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)
The Cow
Gene Loves Jezebel Lyrics
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Yeah, but J.A., he's out there bailing hay
He's got muscles
Did you see the cow with the furrowed brow?
He's laughing out
You can pick me up and put me down
Do what you want, you've had enough
I hope I can feel, I hope I'm not blind
I hope I can feel, I hope I'm not blind
Pappa says, "Keep a civil tongue in your head
Don't talk about it?
Just pick right up where you left off
Don't think on it
I hope I can feel, I hope I'm not blind
I hope I can feel, I hope I'm not blind
Weep for her
(Did you see the cow?)
Weep for her
Weep for her
(Did you see the cow?)
Weep for her
Love, lovely, love
Love, lovely, love
Love, lovely, love
Love, lovely, love
Weep for her
(Did you see the cow?)
Weep for her
Weep for her
(Did you see the cow?)
Weep for her
You wounded me again
Tugged at my nerve ends
I hope I can feel, I hope I'm not blind
I hope I can feel, I hope I'm not blind
(Don't talk about it)
You wounded me again
Tugged at my nerve ends
Weep for her
(Did you see the cow?)
Weep for her
Weep for her
(Did you see the cow?)
Weep for her
The lyrics to Gene Loves Jezebel's song "Cow" are complex and open to interpretation, but they seem to be exploring the themes of power, control, and emotional vulnerability. The opening lines, "You're from the cotton fields, yeah, but J.A., he's out there bailing hay, he's got muscles," suggest a division between the singer and someone else, possibly a partner or a family member, who is seen as physically strong and capable. However, the reference to "the cow with the furrowed brow" who is "laughing out" suggests that appearances can be deceptive, and that even those who seem to be in control may actually be struggling.
The chorus, which repeats the lines "I hope I can feel, I hope I'm not blind," suggests that the singer is struggling to connect with their emotions and may even be experiencing emotional numbness or dissociation. The advice from Pappa to "keep a civil tongue in your head" and to "just pick right up where you left off" suggests a pressure to conform and not to express one's true feelings or opinions. The repeated refrain of "weep for her" reinforces the theme of emotional vulnerability, suggesting that even those who seem powerful and in control may be silently struggling.
Overall, the lyrics to "Cow" are cryptic and multi-layered, inviting listeners to bring their own interpretations and experiences to the song.
Line by Line Meaning
You're from the cotton fields
The singer acknowledges the listener's background.
Yeah, but J.A., he's out there bailing hay
The singer notes that someone else is doing manual labor and contrasts it with their own situation.
He's got muscles
The listener is admiring someone's physical strength.
Did you see the cow with the furrowed brow?
The artist is bringing up the image of a cow with a serious expression.
He's laughing out
The cow in question is portrayed in a way that suggests it's carefree and happy.
You can pick me up and put me down
The singer feels powerless and at the mercy of others.
Do what you want, you've had enough
The singer is telling someone to do as they please as they have already had their fill.
I hope I can feel, I hope I'm not blind
The artist is expressing a desire to remain emotionally aware.
Pappa says, "Keep a civil tongue in your head
The artist is recalling advice given to them by a father figure.
Don't talk about it?
The artist is questioning whether or not they should discuss something.
Just pick right up where you left off
The singer is suggesting that it's best to continue as if nothing has happened.
Don't think on it
The artist is advising against dwelling on negative experiences.
Weep for her
The singer is calling for an emotional response to an unknown woman.
(Did you see the cow?)
This line repeats the earlier reference to the cow.
Love, lovely, love
The singer is emphasizing the importance of love.
You wounded me again
The artist feels hurt by another person's actions.
Tugged at my nerve ends
The artist is describing the physical sensation of being emotionally affected.
Weep for her
The singer again calls for mourning for an unnamed woman.
You wounded me again
The singer reiterates their feelings of being hurt by someone else.
Weep for her
The artist continues to call for sadness on behalf of the unnamed woman.
Lyrics © Universal Music Publishing Group, Songtrust Ave
Written by: IAN HUDSON, JOHN PETER ASTON, MICHAEL ASTON, PETER RISINGHAM
Lyrics Licensed & Provided by LyricFind