{"id":7865,"date":"2026-09-04T12:29:33","date_gmt":"2026-09-04T11:29:33","guid":{"rendered":"https:\/\/shindig-magazine.com\/?p=7865"},"modified":"2026-09-04T12:29:33","modified_gmt":"2026-09-04T11:29:33","slug":"shindig-issue-179-the-jetset","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=7865","title":{"rendered":"Shindig! Issue #179 \u2013 The Jetset"},"content":{"rendered":"

The arrival of THE JETSET on an unsuspecting early \u201980s music scene was a breath of fresh air. Tongue-in-cheek self-mythologising on their debut EP suggested they were already famous and had their own TV series. The mischievous marketing was backed up with \u201960s-inspired sunshine-pop to at least rival The Banana Splits<\/em>, if not some of the band\u2019s own heroes.<\/strong><\/p>\n

CARL TWEED talks to the remaining members about those early days in the old neighbourhood<\/strong><\/p>\n

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The Jetset\u2019s debut album There Goes The Neighbourhood…<\/em> built on the EP\u2019s statement of intent. Paul Bevoir’s songwriting betrayed a real love and appreciation for \u201960s sunshine-pop. Rather than slavish pastiches\/copies of The Monkees\u2019 and Beatles\u2019 sounds, there were simply odd nods to their inspirations \u2013 a guitar riff here, a keyboard motif there.<\/p>\n

There Goes the Neighbourhood <\/em>was the highpoint for Angus Nanan. He reasons, \u201cIt\u2019s the one I probably had the most influence over, with the keyboard parts I\u2019d come up with on the demos going down pretty much unaltered. So when I listen to that album, I\u2019ve got strong memories of where I was when I came up with, say, the keyboard solo on \u2018Wednesday Girl\u2019 and the chromatic progression in the verses over \u2018The Man Who Lives Upstairs\u2019.\u201d<\/p>\n