Gene Loves Jezebel: J. P. Aston (vocals, guitar, piano); Pete Rizzo (bass guitar); James Stevenson , Michael Aston, Marcus Gilvear.
Personnel: Jay Aston (vocals, guitar); Michael Aston (vocals); James Stevenson (guitar, keyboards); Pete Rizzo (piano); Marcus Gilvear (drums).
Audio Mixer: Mark Dearnley.
Audio Remasterers: Jason Mitchell; John Dent.
Liner Note Author: Jay Aston.
Recording information: Power Plant; Roundhouse studios; The Sound Suite; Town House Three.
Photographers: James Stevenson ; David Levine ; Paul Rider.
The album that launched Gene Loves Jezebel in America, Discover caught the British band perfectly poised between their post-punk gothy past and their arena future. The centerpiece was, of course, "Desire," the clarion cry of rock's late-'80s future, all yelps and pervasive riffs strafed by searing leads, and an insistent chorus that defied listeners not to shout along. Initial copies of the U.S. album featured the original single's mix with guitarist Ian Hudson, later ones were graced by an even more powerful version, turned into a sonic roar by producer Peter Walsh, and showcasing the group's new guitarist, James Stevenson. Stevenson's arrival helped set the stage for a serious shift in the band's musical direction, a reinvention of the Jezzie sound into a more rock-friendly, pop-esque style. The two versions of "Desire" illustrate that point to perfection. But at the time of recording, old and new styles, pop and goth, all filtered into the mix, and miraculously were held shimmeringly together. Miraculously, because during the recording, producer Gary Lyons suffered a heart attack, forcing the album to be completed by one of the engineers, Mike Dearnley. Regardless, Discover has a coherent feel, all awash in atmosphere, yet still giving Stevenson's sonic guitar plenty of room to maneuver. His bright riffs and Ronson-esque leads often take center stage, but he was equally willing to add the darker, brooding riffs that were the band's previous trademark, and on "A White Horse" he even pays tribute to the Banshee's signature drone. The highlight of these darkwave delights is "Beyond Doubt," which began life as an instrumental B-side. Stevenson's delicate guitar work imbues the haunting melody with ethereal lightness and paradoxically haunting depth. The yearning lead vocals add to the song's power, while the soaring falsetto backups send shivers down one's spine. In contrast were the brash pop/rock numbers like "Desire," "Heartache," and "Sweetest Thing." This was GLJ at it's best, as the band came together in a perfect wedding of all parties, sounds, and styles. Stadium guitar, Bauhausian experimentation, pop, and goth all combined to make a truly unforgettable album. ~ Jo-Ann Greene