{"id":16024,"date":"2020-05-17T11:00:00","date_gmt":"2020-05-17T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/texas-glasgow-cool-with-a-motown-backbone\/"},"modified":"2026-09-27T00:01:20","modified_gmt":"2026-09-26T22:01:20","slug":"texas-glasgow-cool-with-a-motown-backbone","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/texas-glasgow-cool-with-a-motown-backbone\/","title":{"rendered":"Texas &#8211; Elegancia glasweguiana sobre un fondo de soul Motown"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Del sur de Glasgow a White on Blonde<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Texas se form\u00f3 en Glasgow en 1986, proyecto del bajista y compositor Johnny McElhone, que ya hab\u00eda pasado por Altered Images e Hipsway antes de buscar algo m\u00e1s duradero. Encontr\u00f3 a Sharleen Spiteri cantando en un bar del sur de la ciudad y la convenci\u00f3 para unirse al grupo en el acto. El nombre viene de la pel\u00edcula de Wim Wenders Paris, Texas, no de ninguna geograf\u00eda americana en la m\u00fasica, y esa distancia era intencionada: Texas siempre fue un grupo de Glasgow que tom\u00f3 prestado el soul americano y lo llev\u00f3 con compostura escocesa.<\/p>\n<p style=\"text-align: justify;\">El recorrido de McElhone dio al grupo una columna vertebral estructural que muchos grupos de guitarra brit\u00e1nicos no ten\u00edan. Entend\u00eda la paciencia de una canci\u00f3n que se niega a precipitar su desenlace. Spiteri aport\u00f3 la otra mitad: una voz situada entre lo fr\u00edo y lo c\u00e1lido, sin ser ni una cantante de soul a pleno pulm\u00f3n ni un susurro indie. L\u00edneas de guitarra limpias, secciones r\u00edtmicas secas y estribillos que llegaban sin previo aviso hac\u00edan que su sonido temprano resultara deliberado y sin prisa.<\/p>\n<p style=\"text-align: justify;\">Southside (1989), publicado en Mercury, puso \u00abI Don&#8217;t Want a Lover\u00bb en las radios europeas e instal\u00f3 a Texas como pop adulto con m\u00e1s oficio que la media de las listas. El tema tomaba prestada una columna vertebral Motown y la vest\u00eda con una melod\u00eda que funcionaba igual en un bar que en un coche de noche. Precisi\u00f3n Motown, apertura del country pop y una franqueza escocesa: una combinaci\u00f3n familiar pero que no sonaba exactamente a nada que ya existiera en el mercado. El \u00e1lbum se vendi\u00f3 de forma constante en Europa continental mucho despu\u00e9s de que la radio brit\u00e1nica hubiera pasado a otra cosa.<\/p>\n<p style=\"text-align: justify;\">Mothers Heaven (1992) y Ricks Road (1993) prolongaron el impulso a trav\u00e9s de los a\u00f1os Britpop, sin sumarse a \u00e9l. Texas mantuvo su propio ritmo, construyendo una base de seguidores fiel en Gran Breta\u00f1a y Europa mientras las listas oscilaban entre la reacci\u00f3n grunge y el swagger Union Jack. Las canciones ganaban en precisi\u00f3n, Spiteri en seguridad, y la composici\u00f3n de McElhone en eficacia.<\/p>\n<p style=\"text-align: justify;\">White on Blonde (1997) fue el resultado. Producido con una nitidez sin florituras, el \u00e1lbum coloc\u00f3 \u00abSay What You Want\u00bb, \u00abHalo\u00bb y \u00abBlack Eyed Boy\u00bb en el top diez brit\u00e1nico de forma sucesiva. Lleg\u00f3 al n\u00famero uno y acab\u00f3 vendi\u00e9ndose m\u00e1s de cuatro millones de copias en todo el mundo. La producci\u00f3n le dio m\u00e1s espacio a la voz de Spiteri, y los arreglos, siempre limpios y disciplinados, coincidieron con un momento de la radio brit\u00e1nica que recompensaba exactamente ese tipo de elegancia contenida.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb16010&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790428901{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">The Hush (1999) continu\u00f3 con \u00abIn Our Lifetime\u00bb y \u00abSummer Son\u00bb, ambos muy bien clasificados. Spiteri se hab\u00eda convertido en la cara reconocible en las portadas de las revistas, pero McElhone segu\u00eda siendo el arquitecto estructural detr\u00e1s de los discos. Llenar arenas en ese momento parec\u00eda una consecuencia natural m\u00e1s que un ascenso: Texas hab\u00eda construido el tama\u00f1o de la sala a lo largo de diez a\u00f1os, un single tras otro.<\/p>\n<p style=\"text-align: justify;\">Los \u00e1lbumes posteriores llegaron con intervalos m\u00e1s largos y expectativas comerciales m\u00e1s modestas. Red Book (2005) se acerc\u00f3 m\u00e1s al gospel y al soul org\u00e1nico. The Conversation (2013) trabaj\u00f3 el mismo fil\u00f3n con mayor confianza. Jump on Board (2017) se convirti\u00f3 en su primer \u00e1lbum n\u00famero uno en el Reino Unido desde The Hush. Hi (2021) mantuvo el mismo rumbo. Cada \u00e1lbum de Texas suena como el mismo grupo en un momento diferente del mismo camino, lo que es menos una limitaci\u00f3n que una forma de lealtad al proyecto.<\/p>\n<p style=\"text-align: justify;\">Texas encaja en una tradici\u00f3n pop escocesa que incluye a Simple Minds, Aztec Camera y Wet Wet Wet, pero el grupo encontr\u00f3 su propio espacio apostando por el soul americano en lugar de la ambici\u00f3n guitarrera o la introspecci\u00f3n ac\u00fastica de sus contempor\u00e1neos. M\u00e1s fr\u00edos y m\u00e1s constantes que muchos actos de pop brit\u00e1nico que alcanzaron posiciones similares en las listas de los noventa, y comercialmente m\u00e1s duraderos que los grupos indie que reivindicaban los mismos referentes. Gram\u00e1tica del soul americano, pragmatismo glasweguiano y talento para escribir un estribillo que cumple lo que promete.<\/p>\n<p style=\"text-align: justify;\">La puerta de entrada es White on Blonde para la versi\u00f3n de mayor \u00e9xito, Southside para los or\u00edgenes, The Hush para la racha de singles. \u00abI Don&#8217;t Want a Lover\u00bb, \u00abSay What You Want\u00bb y \u00abSummer Son\u00bb abarcan tres \u00e9pocas distintas y defienden el mismo argumento: este grupo sab\u00eda escribir una canci\u00f3n pop que no se alarga m\u00e1s de lo necesario. Para una sola pista de presentaci\u00f3n, \u00abSay What You Want\u00bb sigue ilustrando todo lo que Texas construy\u00f3: una voz que mantiene su calma y un gancho que cumple su palabra.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Texas se form\\u00f3 en Glasgow en 1986 alrededor de Johnny McElhone y Sharleen Spiteri, y construy\\u00f3 una carrera sobre la gram\\u00e1tica del soul americano filtrada por la compostura escocesa, culminando en uno de los \\u00e1lbumes de pop brit\\u00e1nico de referencia de finales de los noventa.<\/p>\n","protected":false},"author":1,"featured_media":16001,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[468,1014],"class_list":["post-16024","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-pop-es-2","tag-texas-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Texas - Elegancia glasweguiana sobre un fondo de soul Motown - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/texas-glasgow-cool-with-a-motown-backbone\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Texas - Elegancia glasweguiana sobre un fondo de soul Motown - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Texas se formu00f3 en Glasgow en 1986 alrededor de Johnny McElhone y Sharleen Spiteri, y construyu00f3 una carrera sobre la gramu00e1tica del soul americano filtrada por la compostura escocesa, culminando en uno de los u00e1lbumes de pop britu00e1nico de referencia de finales de los noventa.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/texas-glasgow-cool-with-a-motown-backbone\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2020-05-17T09:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-26T22:01:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/Texas.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/texas-glasgow-cool-with-a-motown-backbone\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/texas-glasgow-cool-with-a-motown-backbone\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"Texas &#8211; 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