Jessica followed this up with an album of her own songs, The Camera Loves Me, with the Monochrome Set as backing band. The album, recorded in Chiswick, West London and produced by 1960s pop star Keith West, was released on el Records in 1988. Jessica’s sister Miranda contributed to the songwriting and backing vocals.
Jessica then left the music world to work in the City of London until 1993, when she was invited to make another record for the Japanese label Trattoria. Mondo was recorded with the Monochrome Set at Moat Studios, London, and this time was produced by Bid, who also duetted with Jessica on the song ‘Casanova ‘92’.
Later in 1993 Jessica recorded four new songs with el records artist Monty, two of which were written by Jessica and two by Monty. These were included on the cd re-release of The Camera Loves Me.
In the late 1990s Jessica learned the guitar and started writing songs again. She was joined by Peter Momtchiloff (formerly of Talulah Gosh, Heavenly, and Marine Research) on guitar and bass; in 2000 and 2001they recorded 22 songs at Shaw Sound in West London with Orson Presence from the Monochrome Set playing various keyboard instruments. Drums were provided first by Struan Robertson and then by Jim Kimberley. A four-track EP (‘Emmanuelle Béart’) was released on Matinee Recordings of Washington DC (now Santa Barbara) and a three-track 7” single (‘Sugar Mummy’) was released on Fortuna Pop! Records of London.
Early in 2002 the Would-be-goods’ third album, Brief Lives, appeared as a joint release by Matinee, Fortuna Pop, and P-Vine Records of Japan. By this time the Would-be-goods had played their first live shows in London: first with just Jessica on guitar and Peter on bass and guitar, and then with new member Debbie Green on drums and backing vocals. Debbie is a former member of the Headcoatees, the X-Men, and Baby Birkin; she has also played with Peter in the Family Way, Dutronc, and now the Speed of Sound.
Finally in summer 2002 the Would-be-goods’ line-up was completed by the addition of Lupe Nunez-Fernandez on bass and backing vocals. This line-up played several shows in London and visited the East Coast of America in autumn 2002. Late in 2002 they started recording songs for a fourth album, and this was finally completed early in 2004.The Morning After is released in August 2004 on Fortuna Pop! and Matinee.
Christmas In Haiti
Would-Be-Goods Lyrics
Jump to: Overall Meaning ↴
By the time she got on the bus she wished she'd died
Marriage can be good if it works the way it should
But sometimes you've got to swallow your pride
He was a friendly cuddly hunk
But a violent aggressive drunk
And there'll be no more
Christmas in Ore again
The children are asleep and the bus is moving
Through the night that's blacker than a soul
Three kids in just three years
Oh, the valley of toil and tears
Some things in life just slip beyond control
She'll stay awhile with her mother
And then maybe her brother
But there'll be no more
Christmas in Ore again
The city lights are bright and the sleet is falling
Between the busy streets and the cars in lines
Three children and a ghost just arrived in from the coast
Squinting up at all the neon signs
Find the connecting bus
Hope the kids don't make a fuss
Because there'll be no more
Christmas in Ore again
The lyrics of "Christmas In Haiti" by Would-Be-Goods tell a poignant story of a woman grappling with the complexities of marriage and the challenges she faces in her life. The song opens with the woman leaving her home feeling overwhelmed with emotion, possibly on the brink of tears. As she boards the bus, her despair deepens to the point where she wishes for death, highlighting the depths of her inner turmoil. The mention of marriage as something that can be good but also requiring the suppression of one's pride sets the stage for the internal conflict she must navigate.
The lyrics introduce the woman's husband as a contradictory character - described as a "friendly cuddly hunk" but also a "violent aggressive drunk." This juxtaposition suggests a tumultuous and potentially abusive relationship, hinting at the emotional and physical toll it has taken on the singer. The mention of no more Christmas in Ore implies a significant shift in her life, possibly marking a decisive break from her past and a sense of finality in her decision to move on from a destructive situation.
The portrayal of the woman as a mother of three young children adds layers of complexity to her struggles. The reference to the "valley of toil and tears" encapsulates the arduous journey she has been on, facing hardships and challenges beyond her control. Seeking solace with her family members, the singer turns to her mother and then potentially her brother for support, emphasizing the importance of familial ties in times of crisis. The line about no more Christmas in Ore further underscores the irreversible nature of the changes she is undergoing.
As the woman navigates the bustling city streets and faces the stark reality of her circumstances, the imagery of "city lights," "sleet falling," and the children and a ghost arriving from the coast evoke a sense of displacement and disorientation. The reference to neon signs and finding the connecting bus symbolizes the uncertainty and hope for a better future, tinged with anxiety about the challenges that lie ahead. The mention of no more Christmas in Ore once again serves as a poignant refrain, reflecting the finality of her decision to leave behind a chapter of her life and start anew.
Lyrics © O/B/O DistroKid
Written by: Tony Peek
Lyrics Licensed & Provided by LyricFind
Rimili
on Amaretto
Klingt nach arsch
Rimili
on Amaretto
Sounds ass