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Texas: The Hush

 A l b u m   D e t a i l s


Label: Mercury Records
Released: 1999.05.18
Time:
 50:37
Category: Pop/Rock
Producer(s): Johhny Mac
Rating: ********.. (8/10)
Media type: CD
Web address: www.texas.uk.com
Appears with:
Purchase date: 2002.07.08
Price in €: 7,99



 S o n g s ,   T r a c k s


[1] In Our Lifetime (J.McElhone/S.Spiteri) - 4:06
[2] Tell Me the Answer (J.McElhone/S.Spiteri/F.Hodgens) - 3:56
[3] Summer Son (J.McElhone/S.Spiteri/E.Campbell) - 4:04
[4] Sunday Afternoon (J.McElhone/S.Spiteri) - 4:21
[5] Move In (J.McElhone/S.Spiteri/M.Rae/S.Christian/Ch.Corea/Potter) - 4:30
[6] When We Are Together (J.McElhone/S.Spiteri) - 3:30
[7] Day After Day (J.McElhone/S.Spiteri) - 4:37
[8] Zero Zero (J.McElhone/S.Spiteri/E.Campbell) - 1:43
[9] Saint (J.McElhone/S.Spiteri) - 4:46
[10] Girl (J.McElhone/S.Spiteri) - 3:45
[11] The Hush (J.McElhone/S.Spiteri/M.Rae/S.Christian) - 4:54
[12] The Day Before I Went Away (J.McElhone/S.Spiteri/Legrand/Bergman) - 6:28

 A r t i s t s ,   P e r s o n n e l


SHARLEEN SPITERI - Vocals, All Instruments, Programming
JOHHNY MCELHONE -All Instruments, Programming, String Arrangement
EDDIE CAMPBELL - All Instruments, Programming, String Arrangement
ALLY MCERLAINE -All Instruments, Programming

EMMA KERR - Strings on [6,7]
RACHEL ENGLAND - Strings on [6,7]
DERVILAGH COOPER - Strings on [6,7]
SUSAN DANCE - Strings on [6,7]
TONY MCGOVERN - Guitars on [3,5]
PAUL SMITH - Guitars on [3,5]
GIULIARDO GIZZI - Add. Guitar on [6]
KENNY MCDONALD - Add. Programming on [1,5], Engineer
MATTHEW VAUGHAN - Add. Programming on [2]
BEN CHAPMAN - Add. Beats
MARK ONE - Scratching
RICHARD HYN - Drums & Add. Programming on [3]

MARK RAE - Producer
STEVE CHRISTIAN - Producer
MARK "Spike" STENT - Mixing
LUIS SANCHIS - Photography
LEE SWILLINGHAM - Art Direction, Design
STUART SPALDING - Art Direction, Design

 C o m m e n t s ,   N o t e s


1999 CD Universal 53261
1999 CS Universal 53261



Blessed with a stylish production and sharp commercial songs, White on Blonde made Texas into superstars everywhere except America — a situation familiar to many British acts of the '80s and '90s. Like most of their peers, Texas failed to deliver in the U.S. because of bungled promotion, since singles like "Black Eyed Boy" could have easily fit onto adult alternative radio. Texas must have been aware of this, since they switched labels in America, releasing White on Blonde's sequel The Hush near-simultaneously in the U.S. and the U.K. — a sure sign that they were aiming for the big time. As it turns out, they pulled off a minor coup with The Hush — they build on the strengths of White on Blonde, creating a sophisticated, sexy pop album that manages to balance commercial and creative concerns, with seemingly very little effort. It won't please longtime fans, who might be pining for a return to the rock of their early records, but the album's lush blend of melody, blue-eyed soul, dance and pop is undeniably alluring. Wisely, the group takes their cue from Sharleen Spiteri's hushed vocals, which are sultry but never histrionic. Some could argue that the entire affair is too self-consciously mature — after all, the majority of the album is devoted to midtempo pop numbers, and even the uptempo cuts never work up much of a sweat — but the fact remains, few bands are capable of delivering a mainstream pop record as assured and listenable as this.

Stephen Thomas Erlewine - All Music Guide
© 1992 - 2002 AEC One Stop Group, Inc.



Scotland's Texas (they have nothing to do with the Lone Star State) go for the U.S. gold with The Hush. Attributing the Motown sound as a major influence, Texas's sound is heavily influenced by contemporary American R&B. Now, when we think of Motown, the word soul is immediately evoked, but Texas's sound is about as far away from true soul as Dallas is from the band's hometown of Glasgow. Not that they don't try. The chorus on the opening track of "In Our Lifetime" is a too-close-for-comfort imitation of the chorus from TLC's single "Creep." On "Tell Me the Answer" frontwoman Sharleen Spiteri emulates Prince's falsetto à la "Kiss." But her voice is an overproduced, emotional flatliner that lacks the bump and grind that TLC and Prince deliver. However, the album is adorned with lush, grand instrumental arrangements typical of fine Britpop - making Texas the bride to, say, Robbie Williams's groom.

Beth Massa - Amazon.com



"...the time is right for HUSH - imagine a Scottish Diana Ross smoldering over swanky beats that fall somewhere between Britney Spears and Portishead, Eurythmics and Lisa Stansfield....All sleek art and hot pop - what could be more 1999?"

Rolling Stone (6/10/99, p.120) - 3 1/2 out of 5



"...sounds learned, rich and confident....a crowd-pleaser whose at-home breeziness and aplomb increase its urgency to entertain....Texas may prove to be as essential to pop as Manic Street Preachers are to rock."

Included in Q Magazine's "50 Best Albums of 1999."

4 out of 5 stars - Excellent
Q Magazine (6/99, p.98) & (1/00, p.87)



"...All slur and slide, electronic sounds and beats subtly mingled with human softness, THE HUSH parades potential hits one after another.....founder-bassist Johnny McElhone's first solo production is a svelte masterwork."

Mojo (6/99, p.96)



"...an assertive album that showcases the sensuous vocals of...Sharleen Spiteri and the band's ability to craft soulful, melodic, and timeless pop songs steeped in R&B influences....brims with potential..."

Billboard (6/5/99, p.19)



Texas kommen aus Schottland. Mit The Hush greifen sie nach der Nr. 1 in Amerika. Texas wird wesentlich vom Motown und vom modernen amerikanischen R&B beeinflußt. Jetzt denken wir bei Motown natürlich sofort an Soul, aber Texas ist ungefähr so weit weg von echtem Soul, wie Dallas von der Heimatstadt der Band, Glasgow. Nicht, daß sie es nicht versuchen würden. Der Refrain des Eröffnungstracks "In Our Lifetime" ist eine zu klare Imitation des Refrains der TLC-Single "Creep". Bei "Tell Me The Answer" eifert Frontfrau Sharleen Spiteri Prince's Falsett im Stile von "Kiss" nach. Ihrer überproduzierten Stimme fehlen aber das Gefühl und das erotische Zucken von TLC und Prince. Aber das Album ist mit üppigen, großartigen Instrumentalarrangements geschmückt, wie sie für guten Britpop typisch sind; sie machen Texas zur Braut von, na, sagen wir mal Robbie Williams Bräutigam.

Beth Massa - Amazon.de



Texas is a long way from its roots rock-minded albums of the early 1990s, Mother's Heaven and Rick's Road, having transformed its sound completely for The Hush. Where the Glasgow group once sketched songs with more traditional guitars or piano, it now employs machine-tooled tracks while singer Sharleen Spiteri's voice, often in falsetto, glides above it all. In fact, there are times when she is so influenced by Prince that the band (which took its name from Ry Cooder's soundtrack to the Wim Wenders film Paris, Texas) might consider changing its name to Minnesota. Keyed by Asian tones, the lead number, "Once in a Lifetime," is already an international hit, especially in Europe, while "Tell Me the Answer" summons the spirit and style of Al Green. The band takes a Motown turn and meets the disco ball, too, for "Summer Son," with handclap accents setting off each chorus. Another winner in that Motown mold is "When We Are Together," as Spiteri's breathy Diana Ross-styled vocals and phrasing ride out an undeniable hook, along with a string arrangement right out of the '70s Philly Soul songbook. Heartache haunts the closing number, "The Day Before I Went Away." Most of the material is overwrought with drum machine settings, however seductive in songs like "Day After Day." By employing hip-hop scratches and treated vocals, Texas is stretching its sound, but repetition does begin to set in on the numerous slower tracks. The Hush may well be another transitional work for the band, with enticing moments that reveal a new kind of Scottish soul.

Darryl Morden - June 1, 1999
Copyright © 1994-2002 CDnow Online, Inc. All rights reserved.



Few second lives in pop are as dramatic as the one currently being lived by Texas, a Glasgow band that most Americans have either never heard of or forgotten. First noted ten years ago for the rootsy rock of "I Don't Want a Lover," the group, led by vocal powerhouse Sharleen Spiteri and New Wave survivor Johnny McElhone (ex-Altered Images and Hipsway), faded away until its 1997 comeback, White on Blonde, became one of the biggest U.K. and European hits of the decade. That album's moody, modernized R&B never happened here, but the time is right for The Hush - imagine a Scottish Diana Ross smoldering over swanky beats that fall somewhere between Britney Spears and Portishead, Eurythmics and Lisa Stansfield. Natural singles like the typically sensual "In Our Lifetime" bounce with sophisticated yet mad-catchy hooks that are at once classic and utterly of the moment. It's all sleek art and hot pop - what could be more 1999?

BARRY WALTERS - RS 814
© Copyright 2002 RollingStone.com



In case you don't know, Texas is not from Texas; they're from Glasgow, Scotland, UK - where supposedly pop/rock groups never gain a global voice-hold. But this one's very very cool, man; they got my attention in their fabulous last album White on Blonde (with the memorable Put you arms around me); now they've REALLY got my attention with The Hush. But of course, Texas appears not even to be about the band anymore - it's all about Sharleen Spiteri (the one on the cover), a name which has such a kick to it... The songs - catchy "Once in our lifetime", vocally playful "Tell Me the Answer", "When We Are Together" with its exuberant "Heyheyhey-hey!" in the middle (which is unfortunately missing from the very wet music video. Even the videos I've seen, Sharleen is all over the place, swaying with sheening, ice-cream sensual coolness, striding back and forth. And I enjoy it. Won't deny it. Great music this. I don't really like the cover (White on Blonde doesn't look that great either) - I sometimes think it's a waste, since a cover can really catch the eye. But oh boy, rarely do CDs have so many great tracks. I remember walking into Tower on the day of its release, seeing the big bunch of The Hush on display, deciding to wait until later; 5 minutes later they started to play "Once in a lifetime" overhead, which I've never heard before; instantly recognised Sharleen's voice and Texas' style. I ran back, grab, buy.

Chia Han-Leon - 6.8.1999
© The Flying Inkpot



Giving soul music a makeover for 1999, Sharleen Spiteri and her band, Texas, fuse dance-pop with a soul groove and lush vocals to come up with their bright, warm sound. Selling over ten million albums worldwide (according to Mercury Records), Texas seems to be a very big deal in the UK. And, with beauty everywhere, THE HUSH might just be their chance to really make a dent in the dance-pop scene of the US. A lovely twenty-something frontwomen with a beautiful voice and lush sounds backing her is what you get here. And I'll be the first to admit, the first thing I noticed was the frontwomen, before I had even put the CD in. But, unlike a lot of groups who are able to sell records because of the looks of their members, Texas actually seems to be able to escape the frontwomen's beauty and develop themselves on their sound alone. "Tell Me the Answer" delivers ample soul along with the dance groove the group aims for and Sharleen's voice has no problem switching between heart-felt soul and frill-filled pop delight. "Move In" continues with the soul, while "Saint" captures the pure pop aspect of the band. The title track finds the soul lurking around, while the pop has darkened a bit. The song isn't as bright and bouncy as the rest of the album, but rather deeper and a bit more cautious, if anything. Still centered around pop, this time around the band wants to make you think instead of dancing. If dance-pop with a soul groove is your thing, this will hit the spot. It has a delicious dance beat taste and a soulful lead singer who has an amazing voice bringing the music to life, so you won't be let down. I'll give this album a B.

Alex Steininger
Copyright © 1997-2002, In Music We Trust, Inc. All Rights Reserved.
 

 L y r i c s


IN OUR LIFETIME

There are things
I can't tell you
I love you too much to say
I stand undressed
But I'm not naked
You look at me and who I am

Understand that it is hard to tell you
That I've given all I have to give
And I can understand your feelings
But then everybody has a life to live

Once in a lifetime
You have seen what I've seen
You will always swim for shore
Once in my lifetime
I'll never be in between
Some things you just can't ignore

Now reach out
You can touch me
I'll let you have my life to share
Years, the days
And the minutes
Yeh time has such a puzzling grace

Understand that it is hard to tell you
That I've given all I have to give
And I can understand your feelings
But then everybody has a life to live

Once in a lifetime
You have seen what I've seen
You will always swim for shore
Once in my lifetime
I'll never be in between
Some things you just can't ignore

Once in a lifetime
You have seen what I've seen
You will always swim for shore
Once in my lifetime
I'll never be in between
Some things you just can't ignore

I just need to have your love
I just can't say no
It's a gift from way above
I just can't say no
It's the one big difference
If there's one thing I can have
I just can't say no
I just can't say no
Yeh yeh yeh

Once in a lifetime
You have seen what I've seen
You will always swim for shore
Once in my lifetime
I'll never be in between
Some things you just can't ignore

Once in a lifetime
You have seen what I've seen
You will always swim for shore
Once in my lifetime
I'll never be in between
Some things you just can't ignore

Once in a lifetime


TELL ME THE ANSWER

I doesn't feel right
The lights are too bright
I'm feeling uptight in my sensual world
I need to be you
I need to breathe too
I need to see through life
With these sensitive words

I could blame it on you
I could blame it on my instincts
I could blame it on the train to the plane
The boat to the shore
So tell me what's the answer

No trouble in my face
There's not one anxious voice
You know I can't listen
I can't listen
You say that you are everything
Do you taste good
So c'mon, c'mon, c'mon
C'mon, c'mon, c'mon

No air around me
I need to feel free
I'm private property
In my sensual world
No indecisions
I have a vision
There's no collision there
With these sensitive words

I could blame it on you
I could blame it on my instincts
I could blame it on the train to the plane
The boat to the shore
So tell me what's the answer

No trouble in my face
There's not one anxious voice
You know I can't listen
I can't listen
You say that you are everything
Do you taste good
So c'mon, c'mon, c'mon
C'mon, c'mon, c'mon

No trouble in my face
There's not one anxious voice
You know I can't listen
I can't listen
You say that you are everything
Do you taste good
So c'mon, c'mon, c'mon
C'mon, c'mon, c'mon

No trouble in my face
There's not one anxious voice
You know I can't listen
I can't listen
You say that you are everything
Do you taste good
So c'mon, c'mon, c'mon
C'mon, c'mon, c'mon

All from too much choice yeh yeh

I could blame it on the train to the plane
The boat to the shore
So tell me what's the answer

C'mon, c'mon, c'mon
C'mon, c'mon, c'mon
C'mon, c'mon, c'mon


SUMMER SON

I'm tired of telling the story
Tired of telling it your way
Yeh I know what I saw
I know that I found the floor

Before you take my heart, reconsider
Before you take my heart, reconsider
I've opened the door
I've opened the door

Here comes the summer's son
He burns my skin
I ache again
I'm over you

I thought I had a dream to hold
Maybe that has gone
Your hands reach out and touch me still
But this feels so wrong

Before you take my heart, reconsider
Before you take my heart, reconsider
I've opened the door
I've opened the door

Here comes the summer's son
He burns my skin
I ache again
I'm over you

Before you take my heart, reconsider
Before you take my heart, reconsider
I've opened the door
I've opened the door

Here comes the summer's son
He burns my skin
I ache again
I'm over you

Here comes the winter's rain
To cleanse my skin
I wake again
I'm over you

Here comes the summer's son
He burns my skin
I ache again
I'm over you

Here comes the winter's rain
To cleanse my skin
I wake again
I'm over you

I'm over you


SUNDAY AFTERNOON

I can think of better days
As I look into your eyes
And I feel that in a way
I know that you'll be alright

And he walks for a mile
It's his style
Baby never acts wild
Feels he's invencible
He walks for a while
But I never ask why
He needs his time in isolation

It's your views
On your groove
On a Sunday afternoon
Paint it slow
Then you'll know
What you need to work out soon

I'm gonna whisper in your ear
I've a lot of things to say to you
I'll give you all my universe
You're all I want and that's for sure

And he walks for a mile
It's his style
Baby never acts wild
Feels he's invencible
He walks for a while
But I never ask why
He needs his time in isolation

It's your views
On your groove
On a Sunday afternoon
Paint it slow
Then you'll know
What you need to work out soon

It's your views
On your groove
On a Sunday afternoon
Paint it slow
Then you'll know
What you need to work out soon

In your darkest hour
Take my hand and I'll show you
Understand it much better
I'll make sure you get there

It's your views
On your groove
On a Sunday afternoon
Paint it slow
Then you'll know
What you need to work out soon

It's your views
On your groove
On a Sunday afternoon
Paint it slow
Then you'll know
What you need to work out soon


MOVE IN

Move in, move in
Move in, watch me move in

Invite me to a party
Hang some colour on the walls
It makes me feel like eighteen
I'm gonna change things for us all

Sooner or later the music goes
I see a trace of sweat on your face

Move in, move in
Remember now the times we had
Move in, watch me move in
Remember now the times we had

Our world's turned round but that's okay
Yet, things still look the same
People dancing so much
Keep it pushing come what may

Sooner or later the music goes
I see a trace of sweat on your face

Move in, move in
Remember now the times we had
Move in, watch me move in
Remember now the times we had

I see the lights are low now
But still the faces glow
A year that's full of zeros
Yet who knows what that holds

Sooner or later the music goes
I see a trace of sweat on your face

Move in, move in
Remember now the times we had
Move in, watch me move in
Remember now the times we had

Move in, move in
Remember now the times we had
Move in, watch me move in
Remember now the times we had

Move in, move in
Remember now the times we had
Move in, watch me move in
Remember now the times we had

Lead on
Oh the music goes
And I feel it pushing on, baby
I feel it's pushing
Push against me
Please, stop
I feel the music
Inside me


WHEN WE ARE TOGETHER

Oh, I remember you said can I fight and breathe
So now I always, always hold my breath you see
You're my heaven, you're my spaceman in your shiny shiny suit
I'll send up all my prayers and hope they're understood

Love started making sense
I always make mistakes at my expense
Love has placed a seed
And you're the sun that shines down upon me

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings

It's been too long since I've tried to take the time
So now I'm fallin', fallin' into the sublime
When you brush against a stranger
And you both apologise
And when you see there's something you recognise

Love started making sense
I always make mistakes at my expense
Love has placed a seed
And you're the sun that shines down upon me

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings

Yeh when we are together
And when we are apart
There is no space in our hearts
I've got these feelings


DAY AFTER DAY

One day I'll have to face the truth
I will
I know I'll find it hard to wake up
And say these words to you

So did the days drag on for you
Was I gone for too long
There's something changing in me
I've got to show it
Got to show you

Cause day after day without you
I find that there's no one to turn to
All this madness that I've found
I'm so thankful when you're around
It's true, yes I do

In every place I'll face a world
Of strangers
We'll talk and laugh about the good times
We had together

So did the days drag on for you
Was I gone for too long
There's something changing in me
I've got to show it
Got to show you

Cause day after day without you
I find that there's no one to turn to
All this madness that I've found
I'm so thankful when you're around

Cause day after day without you
I find that there's no one to turn to
All this madness that I've found
I'm so thankful when you're around
It's true, yes I do

There are times when I see you
There are times when I'm mad
When I wake you disappear
That's what I always find so hard

Cause day after day without you
I find that there's no one to turn to
All this madness that I've found
I'm so thankful when you're around

Cause day after day without you
I find that there's no one to turn to
All this madness that I've found
I'm so thankful when you're around
It's true, yes I do

It's true, yes I do


SAINT

I'm taking my time
I'll fix it, don't worry now
I'm needing you there
Make sure that you're coming too

All of my life
Is all I'll give you here
The meaning of me
Is something to pursue

You think I'm a saint
It's in your pretty head
Stretched out like a saint now
I love you to death

Catch another dream now
We can find them somehow
I know that there's a boy inside the man
Catch another dream now
Take all we are allowed
For I know that there's a man inside the boy

Grown ups don't know
How to dream anymore
Their heads in the sand
And they choose to ignore it all

All of my life
Is all I'll give you here
The meaning of me
Is something to pursue

You think I'm a saint
It's in your pretty head
Stretched out like a saint now
I love you to death

Catch another dream now
We can find them somehow
I know that there's a boy inside the man
Catch another dream now
Take all we are allowed
For I know that there's a man inside the boy

You think I'm a saint
It's in your pretty head
Stretched out like a saint now
I love you to death

Catch another dream now
We can find them somehow
I know that there's a boy inside the man
Catch another dream now
Take all we are allowed
For I know that there's a man inside the boy

Catch another dream now
We can find them somehow
I know that there's a boy inside the man
Catch another dream now
Take all we are allowed
For I know that there's a man inside the boy

A man inside the boy
You think I'm a saint
It's in your pretty head


GIRL

All the money's on your hip now
Need to take another trip down
Protect all mothers for they lay in the path
I can deal with the lovers
Always dealt with dreams
But I've never known what reality means

Cause you're the sweetest thing
I've waited for
I feel so good about you

You are always on my lookout
Sing what you are all about
Just think, you've got the power
Girl, you've got the power

Lay me down to the right side
Tie me up till it feels fine
You know the uses and you've no compromise
Put it down with the two time
I always know when it feels right
I will if you will, I'm just taking my time

Cause you're the sweetest thing
I've waited for
I feel so good about you

You are always on my lookout
Sing what you are all about
Just think, you've got the power
Girl, you've got the power

Cause you're the sweetest thing
I've waited for
I feel so good about you

You are always on my lookout
Sing what you are all about
Just think, you've got the power
Girl, you've got the power

You are always on my lookout
Sing what you are all about
Just think, you've got the power
Girl, you've got the power


THE HUSH

I'm a long long way from yesterday
And with time my ideals change
I want to spend all of my time
The way that it should be spent

Road maps here of 20 towns
Flights a faithless place
I eat another Milk Bar down
Yawn and wash my face

You know you're nervous when you see me sway
Too much time by yourself
You know you always seem to back away
Don't hide within yourself

There's a certain hill I want to climb
Like tar bubbles on the path
When they all pop up in summertime
Forever my climb will last

Road maps here of 20 towns
Flights a faithless place
I eat another Milk Bar down
Yawn and wash my face

You know you're nervous when you see me sway
Too much time by yourself
You know you always seem to back away
Don't hide within yourself

Hush hush shhh
Hush hush shhh
Hush hush shhh
Hush hush shhh

You know you're nervous when you see me sway
Too much time by yourself
You know you always seem to back away
Don't hide within yourself


THE DAY BEFORE I WENT AWAY

I tried to tell you that on Monday
The day before I went away
I was always there when you were coming down
I had to take some time
Take some time

You know I'm needing you for so much pleasure
I'm always wanting you to take me there
I need to be the one to tell you that you're on the right road
And how some time alone is only fair

You know I'm renowned
And feel it's a lonely time I've had
But it never felt that bad

I tried to tell you that on Monday
The day before I went away
I was always there when you were coming down
You never took the time
Took the time

I wish you'd known me when I was much younger
As I closed my eyes upon the world
But now an open mind which seems much stronger
A perfect doubting of your every word

You know I'm renowned
And feel it's a lonely time I've had
But it never felt that bad

I tried to tell you that on Monday
The day before I went away
I was always there when you were coming down
You never took the time
Took the time

C'mon c'mon
C'mon c'mon
C'mon c'mon
C'mon c'mon

You know I'm renowned
For the lonely time I've had
But it never felt that bad

I tried to tell you that on Monday
The day before I went away
I was always there when you were coming down
You never took the time
Took the time

I tried to tell you that on Monday
The day before I went away
I was always there when you were coming down
You never took the time
Took the time

Never took the time
Never took the time
Never took the time
To stop me
I always wanted you to stop me
You never took the time

 M P 3   S a m p l e s


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