Albums Revisited: Gene Loves Jezebel ‘The House of Dolls’They were too glam for goth, and too goth for glam. And that’s what kept them interesting. Let’s look back at Gene Loves Jezebel’s ‘The House of Dolls’, one of the most addictive albums of the 80’s.It’s March 28th, 1987. I’m at the Arcadia Theatre in Dallas, TX to see Gene Loves Jezebel with openers. It’s the second rock show I’ve ever been to ( being the first).The band were touring for their album The House Of Dolls, which proved to be a defining and divisive point in the band’s history.But first, some background info; GLJ were a post-punk group forged in the early 80’s. The band’s early mystique revolved around its androgynous dual lead singers, who happened to be identical twins; Jay and Michael Aston.And while they had emerged in the Goth scene, their wardrobes were drenched in color. And rather than sullen solitude, their music was more concerned with romance than alienation.On early releases the group had a harsh, angular tone punctuated by the Aston brothers ethereal banshee wails.The Aston twins front and center on the ‘Discover’ album cover.Their first stateside hit was Desire off their album Discover.
It flirted with dance beats and benefited from the recent addition of (formerly of Generation X). He added rock musculature that distinguished them from their more skeletal, austere beginnings.The band’s follow-up House of Dolls (produced by Peter Walsh) would flirt further with the mainstream, and leave a solidly satisfying, catchy collection of Eighties awesomeness.‘The House Of Dolls’ album coverIt opened with Gorgeous, with a decadent riff that reeked of adolescent hormones and romantic longing. It also featured their sexually ambiguous lyrics:So, you go to a bar and you / Talk to your friends about girls and cars/ And even though you’re bored/ They’ll only go this far/You’re So Gorgeous baby. This song set the template for Dolls; less experimental textures in exchange for bigger hooks and heavier riffing. Take Set Me Free, which kicks off with a stark staccato riff, or the slithering guitar work that punctuates the sultry Suspicion.Twenty Killer Hurts is another song with a spiky, funky riff that frames the Aston’s rumination on the dangers of drug addition:Pretty ballerinaDance across the floorShe’s got a head full of snowWhat’d you do it forStevenson adds just the right mix of flash and dexterity in his riffs and solos to drive them to places that more rudimentary post-punk guitarists couldn’t go. And the rhythm section of Peter Rizzo on bass and Chris Bell on drums complimented his style. Ornate but not ostentatious.GLJ circa 1988.Like (who Stevenson is) they were shedding their goth skin for more universal appeal. But GLJ never got too heavy.
They’re more about the simmer and the slow burn. Take the meditative pulse of Message and the dark churn of Up There. And Every Door remains one of the best 80’s ballads with the Aston’s wistfully singing about unrequited young love:I’ve asked your friendsAnd they all agreeYou’re hiding and hiding from meI’ve knocked on every door in every streetAnd I don’t know how long it’s gonna be. The album’s biggest hit was The Motion Of Love. But it feels slightly incongruous to the other tracks. Whereas most of House of Dolls has minor-key grandeur, Motion is much more upbeat and poppy.Indeed, Motion Of Love wasn’t even produced by Peter Walsh. It was actually recorded by Jimmy Iovine, super producer (and future head of Interscope Records).
It screams hit single and breaks the mold while doing so.It also showcases the distinctive vocal stylings of the Aston brothers, who’s Welsh accents and reedy delivery make them sound unlike anyone else. When they bray orgasmically “I want a kiss, just a bit like this, oh, oh, oh, uh, OH YES!’, it’s so exuberant that it can cause a chuckle. But that’s what makes Gene Loves Jezebel so endearing. They held nothing back in their musical melodrama.Unfortunately that melodrama spilled out from the songs into the band themselves.
The Aston twins had a rocky relationship which apparently came to a head during the making of The House of Dolls.According to an album review on iTunes; The Jezzies themselves hated The House of Dolls, not the songs themselves, but the slick production Walsh covered them in. Co-vocalist Michael Aston hated it most of all, and was frustrated by the group’s growing pop affiliation. I saw them on the very same tour as well and it remains a highlight, the band were in top form. Even though Jay and Michael spent the entire show on opposite sides of the stage not even making eye contact they brought the house down.Flesh For Lulu weren’t half bad either.I’ve seen them twice since, once for Heavenly Bodies and another for their ill-fated reunion tour where they both duly played the parts of oil and water. Michael wouldn’t even stay on stage when the band performed any of the songs released after he left; I hear it eventually imploded a few dates after the show I saw.The House of Dolls may have been slick and somewhat commercial but wow did they hit the nail on the head.
I’m an Immigrant and Promises sort of fan firstly but you can’t deny how infectious they were in 1987. Not true.both j and I auditioned the players for the 100 date 97 tour. And we’d worked together for the close to 5 years after the HB fall in 93, most of what became 7 are demos we did over those years if you want documents, you can peruse the evidence, available online near a court in Los Angeles.
Her’e the reality.j and the CORE haven’t made a record in a qtr of a century. The last one, I put together.they stripped my parts and credits and songs and pretended they’d never missed a beat. It’s called false narrative and false witness. Anyway.the core of glj was and is the fuckin’ twins, that’s all anyone cares about, backing bands come and go I’ve mad e6 albums since and toured the planet withs ome of the very guys we toured with in 97. Michael,the fact is its hard to find a lot of info on GLJ. Seriously, where would you even suggest I start?
I have the liner notes from the old albums and some magazine articles and I parse what I can find. I stated clearly in my piece, that the itunes review could be inaccurate.I don’t think there’s a GLJ fan on the planet that wouldn’t love to see you guys singing together again. The HOD tour was one of the best memories from high school. I was very bummed when you left.
Gene Loves Jezebel Allmusic
I dug your Edith Grove stuff.
.jpg "Jezebel")
Twin brothers and began playing music in 1980 when they formed Slav Arian with guitarist and a drum machine. Though the Astons grew up in Porthcawl, South Wales, they moved to London in 1981 and renamed the goth-influenced group. The trio played several live shows and were quickly signed by Situation 2. In May 1982, the label released 's demo single, 'Shavin' My Neck.' The band then added bassist and drummer. Left soon after to form, leaving and to alternate on bass until joined in 1984. Also split for a time - replaced by and later - but returned in 1983.
Released two more singles in 1983 before their debut album, hit number one in the U.K.' S indie charts. In 1984, the group recorded a radio session for the BBC and toured America with. After returning to England, released the singles 'Influenza (Relapse)' and 'Shame (Whole Heart Howl),' but then waited a full year before second album appeared in mid-1985. (It's not very surprising that the album was recorded with a lineup change, this time drummer instead of.) also hit number one on the indie charts, but during a tortured American tour, founding member left, and was replaced by former guitarist. The year 1986 brought a contract with Beggar's Banquet and, subsequently, chart success for the group. 'Sweetest Thing' hit the Top 75 in England, and the resulting album, (which included a limited-edition live album called Glad to Be Alive), reached the expected indie chart top spot and also did well with college radio in America.
Became the band's fifth drummer later that year, and 's fourth album, was released late in 1987, yielding a single, 'The Motion of Love,' that grazed the U.S. The Astons turned their attention to dance with the single 'Heartache,' but decided to leave the band by mid-1989. As early as 1992, had been working with a new band called the Immigrants.
Two years later, he re-formed the band as and released a self-titled album. And began working together again that same year, and later recorded two songs with, and for a best-of compilation released in September 1995.
While performed occasional acoustic shows under his own name, played with members of and released a solo album, in 1995. Re-formed in 1998 for, released in 1999 on Robinson Records. The reunion proved to be short-lived, and through much of the 2000s, and each recorded and toured with bands calling themselves; 's was based in the U.K., while 's largely worked in the United States. 's was responsible for the albums (1999), (2001), (2003), and (2009), while 's edition of the group issued the discs Accept No Substitutes (2002), (2003), and (2006). In 2008, the Aston brothers ended up in a lawsuit over the legal rights to before reaching a settlement that allowed both to use the name in different parts of the world.
In 2017, 's issued the album.