Discography
Texas published five albums between 1989 and 1999. It follows a short story on the artistic walk of the band with reference to its records.
 | SOUTHSIDE (1989) |
| MOTHER’S HEAVEN (1991) |
| RICKS ROAD (1993) |
| WHITE ON BLONDE (1997) |
| THE HUSH (1999) |
Released
in 1989 on Mercury records 'Southside' took the Scottish quartet (now quintet)
to the stage. The album shows the band in a bluesrock of clear American type.
The atmospheric accompaniment of the acoustic guitar of
Ally McErlaine, particularly the languid whining of slide, is the backbone of
Spartan and spectral harmony. However at some points in the record the harmony
tends to dilate suddenly through instrumental jam of a bewildered violence or
else in country harangue with dragging rhythm like disco (as in 'I Don't Want A
Lover'). On the other hand the singer Sharleen Spiteri is not afraid to express
herself in different way proving to be able to use also the rock and existential
register of Stevie Nicks ('Thrill Has Gone').
On the whole it comes out as an astonishing album in it's variety and individual track quality. Proving it to be, probably, one of their best works.
The
band's second album arrived promptly in 1991 following the thread of the first
album. In fact Texas, even if avoiding the abyss of auto-celebration, centered
on electronic arrangement and funky rhythms on which stand out the intense and
melodramatic 'shout' of the singer, as in the title-track.
However the band doesn't makes a bad impression, when they wander off the point as in 'Belief'' where Sharleen propels rock & roll slivers, or in 'This will be mine' where she chisels perfectly melodramatic blues. With everything considered in their second album, Texas displayed a confirmation of their talents and qualities showing a certain coherence, that will be, on the contrary, totally neglected soon.
'The
'Ricks Road' album released in 1993 (so relatively soon after the previous one)
represented a turning point in the group's history. In fact, by emphasizing
country and gospel inflexions, the band give rise to an acoustic pop which seems
rather colorless (even if enjoyable), and giving up his rhythm & blues
'shooting' that had distinguished the debut.
The result is contradictory: actually Texas, even if snubbed by criticism and at first, also by the audience, with this album, saw the opening of international markets. Landing, then on the Dutch and German shores, where still now, they are greatly applauded.
Musical magazines talked about a commercial turning for German market. One thing is sure: independent of their choices nobody could deny that Texas have created great music.
The
rest is a recent story. In February of 1997 we finally saw the release of 'White
On Blondie', actually, the latest publication of the band. The 'twisted way'
undertaken in the third album is now taken to extreme consequence with just one
single ('Say what you want' dragged by an irresistible melody) placed in heavy
rotation on MTV.
The new musical route seems to follow faithfully in the path of the Swedish group 'Roxette': therefore systematic research of melodies, however dressed in some episodes with guitaristic evolution, and in other parts the experiment of techno. To tell the truth, to dominate is in any case, another time the voice of the sulky and charming singer that transforms pieces otherwise colorless, as 'Insane' and 'Good Advice', in very tasty songs.
With
this, Texas confirm that changing their skins was never a problem for them,
being able to give rock, pop and country revisiting simultaneously. And gaining always
the attention of the radios. The Hush does not make an exception to the rule:
it's heterogeneous, light,
refined and commercial at the same time. Maybe Texas are a coverband, but their
pieces express strong emotions. It's not few these days.