Michael Aston (vocals) was the poetic, goth-leaning side of the twin brothers while Jay Aston’s distinctive banshee-like, wailing vocals supplied Gene Loves Jezebel with one of their many trademark quirks.
Originally called Slav Aryan, Gene Loves Jezebel began in 1980 with the brothers, guitarist Ian Hudson, and a drum machine. The Astons grew up in Porthcawl, South Wales, making the move to London in 1981. With a new home, and shortly thereafter, the new name, the trio played several live shows and was signed by Situation Two. In May 1982, the label released Gene Loves Jezebel's demo and a single "Shaving My Neck." The band then added bassist Julianne Regan followed, Regan was replaced by Ian Hudson on Bass (and Albi DeLuca took over the guitar role) and went on to form All About Eve, Gene Loves Jezebel underwent a dozen or so line up changes between 1981-1985 alone! The band was really about the twins after all.
The band released two more singles in 1983 before their debut album Promise peaked at number 8 in the U.K.'s indie charts. In 1984, the group recorded a John Peel radio session for BBC and toured America with fellow Welsh artist John Cale. The second album, Immigrant, was released in mid-1985. However, during an agonizing American tour for Immigrant, founding member Ian Hudson suffered a nervous breakdown and was replaced by former Gen X guitarist James Stevenson.
During 1986, the group moved contract to Situation Two's parent company, Beggar's Banquet Records and distribution rights in USA to Geffen Records. The subsequent promotion increased pop-chart success for the group. The single "Sweetest Thing" briefly hit the Top 75 in U.K. and the album, Discover, reached number 32 in UK Albums Chart. At this time, the group also found heavy rotations on college and alternative radio stations across America. The band had slowly turned their attention to dance music. The slick and catchy guitar hooks of singles "Desire" and "Heartache" leapt to #6 and #72, respectively, on Los Angeles' famous New Wave station, KROQ. Later that year, Chris Bell became the band's fifth drummer.
Gene Loves Jezebel's fourth album, The House of Dolls, was released late in 1987 and yielded the singles, "20 Killer Hurts" and "The Motion of Love" that grazed the U.S. pop charts. The third single from The House of Dolls, "Suspicion", for the first time, surfaced on The Billboard Hot 100. Despite rising mainstream success, the new pop-oriented direction proved to be too polished and commercial for the poetic and more goth-like brother, Michael. He parted ways with Jay in 1989.
While Michael pursued his solo work, Jay continued using the Gene Loves Jezebel name and recorded two albums, Kiss of Life in 1989, followed by Heavenly Bodies. reached #68 on Billboard's Hot 100. Three years later, Jay Aston and company released Heavenly Bodies, which did well in Europe and on American college radio. Unfortunately, after dispointing record sales record sales and the collapse of Savage Records (David Bowie) American label folded one year later, and, after a few more live shows, so did Gene Loves Jezebel.
While Jay performed occasional acoustic shows under his own name, Michael played with members of Scenic, then formed a new band called the Immigrants (re-named Edith Grove) and later released a pimarily acoustic solo album, Why Me, Why This, Why Now. Michael and Jay began working together again throughout the 90's , and also recorded two songs for a GLJ best-of compilation "from the mouths of Babes' on Michael Aston's label Bonnaire records , released in September 1995.
A reunion tour followed in 1997, but the brothers' reconciliation was short-lived. In October 1997, Jay sued his twin brother over rights to the name "Gene Loves Jezebel" after leaving the band. After a protracted court battle, Jay eventually dropped all charges "with prejudice" meaning Michael can never be challenged for the name again and consequently Michael owns the exclusive rights to the mark. Michael also trademarked "Gene Loves Jezebel" and toured both the U.S. and the U.K. extensively supporting Gene Loves Jezebel releases: Love Lies Bleeding (1999) - Live in Voodoo City (1999) - Giving Up the Ghost (2001) – and Exploding Girls (2003)
Josephina
Gene Loves Jezebel Lyrics
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Josephina
Oh, dream girl
Where did you go
I woke up calling your name
You were gone
Josephina
What did you bring for me
What will I pay
Can't you hear me
Why can't you hear me
I call your name, I say
Jo, Jo, Jo, Jo,
Josephina
Golden bird
Bird of prey
Spread your wings
Across the sun
Seize the day
You're like a diva
So proud and vain
What will you sing for me
What will you pay
It won't be long
It won't be so long now
I will be with you
I will be with you
Somehow my Josephina
Can't you hear me
Why can't you hear me
Feel my pain
Jo, Jo, Jo, Jo
Josephina
My Josephina
The song "Josephina" by Gene Loves Jezebel talks about a dream girl named Josephina who is not from this world, and the singer is calling out her name, wondering where she went. The lyrics indicate that Josephina has something to offer but the singer is unsure of what he will have to offer her in return. The metaphorical language of a "golden bird of prey" is used to describe her and urges her to seize the day. The song is a plea for Josephina to hear the singer's cry and feel the pain that he's going through.
In essence, Josephina seems to symbolize an ideal or a dream, and the singer is calling out to this dream to come back to him. It's unclear whether the singer ever had Josephina, to begin with, or if she was always an unattainable goal. The song, however, captures the intense longing and the urgency of the singer's plea.
Line by Line Meaning
Jo, Jo, Jo, Jo, Jo
Repetitive calling of Josephina's name in excitement, high-pitch tone and with a lot of energy.
Josephina
Addressing the dream girl named Josephina, who is the center of focus and the main subject of the song.
Oh, dream girl
Expressing admiration and endearment for Josephina, who is idealized as a dream girl.
Where did you go
Asking where Josephina has gone or disappeared, suggesting a sense of loss or separation.
I woke up calling your name
Revealing that the singer has been dreaming about Josephina, and was calling her name out loud in the dream, indicating a strong connection or infatuation.
You were gone
Indicating that Josephina wasn't there when the singer woke up, implying a sense of disappointment or sorrow.
You're not of this world
Suggesting that Josephina is otherworldly, supernatural or mystical in some way, and doesn't belong to the same reality as the singer.
What did you bring for me
Curiously asking Josephina what she has brought for the singer to enjoy, implying a sense of anticipation or excitement.
What will I pay
Asking Josephina what the price or cost of her gift or service will be, indicating a sense of responsibility or accountability.
Can't you hear me
Expressing frustration or desperation that Josephina doesn't seem to respond or listen to the singer's calls or pleas.
I call your name, I say
Re-iterating that the singer has been calling Josephina's name out loud, emphasizing the level of enthusiasm or intensity.
Golden bird
Metaphorically comparing Josephina to a bird with a golden color, suggesting beauty, richness or uniqueness.
Bird of prey
Changing the tone and mood by comparing Josephina to a bird of prey, implying danger, aggression or domination.
Spread your wings
Inviting Josephina to open up, unfold or reveal herself, suggesting a sense of wonder or curiosity.
Across the sun
Extending the image of Josephina flying across the sun, giving a sense of majesty, royalty or divinity.
Seize the day
Encouraging Josephina to live in the moment, to take opportunities and chances, to be present and active.
You're like a diva
Comparing Josephina to a diva, which implies glamour, fame, talent and beauty, but also egotism, caprice and high standards.
So proud and vain
Emphasizing the negative aspects of the diva comparison, suggesting that Josephina is arrogant, selfish and narcissistic.
What will you sing for me
Asking Josephina what kind of song, melody or message she will offer the singer, implying a sense of creativity and expression.
What will you pay
Repeating the question from earlier, but now adding a different tone or intention, suggesting that the singer wants to be rewarded or satisfied by Josephina's performance.
It won't be long
Showing optimism or confidence that the time for the singer and Josephina to be together is coming soon or approaching.
It won't be so long now
Affirming the idea from earlier, but adding more emphasis or urgency, suggesting a sense of impatience or eagerness.
I will be with you
Making a promise or commitment to Josephina that the singer will be there for her, offering support, love or companionship.
Somehow my Josephina
Qualifying or modifying the previous statement, implying that the singer is not entirely sure how or when they will be together, suggesting a sense of mystery or uncertainty.
Feel my pain
Appealing for empathy or sympathy from Josephina, implying that the singer is struggling, suffering or hurting in some way.
My Josephina
Repeating the name of the dream girl, but now with an added sense of possession or attachment, implying that the singer has a deep and personal connection to Josephina.
Lyrics © Universal Music Publishing Group
Written by: DAVE MARTIN, JAMES STEVENSON, JOHN PETER ASTON, PETER RISINGHAM
Lyrics Licensed & Provided by LyricFind