As Jay Leno sums up his 1969 Lamborghini Espada, featured on this weekâs Jay Lenoâs Garage, he highlights a key differentiator between the preeminent Italian supercar manufacturers: Lamborghinis were built to be great touring cars while Ferraris were made to race. Ferruccio Lamborghini thought Ferraris were nice, though a bit crude. Enzo was a competitive driver who made street variants of his speedy sleds to fund his race addiction, omitting creature comforts. Lamborghini wanted comfort, style and power, and Leno thinks a perfect mix of those attributes were represented in the Espada, the Italian Rolls-Royce.
Back in the Eighties, Leno was torn between purchasing two cars: a mid-Sixties Ferrari 330 GTC or a 1969 Espada. The Lambo had more space, more horsepower and was two and a half grand cheaper, so Leno chose the bull over the stallion. âTwenty years later, the Ferraris are worth almost a million, while the Espadas arenât worth quite as much,â the host chuckles, masking what sounds like a slight tinge of regret. Still, the thing is worth at least three times what Leno paid for it, so he canât be that mad.
As for that unique body, Marcello Gandini is behind the lines. If that name sounds familiar itâs because Gandini worked for iconic auto design house Bertone, and was responsible, in part, for the stylings of the Countach, Miura, Bugatti EB110 and BMW E12. As for the finished result, Leno correctly notes youâll have a binary reaction to the vehicle. âEither you love it or you hate it.â But thatâs the point of good design; it fires you up. Of the 1,200 produced, Lenoâs ânever seen anyone take an Espada and make it look better.â
For this Series II Espada âSpanish for âswordââLeno kept it stock under the hood, sprucing up but not bettering that 3.9-liter V12, providing about 350 horses. âThis car isnât about speed, though it does go fast. Itâs about how you feel when driving it. Itâs such a communicative car, one that lightens up at speed and starts to feel more secure,â he says. Fast, indeed. When he gets the low-slung, cherry wedge hauling on the highway, he quips, âJust like that, youâre up to 120.â While we secretly hope Leno was reading from his speedo in the moment, flagrantly breaking a number of California laws, itâs more likely thatâs a spot of hyperbole for our benefit.
It sounds sublime, especially when Leno romps on it. He and his team of mechanics and restorers took their time going through the rebuild, partially because they had to. âItalian wiring in the Sixties was like bolognese spaghetti,â he says. âYouâve got wires going in all directions. One can be red at the beginning and green at the end and you donât know if thatâs from the factory or what. It was a nightmare to get it sorted.â In a historic ride, itâs among first things you want to address, given how quickly a stripped wire residing atop the frame can cause a short and car-consuming fire. The mechanical restoration happened ten years back and this time around Leno and his guys focused on refreshing the interior.
The saddle tan-coated cabin appears pristine, wrapped nicely around those plush seats, the enormous gauges and dials on the dash and the center console. As Leno thrusts the four-wheeled sword through Los Angeles traffic, itâs striking how low and small the car looks when modern cars serve as a backdrop. Itâs a fact not lost on Leno, who reminds us this was considered remarkably spacious upon its debut.
The video features some filler, including Lenoâs terrible Italian impressions and announcement that the crew had meatballs for lunch in honor of the ride, but thereâs also a heap of wonderful factoids and tidbits that youâll find interesting, even if youâre part of the camp that hates the carâs aesthetic. Enjoy.
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