Artist Profile
The History:
Just as Gene Loves Jezebel had begun recording for its new album in
San Francisco in early October 1989, a massive earthquake exploded and
rumbled. Given what the band had recently experienced, it was a symbolic
moment for the group.
"Ironically, everything seemed to open up and get better after that," says singer/songwriter Jay Aston. "It marked the end of a struggle for us." The beginning had occurred earlier in the year when Michael Aston, Jay's twin brother and co-lead vocalist, exited from the band in an amicable, though traumatic, separation. The end now finds Gene Loves Jezebel with a new album, Kiss of Life, (the band's fifth overall and third on Geffen Records), and a new sense of purpose.
"When he left, the band could have dissipated," Jay explains, "but it
had the opposite effect. It woke us up. We had always said that Gene Loves
Jezebel was not the twins, but a band and suddenly we bacame one. It was
a catalyst, the best thing that could have ever happened. We were hungry
again."
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From the album's cover art (the symbolism of the sun replacing the band's trademark pouting lips) to the length of the songs (four of the nine full tracks are five minutes or longer) to a more rock'n'roll, straight from the hip approach to the music, this is a decidedly different, reawakened Gene Loves Jezebel. While its unmistakable alternative edge |
"We're venturing into new ground. There's no fat or padding. Everything in the music is there naturally. And there's just one focus, not two. Being brothers can be positive at times, but brothers can also cancel each other out at other times. Now there's nothing to interrupt the band's communion with our audience.
Jay admits that "it was weird to be going on without Mike. It was like starting up fresh. But there was a feeling of rising up to meet the challenge and moving forward, of pulling together to write as a group."
Kiss of Life was conceived in London in the spring and summer of 1989, initial recording taking place in San Francisco with producer Paul Fox (who also helmed XTC's critically-acclaimed 1989 Geffen album Oranges & Lemons). It was completed in London with producer Tim Palmer in early 1990 - nearly 10 years since the Astons left their native Porthcawl in South Wales with the intention of starting a rock band in London.
Back in 1981, initially taking jobs at the trendy Institute of Contemporary Art, the flamboyant pair drew attention and imitators for their outrageous fashion statements. "We took it more as a Bohemian thing" says Jay. "We were just two kids from Wales out for a bit of fun."
The next year the intentionally obscurely-titled group formed as a loose, experimental affair. But word of the band's exciting, though infrequent, performances and its charismatic and energetic frontmen, spread quickly. Fans became fanatics. Gene Loves Jezebel soon signed to the independent Beggars Banquet and the single "Shaving My Neck" was unleashed.
The band's first album, Promise (1983), featured the singles "Influenza", "Bruises", and "Screaming for Emmalene" and strode high on independent English charts. Gene Loves Jezebel then solidified its lineup when bassist Peter Rizzo joined in 1984, as did drummer Chris Bell, a friend of Jay's who had played with the Thompson Twins. That year, album number two, Immigrant, went to #1 on the British independent charts and received rave reviews, becoming the band's first U.S. release (on the Relativity label). Buoyed by the singles "Cow" and "Shame", a short British tour followed.
In the midst of its premiere American tour the following fall, guitarist James Stevenson, who had played with Billy Idol and Kim Wilde, completed the band. In the next 10 weeks, Gene Loves Jezebel performed more concerts than in its entire previous history. Meanwhile back in the U.K. that winter, the single "Desire" became the band's commercial breakthrough.
Another album, Discover (1986), another #1 on the British independent charts, and another British and U.S. tour established Gene Loves Jezebel as a major act. Discover went top 30 on the U.K. charts and the band enjoyed its first major release in the U.S. as A&R Executive Gary Gersh signed it to Geffen Records.
"We were an outgoing band when most of the bands in England were darker and uptight", Jay suggest. "That's why we naturally found an audience in America, because there have always been colorful bands there". Conscious of the visual as well as musical, the group's video for the single "Heartache" helped make it a music television favorite. When "Desire" was re-recorded and re-released, its video was nominated for three American Video awards. The single also reached #7 on dance charts in the U.S. On the heels of such success, the band undertook it's most extensive U.S. tour to date, a four month stint, and its first trip to Japan.
In 1987, the success of the single "Motion of Love" led the band into
a summer tour of the U.S. before The House of Dolls was released (and Geffen
also re-released Promise for the first time in America). Then came the
loosening of family ties. It was Jay who was determined to hold tight the
musical ties. "For a while, we considered not calling the band Gene Loves
Jezebel", he reveals "but I wanted to play live those songs we love. I
still wanted to have that identity. We have a heritage that's good and
we're proud of it."
However, Kiss of Life, he points out, refers to the new Gene Loves
Jezebel. "Life is learning about yourself and learning to love and send
out warmth to other people. Life is to be enjoyed. As a band there's been
a lot of pain and a lot of joy. But I can honestly say we've come out the
better for it. For us, after the earthquake and the changes in the group,
it's just great to be alive."
He smiles: "Alive and in a rock 'n roll band"
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