By the end of the 80s, the easiest way for a new(-ish) act to grab my attention–and my dollars–was for it to feature a female vocalist. I’m repeating myself, but at this point on the solo side I was into Suzanne Vega, Tracy Chapman, Toni Childs, Marti Jones, Sinéad O’Connor, Basia, and Jane Siberry, among others (looks like I need to do a Marti write-up someday!). Women-led groups may have been a little sparser in my collection (10,000 Maniacs, Lone Justice, Cocteau Twins, and ’til Tuesday were there, but it was still a while before fave shoegaze acts like Lush and My Bloody Valentine appeared on the radar). Here’s another that popped up just before the 90s hit.
Somewhere around the time fall classes began again in Illinois I started seeing a video supporting a
fivefour-some that featured Sharleen Spiteri, a guitar-slinging 21-year-old brunette with a powerful alto. “I Don’t Want a Lover” doesn’t exactly strike me as late 80s VH-1 fare now, though odds are that’s where I encountered it. It wasn’t long before I secured a CD copy of Southside, the debut disk from the Glasgow-based Texas and stuck it on a cassette for trips in the car.
“I Don’t Want a Lover” went Top 10 in England and reached #77 in their only US Hot 100 appearance (it debuted on the 9/9/89 chart). I’m bummed that the video I saw thirty years ago isn’t available on YouTube, even if it is just a performance clip. Still the best song on the disk.
The next two selections follow a similar formula: two rounds of verse/chorus, solo, bridge, return to the chorus to the fade-out. “Everyday Now” and “Thrill Has Gone” were the third and second UK singles, respectively. Nice to see a real video for “Thrill Has Gone,” which had just the right amount of country vibe for me back then.
My second favorite track then was and probably still is “Fool for Love.” Our narrator’s letting her former lover know of his new status, and maybe the reasons why.
They chose the right song for the closer. “Future Is Promises” is a slower, more somber piece about trying to pry away a girlfriend’s boyfriend. The bridge expresses equivocation, though: “Take the chance and make the move/But don’t think that I will approve/For once I’ve finally realized/Being with her wasted your life.”
Southside is one of the CDs I moved over to my office several years ago in a spasm of reorganization, right around the time I brought a bunch of disks home from my parents’ house after cleaning it out. I don’t listen to it all that often anymore, but still think it’s a solid offering. Over the next four or so years, I picked Texas’s follow-up albums Mothers Heaven and Rick’s Road; neither wound up appealing the way Southside did.
And I think that was pretty much it for Texas on this side of the pond. Over in Britain, however, Spiteri and company became stars with their next two releases, White on Blonde (97) and The Hush (99). Both went to #1 there, each spawning multiple Top 10 singles. I’ve got a feeling I know what I’m going to be checking out this afternoon.
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