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)
Walk Away
Gene Loves Jezebel Lyrics
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The way she puts you up, puts you down, steals your soul away
But, it's Saturday night, Sunday morning
I'm in the arms of my angel
And I can't help this feeling
We'll be together again
Should've walked away from you
Should've walked away from you
Should've waled away, I know
Away from you
My body , how it's aching
But I can feel no pain
For I have to love you
It's always been this way
Baby, you and I were born to win
I said baby, you and I will be together yet again
Should've walked away from you
Should've walked away, I know
Should've walked away from you
Should've walked away, I know
Away from you
Walk away, walk away, walk away, yeah
Should've walked away from you
Should've walked away, I know
Should've walked away from you
Should've waled away, I know
Away from you
It's Saturday night, Sunday morning
I'm in the arms of my angel
My angel, my little angel
The lyrics in Gene Loves Jezebel's "Walk Away" speak of a love that is intense and yet unhealthy. The opening lines describe the city as a place where one can be lifted up and brought down by a lover who steals the soul. However, the singer is in the arms of their love, unable to resist the feeling that they will be together again despite knowing that they should have walked away. The lyrics seem to convey the inner turmoil of being in love with someone who is not good for you, but finding it impossible to let go.
The chorus repeats the idea of knowing that one should walk away from the person they love, but being unable to do so. The second verse reinforces the idea that the singer is physically and emotionally exhausted from their love, but still feels compelled to stay. The bridge of the song reinforces that the couple was meant to be together and will be together again. The last lines repeat the opening lines, but add the phrase "my little angel" to describe the object of their affection.
"Walk Away" is a powerful song that speaks to the complicated emotions involved in unhealthy relationships. While some may see the song as a celebration of a love that cannot be denied, others may see it as a cautionary tale about the dangers of staying in a relationship that is not good for you. Either way, the lyrics are deeply personal and poignant, capturing the pain and passion of being in love with someone who is not good for you.
Line by Line Meaning
Summertime in the city, God I love this city
The singer is expressing their enjoyment of the city during the summer
The way she puts you up, puts you down, steals your soul away
The city has a way of toying with you and making you feel euphoric and then drained
But, it's Saturday night, Sunday morning
The singer is transitioning from a night out to the next morning
I'm in the arms of my angel
The singer is with their loved one
And I can't help this feeling
The singer is overcome with emotion
We'll be together again
The singer is confident that they will be reunited with their loved one
Should've walked away from you
The singer regrets not leaving a toxic relationship
My body , how it's aching
The singer is physically pained from the relationship
But I can feel no pain
The singer has become numb to their own pain
For I have to love you
The singer feels like they have no choice but to love this person
It's always been this way
The singer has always been in this type of relationship
Baby, you and I were born to win
The singer believes that they were meant to be with this person
I said baby, you and I will be together yet again
The singer repeats their confidence in being reunited with their loved one
Walk away, walk away, walk away, yeah
The singer is urging themselves to leave the relationship
My angel, my little angel
The singer addresses their loved one affectionately
Lyrics © Universal Music Publishing Group
Written by: JOHN PETER ASTON, JAMES STEVENSON, PETER RISINGHAM, CHRISTOPHER HAMILTON BELL
Lyrics Licensed & Provided by LyricFind