the radio?' And I said, 'Well, that's a good question.' He said, 'I'm going to play them on the television show and see if it makes a difference, because I guess I really think these songs should be heard.' I said, 'Well, I'm not going to argue with you there.' So that's what he did, and it's a very interesting thing, because in the course of a few short years he managed to actually change people's perception about who I was and what I'm doing and in many ways garnered for me a new and younger audience that follow what I'm doing. So it's been fantastic for me."

A number of Hay's songs have appeared in the show at memorable moments, and Hay himself has been a guest star. Earlier this year, Hay released a solo album titled American Sunshine on the Nashville imprint Compass Records. A collection of wry, warm pop songs, many sketched out acoustically, highlighted by the wonderful opening track "Oh California," American Sunshine finds Hay writing about broken dreams, life-changing moments and the many trials and tribulations of finding love.

Two locales play a prominent role in the feel of American Sunshine: One is Nashville, where Hay recorded much of the record, and his adopted home of California, a place he hoped to end up as a youth growing up in Scotland. Just like many who've left other places for sunshine and stardom in the Golden State, Hay's family was looking to realize its dream of a better life when they moved to Australia in 1967.

"Well, I think that's what we all do, you know, whether it's California or just that movement of people that decide to go somewhere and start again, you know," says Hay. "I mean, my father did that when we went to Australia, which was like an approximation of coming to California. Because when I was still in Scotland, I remember listening and hearing 'Good Vibrations' by The Beach Boys, and I remember thinking, 'Oh, I want to go there. Wherever that sound is coming from, that's where I'd like to go,' without really knowing where it was. Then we ended up going to Australia, which, in many ways, is a similar experience from making that trek west to realize some kind of dream, or not."

It took awhile, but Hay ended up there with his wife Cecelia, a salsa singer of some renown who co-wrote a track American Sunshine with Hay called "The End Of Wilhemina."

Hay understands why so many have tried to make their way in California.

"I think it's the lure of happiness, whether its illusory or whether it's actually realized or not," he says. "The illusion is the streets are paved with gold, or something ... whether it is literally gold, which is one of the reasons why people came here (laughs) back then."

In a sense, Hay has found his own gold with this second chance at stardom. And you can, too, with a listen to American Sunshine. Check out www.compassrecords.com for more on Hay. And watch the Dec. 20 edition of Goldmine for a look back at Men At Work's heyday.

For all those who missed the Record Grading webinar Goldmine hosted late this summer, here's a second chance to get in on the talk.

You can buy the download "Learn How To Condition Grade Your Records" at http://shop.collect.com/product/goldmine-seminar-condition-grading/

Hosted by Goldmine columnist Stephen Braitman, the man behind Picture Sleeve Archive and Beyond Vinyl, the online seminar details the history of record grading, from the early days when deals were made one-on-one to the big shift in the 1970s when albums were sold in big volume and low price, and on to the modern era and the radical changes of the Internet. In addition, Braitman walks you through the process of grading your records and explains why it's so important to know everything you can about it, especially when it comes to selling your records. In addition you'll learn:

• Why grading standards are important
• Easy-to-follow definitions for Mint, Near Mint, Very Good Plus=Excellent, Very Good and everything else
• Understanding visual grade versus playing grade
• What streaks, scratches, spindle marks and finger prints do to condition
• Steps for setting up a point system for counting defects – to aid in your grading
• How to spot a first pressing and how to uncover the truth about album covers

Watch this space for an announcement about future Goldmine webinars related to record collecting.

History is a fickle thing. Over time, stories can change, perspectives get skewed and hindsight occasionally leads us to re-examine that which we previously dismissed.

Such is the case with David Bowie's "Space Oddity," the classic art-rock ode to space travel and shutting oneself off from humanity. Not all critics were in love with it when it came out. Count Ryan Holladay of the Washington D.C. band Bluebrain, whose EP Cult Following comes out Nov. 10 on Lupo Records, among those who find it odd that anyone would ever question the song's artistry.






"Apparently some critics were dismissive of this song when it was released, calling it a novelty," says Holladay. "Bowie was accused of writing it to capitalize on the space race, the moon landing. With a few decade's perspective, though, this seems comically irrelevant, even impressive: It's hard to imagine any artist today penning a 'novelty' of this caliber."

What do you think? Is Bowie's "Space Oddity" a treasure or overrated?

Be sure to read the Dec. 4 edition of Goldmine to read a review the new two-disc 40th Anniversary Special Edition release of Space Oddity the album. In related news, an acetate of David Bowie's Ziggy Stardust And The Spiders From Mars recently sold for $4,001.

More recent sales will be listed in the Dec. 4 Goldmine in the return of Market Watch.

In the meantime, go to www.myspace.com/bluebrainbluebrain to listen to "Ten By Ten," "Caught Up In The Laughter" and "Up And Down," three stunningly beautiful recordings by Bluebrain.

So we here at Goldmine have a new feature we've just launched in the print publication, and it's generated a lot of response in the last few days. We've been asking artists to submit the "10 Albums That Changed Your Life." And it all started with Devil Makes Three's Pete Bernhard in the Nov. 20, 2009 issue with David Bowie on the cover.

Today, from Atlanta's young indie-rock gunslingers Winston Audio, we have a tag-team effort from Daniel Dewitt and Dan Gleason.






 Splitting the load, they each gave us their five. And here they are:

Daniel Dewitt

Mellon Collie and the Infinite Sadness by Smashing Pumpkins: One of the best double albums ever made. I love that Billy (Corgan) puts "Thirty Three" and "XYU" on the same album and it works. Hard rock bands don't have to be loud all the time for them to be heavy. This album is a prime examples of that.

Bitches Brew by Miles Davis: This record is a revelation. The melodies take a while to sink in and stick with you, but you don't mind because the rhythms are so infectious. And once those melodies do finally get in your brain they're surprisingly singable.

The Unauthorized Biography of Reinhold Messner by Ben Folds Five: One of the first albums I looked forward to hearing months before its release. My 14-year-old self didn't quite get it at first, but 10 years later I still listen to it consistently and find new things to enjoy. I think Ben Folds is seriously under-appreciated as a songwriter.

Shot Of Love by Bob Dylan: Music about Jesus doesn't have to be trite and unintelligent?! Shot Of Love is my favorite Dylan album. It's honest, moving, aggressive, and smart. I feel like I'm at church when I listen to it — and that's a good thing.

Bossanova by The Pixies: The Pixies taught me that you can write a quirky pop song that doesn't fit neatly into any particular category. Surf-rock with lyrics about alien abduction and space??? Hearing this album gave me confidence to embrace my inner nerd.

Dan Gleason

Nirvana — In Utero
First record I ever bought. As a young kid it was easy to connect with
the primal aggression of it. Still one of my favorite sounding
records. Its beautiful how unhinged everything sounds

Pearl Jam — Yield
Second record I ever bought. The intimacy of Pearl Jam's records is
what I immediately latched onto. This and No Code are my two favorite
records by my favorite band. This one goes for both Daniel Dewitt and
myself

Radiohead — OK Computer
The first time I realized that anger can be expressed in a song
without screaming. For my money this is the best record of the last 20
or 30 years. So many different emotions, sounds, styles, etc on this
album and they are done to perfection

Sigur Ros — ()
I had never heard anything like it when I discovered them and still
haven't really. Everyone tries to copy this band, but it's pointless
'cause it's nearly impossible to capture a moment like these guys. See
them live if you can; its like nothing else

Refused — The Shape of Punk to Come
I'm envious of the kind of feeling they were able to capture; they make
it nearly impossible for you to sit still while listening to this
record. The energy of this album is missing from heavy music
today... or even just music in general.

So, what do you think of the Winston Audio list? Do you have one of your own you'd like to share with Goldmine? Feel free to leave one in the commentary section of this blog, and hopefully, this will get some conversation started. And if you're interested in checking out Winston Audio, visit www.winstonaudio.com or go to www.myspace.com/winstonaudio.

For lo these many years, the Gentle Giant catalog has been left to gather dust, an analog creature lost and abandoned in a digital world. That's about to change.

On Nov. 3, the band will be digitally releasing seven of the band's most adventurous works, including In a Glass House, The Power & The Glory, Freehand, Interview, Playing The Fool — The Official Live, The Missing Piece and Giant For a Day. It promises to be a glorious day for a group of virtuosos that always pushed itself to go well beyond established musical boundaries.






"As far as we're concerned, it's nice to first of all, to know that we have the music, which, came out on Capitol many years ago, revert back to the group," says Derek Shulman (lead vocals/alto sax/bass), one of three brothers who founded Gentle Giant in 1970. "And now we're able to reap the rewards shall we say (laughs). I shouldn't say it, but I'm saying it. And this music had never been up digitally ... ever. Even though it came out as vinyl years ago, and for a short period of time on CD, now we're putting out the music on the digital platform. So it's fun to do that."

That rights for these records boomeranged back to Gentle Giant is a minor miracle, and they want to do right by them.

"Yeah, I think we were lucky in that respect because, generally, rights for albums and music is in perpetuity for most artists," says Derek, "but we have, for some reason — I don't know how — we found out and discovered the rights reverted back after 25 years when we signed to Capitol in the U.S., and so we were able to do what the group wanted 30 years ago now."

The records will be released in digital form through Gentle Giant's own Alucard label via EMI Music's Label Services unit.

Melding jazz, pop, classical, rock, blues, medieval music and many other genres, Gentle Giant's heyday was the early- to mid-1970s, though they stuck around through the punk explosion in their native England. Though Gentle Giant never became as popular as Genesis or Yes, they did leave their mark, influencing a number of jam bands, arena rockers and even chamber-pop ensembles.

The new digital releases will also include previously unheard bonus tracks and artwork. The band has chosen favorite live versions of songs from each album and some obscure radio sessions. Two of the bonus tracks “Intro 74” and “Intro 76” have been partially re-recorded, embellished and remixed by Kerry Minnear of the group.

And things don't end here. More Gentle Giant music will be available in a variety of formats in 2010, starting with the January release of the seven CDs Re-Mastered from the original 1⁄4 inch tapes through Hi-Resolution (24bit 96k) transfer. Early in 2010, the band will also uncork box sets and limited-edition vinyl LPs.

Look for more on Gentle Giant in our Dec. 4 edition of Goldmine.

GENTLE GIANT DIGITAL RELEASES

TRACK LISTINGS

IN A GLASS HOUSE — 1973
1.The Runaway              
2. An Inmates Lullaby         
3. Way Of Life         
4. Experience         
5. A Reunion              
6. In A Glass House

Digital Bonus Tracks:
The Runaway/Experience Live 1975
Way Of Life - Radio Session 1973

THE POWER AND THE GLORY — 1974
1. Proclamation              
2. So Sincere              
3. Aspirations              
4. Playing the Game              
5. Cogs in Cogs              
6. No God's A Man              
7. Valedictory
8. (The Power And The Glory)

Digital Bonus Tracks:
Intro '74
Proclamation - Live 1975
Aspirations - Radio Session 1974
Cogs In Cogs - Live 1975

FREE HAND — 1975
1. Just The Same              
2. On Reflection              
3. Free Hand              
4. Time To Kill              
5. His Last Voyage              
6. Talybont              
7. Mobile

Digital Bonus Tracks:
Just The Same — Live 1975
On Reflection — Radio Session 1975
Free Hand — Live 1975

INTERVIEW - 1976
1. Interview              
2. Give it Back              
3. Design              
4. Another Show              
5. Empty City              
6. Timing              
7. I Lost My Head

Digital Bonus Tracks:
Intro '76
Interview - Live 1976
Give It Back - Live 1976

PLAYING THE FOOL — THE OFFICIAL LIVE — 1977
1. Just the Same              
2. Proclamation              
3. On Reflection              
4. Excerpts from Octopus         
5. Funny Ways              
6. The Runaway              
7. Experience              
8. So Sincere              
9. Free Hand              
10. Sweet Georgia Brown (Breakdown in Brussels)    
11. Peel the Paint / I Lost My Head

Digital Bonus Tracks:
Just The Same — Radio Session 1975
Excerpts From Octopus — Radio Session 1973

THE MISSING PIECE — 1977
1. Two Weeks In Spain    
2. I'm Turning Around         
3. Betcha Thought We Couldn't Do It         
4. Who Do You Think You Are?         
5. Mountain Time              
6. As Old As You're Young         
7. Memories of Old Days         
8. Winning              
9. For Nobody

Digital Bonus Tracks:
Two Weeks In Spain - Live 1978
I'm Turning Around - Live 1978
For Nobody - Live 1978

GIANT FOR A DAY — 1978
1. Words from the Wise         
2. Thank You              
3. Giant For A Day              
4. Spooky Boogie              
5. Take Me              
6. Little Brown Bag              
7. Friends              
8. No Stranger              
9. It's Only Goodbye
10. Rock Climber

Digital Bonus Track:
Giant For A Day - Live 1980

A perfect space-rock storm of drone-fueled, mind-bending psychedelia, guitars drenched in swirling distortion and bottom-scraping bass that quakes so heavily it feels as if the earth beneath your feet will give way at any second, White Hills is the rightful heir to Hawkwind's massive legacy.






These Brooklyn-based astronauts, the black sheep of Major Tom's family, aren't afraid to tunnel into the deepest reaches of your mind with one of the mightiest sonic armadas of this, or any, age, and getting caught up in the drug-induced nightmares of their 2007 album Heads On Fire, with the overdriven, pounding fury of "Radiate," "Visions of the Past, Present and Future" and "Oceans Of Sound," can be thrilling and absolutely terrifying at the same time.

Hawkwind could also generate that kind of madness back in its heyday, and Dave W. (no last name given), one of those responsible for White Hills' careening journey into the unknown, is, indeed, a fan of the band that introduced the world to the genius of Lemmy Kilmister.

In the Dec. 4 edition of Goldmine, being worked on as we speak, Dave W. will give us his five favorite Hawkwind records. Here's what Dave had to say about Space Ritual, Hawkwind's 1973 live assault on the senses:

Space Ritual: "This was the first Hawkwind album I ever heard … needless to say it was a life-changing experience. Is there a better live album than this? I think not. Catching the band at their peak in 1972, this album is psychedelic as f**k — not only that it so punk. Even sober this album makes you feel like you are tripping or like you want to kick some ass."

Want to catch the rest? Check out the Dec. 4 print edition of Goldmine, which should hit the newsstands in early November.

Visit www.whitehillsmusic.com to find out more about White Hills, or go to www.thrilljockey.com to get the lowdown on this band and many other fine musical anarchists.

What happens to us in life is no accident. At least that's how a Buddhist sees it. This is the basic tenet of Karma, where nothing happens to a person that he or she doesn't deserve.






So how does that relate to Winger's new album? Did one of the most glam of all glam-metal bands of the 1980s get, in essence, what they deserved, which was a pair of platinum-selling records in Winger and In The Heart Of The Young and a smattering of charting singles, among them "Headed For A Heartbreak" and "Seventeen"?

Winger chose to name its latest release Karma, and the title came about in one of those moment of serendipity that seem to happen all the time in rock.

"Winger has had a long interesting history in the scheme of it all," says the band's namesake Kip Winger. "We were sitting around one day discussing it, and I said something like, 'Yeah, we've had interesting Karma.' Someone said, 'Great name for the record.'"

And just like Karma, Winger's music can be heavy, as evidenced by new tracks like "Stone Cold Killer." When asked if this record might be heavier than what's come before it, Kip replied, "No, Pull and IV are very heavy, and the 1st and 2nd [albums] would have been heavier with a different person mixing them. I think this new record truly is the sound of the band; if you come see us live, this is what it will sound like."

Check out www.wingertheband.com for more on the band.



 

Papa Roach and Jet ... so, it's not Tiny Tim and Metallica. Still, the two young hard-rock gunslingers don't quite seem like a match made in touring heaven. 







Where Jet is more of a garage-rocking combo with a Rolling Stones-like swagger, Papa Roach approaches the more metallic end of the heavy-rock spectrum, though they're a bit more diverse than your Slipknot or your Nickelback. That's not to say there can't be a diplomatic solution between fans of both bands. In fact, Papa Roach guitarist Jerry Horton, in a recent press conference, expressed confidence in the co-headlining bill, which blasted off Sunday in Amarillo, Texas.

"Well, honestly, I don't what to expect in terms of their fans, but we have been on a wide range of tours in the last year and a half, and it's something that I think ... well, it's going to be a little different because we're co-headlining," says Horton, whose band marked its 10-year anniversary with last spring's Metamorphosis release. "And I'm actually looking forward to it. I think that in some people's minds maybe it doesn't seem like it would work, but we've been on tours that it doesn't seem like it would work, but it actually ends up that we get a pretty good response. And you know, I've been on our community on Paparoach.com, and there's a lot of people really looking forward to it, and are excited that we're going to be with Jet.

Although the body of Metamorphosis is still somewhat warm, inevitably the question came up about what Papa Roach has in store for its next album.

Horton replied, "Well, the album came out in March, so we're not really ready to go and make another one, but we're always working on ideas. And we haven't necessarily focused on writing songs, but just talked over ideas, recorded and we mess around with stuff in the dressing room here and there."

It appears as though the groundwork has been laid, however, and that should get Papa Roach fans excited.

For the Jet/Papa Roach tour, tickets can be purchased through the bands’ Web sites at www.paparoach.com and JETtheband.com.


Papa Roach/JET Tour Dates (Additional dates to be announced)
 
OCTOBER
25   Amarillo, TX                              Aztec Music Hall
26   Denver, CO                               Ogden Theatre
30   Indianapolis, IN                         Egyptian Room at the Murat Centre
 
NOVEMBER
1    Detroit, MI                                 The Fillmore
4    Des Moines, IA                         Val Air Ballroom
5    St. Paul, MN                             Roy Wilkins Auditorium
9    Baltimore, MD                           Rams Head Live!
11   Philadelphia, PA                        The Electric Factory
12   New York, NY                            Nokia Theatre
14   Jacksonville, FL                          Metropolitan Park
23   Los Angeles, CA                       Nokia LA

Ah, necessary evils — the music business is rife with them. Jet knows this all too well.

Promotion for the Aussie garage-rockers' latest LP Shaka Rock has been intense, and "She's A Genius," the initial single, has been everywhere.






There it was in a steamy "Body by Victoria" ad, cavorting with super models Alessandra Ambrosio, Emanuela de Paula, Lindsay Ellington and Marisa Miller. Hope you didn't blink. You might have missed it pumping out of the speakers at the 2009 MTV Video Music Awards as Megan Fox strutted to the podium. And there more appearances, it cropping up on the CW show "One Tree Hill" and CBS' "NCIS." Down the line, look for the track "One Hipster, One Bullit," a bonus track only available on the vinyl version of the record, on CW's "90210" and "Start The Show" on ABC's "Brothers And Sisters."

As for the "Body by Victoria" ad, Jet guitarist and lead singer Nic Cester admits, "I've never seen it, man. I've honestly never, ever seen it."

No strangers to the world of marketing, Jet's wildly successful 2003 single "Are You Gonna Be My Girl" wound up in an Apple iPod ad. The exposure was viral, and going on six years after its release, that song still can be heard anywhere you go. Nic, whose brother Chris is Jet's drummer, has learned to accept the link between songs and advertising. And he has an interesting take on how "Are You Gonna Be My Girl" exploded thanks to it, and how, in the end, there's really not much of a difference between getting a song played on the radio or one played in an ad.

"I guess external forces are always hassling me to say, "Yes," to everything, first of all," says Nic. "There's too much planning that goes on by those external forces. They just like to hear you say, "Yes," a lot, and then, I guess it's up to us to tend to that a bit, you know. I remember, originally, it was a really dirty, dark place to go to, using a song in ad campaigns. And I guess us, as a bunch of Australians who were over here for the first time and weren't getting any support from radio stations, we were a bit more open-minded than other bands, I guess. And during this whole time, the whole industry's been changing so quickly you know. The whole radio format ... I mean, it's dying. And essentially, radio is linked with advertisement anyway. When we all debated the issue at length — obviously, we did beforehand — we didn't really see too big a difference, you know. You could have your song on the radio and be aligned with a bunch of ads that you've not given your permission to use. So, yeah, I guess in terms of our career, and what it's allowed us to do, it's probably the best decision we ever made."

And they continue to make astute business moves with regard to Shaka Rock. "Black Hearts (On Fire)," the adreneline-fueled second single, provides the sonic backdrop to the newest spot for Bud Light's new Golden Wheat beer. In fact, Anheuser-Busch and NBC ran the ad in conjunction with programming for "Saturday Night Live."

One new trend in this area that Nic isn't so thrilled about is the social-media craze. Though he acknowledges its usefulness, in a press conference on Wednesday to promote a new tour co-headlining tour package featuring Jet and Papa Roach, Nic couldn't help but reveal his true feelings about the Internet when detailing the band's new management company's insistence that they increase their web presence.

"It gives me the sh*ts," says Nic. "Everyone's six feet tall on the Internet, and I'd rather look someone in the eye and if you've got something to say, say it to my f**king face, you know what I mean? Everyone's a hero on the Internet. I think it's a f**king place for weasels and scoundrels, you know."

Still, the management company won out, and you can read more about Jet at jettheband.ning.com