{"id":16021,"date":"2020-05-17T11:00:00","date_gmt":"2020-05-17T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/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\/fr\/chroniques\/groupes\/texas-glasgow-cool-with-a-motown-backbone\/","title":{"rendered":"Texas – \u00c9l\u00e9gance glasw\u00e9gienne sur fond de soul Motown"},"content":{"rendered":"

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Du south side de Glasgow \u00e0 White on Blonde<\/h3>\n

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Texas se forme \u00e0 Glasgow en 1986, \u00e0 l’initiative du bassiste et compositeur Johnny McElhone, d\u00e9j\u00e0 pass\u00e9 par Altered Images et Hipsway avant de chercher quelque chose de plus durable. Il rep\u00e8re Sharleen Spiteri en train de chanter dans un bar du sud de la ville et la convainc de le rejoindre sur le champ. Le nom vient du film de Wim Wenders Paris, Texas, non d’une g\u00e9ographie am\u00e9ricaine dans la musique, et cette distance est pens\u00e9e : Texas a toujours \u00e9t\u00e9 un groupe de Glasgow qui empruntait la soul am\u00e9ricaine et la portait avec une retenue bien \u00e9cossaise.<\/p>\n

Le parcours de McElhone donne au groupe une colonne vert\u00e9brale que beaucoup de groupes de guitare britanniques n’avaient pas. Il conna\u00eet la patience d’un morceau qui refuse de pr\u00e9cipiter son final. Spiteri apporte l’autre moiti\u00e9 : une voix pos\u00e9e entre froid et chaleur, ni chanteuse de soul \u00e0 plein poumon ni murmure indie. Guitares nettes, sections rythmiques s\u00e8ches, refrains qui arrivent sans pr\u00e9venir – le son du groupe est d\u00e9lib\u00e9r\u00e9 et sans h\u00e2te d\u00e8s le d\u00e9but.<\/p>\n

Southside (1989), sorti chez Mercury, place \u00ab\u00a0I Don’t Want a Lover\u00a0\u00bb sur les radios europ\u00e9ennes et installe Texas comme une pop adulte plus soign\u00e9e que la moyenne des charts. Le morceau emprunte une colonne vert\u00e9brale Motown et l’habille d’une m\u00e9lodie qui fonctionne aussi bien dans un bar que dans une voiture la nuit. Pr\u00e9cision Motown, ouverture de la country pop et franchise \u00e9cossaise : une combinaison famili\u00e8re mais qu’on ne retrouve nulle part ailleurs sur le march\u00e9 de l’\u00e9poque. L’album s’est vendu r\u00e9guli\u00e8rement en Europe continentale longtemps apr\u00e8s que la radio britannique soit pass\u00e9e \u00e0 autre chose.<\/p>\n

Mothers Heaven (1992) et Ricks Road (1993) prolongent l’\u00e9lan \u00e0 travers les ann\u00e9es Britpop, sans y adh\u00e9rer. Texas garde son propre rythme et construit une base de fans fid\u00e8les en Grande-Bretagne et en Europe tandis que les charts britanniques oscillent entre la r\u00e9action grunge et le swagger Union Jack. Les chansons gagnent en pr\u00e9cision, Spiteri en assurance, et l’\u00e9criture de McElhone en efficacit\u00e9.<\/p>\n

White on Blonde (1997) est l’aboutissement. Produit avec une nettet\u00e9 sans fioriture, l’album place \u00ab\u00a0Say What You Want\u00a0\u00bb, \u00ab\u00a0Halo\u00a0\u00bb et \u00ab\u00a0Black Eyed Boy\u00a0\u00bb dans le top dix britannique en succession rapide. Il monte \u00e0 la premi\u00e8re place et finit par se vendre \u00e0 plus de quatre millions d’exemplaires dans le monde. La production donne \u00e0 la voix de Spiteri plus d’espace, et les arrangements, toujours propres et disciplin\u00e9s, rencontrent un moment de la radio britannique qui r\u00e9compense exactement ce genre de cool. Le disque devient une r\u00e9f\u00e9rence de la pop britannique de la fin des ann\u00e9es 1990.<\/p>\n

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The Hush (1999) encha\u00eene avec \u00ab\u00a0In Our Lifetime\u00a0\u00bb et \u00ab\u00a0Summer Son\u00a0\u00bb, tous deux bien class\u00e9s. Spiteri est devenue le visage reconnaissable sur les couvertures de magazines, mais McElhone reste l’architecte structurel derri\u00e8re les disques. Remplir des ar\u00e8nes \u00e0 cette p\u00e9riode ressemble \u00e0 une cons\u00e9quence naturelle plut\u00f4t qu’\u00e0 une promotion : Texas a construit la taille de la salle en dix ans, un single \u00e0 la fois.<\/p>\n

Les albums suivants arrivent \u00e0 des intervalles plus longs avec des attentes commerciales plus modestes. Red Book (2005) se rapproche du gospel et de la soul organique. The Conversation (2013) travaille le m\u00eame filon avec plus de confiance. Jump on Board (2017) devient leur premier album num\u00e9ro un au Royaume-Uni depuis The Hush, port\u00e9 par \u00ab\u00a0Let’s Work It Out\u00a0\u00bb. Hi (2021) suit le m\u00eame cap. Chaque album de Texas sonne comme le m\u00eame groupe \u00e0 un moment diff\u00e9rent du m\u00eame chemin, ce qui est moins une limitation qu’une forme de fid\u00e9lit\u00e9 au projet.<\/p>\n

Texas s’inscrit dans une tradition pop \u00e9cossaise qui inclut Simple Minds, Aztec Camera et Wet Wet Wet, mais le groupe a trouv\u00e9 sa propre voie en misant sur la soul am\u00e9ricaine plut\u00f4t que sur l’ambition de guitare ou l’introspection acoustique de ses pairs. Plus cool et plus r\u00e9gulier que beaucoup d’actes pop britanniques ayant atteint des positions similaires dans les charts des ann\u00e9es 1990, et plus durable commercialement que les groupes indie qui revendiquent les m\u00eames r\u00e9f\u00e9rences. Grammaire de la soul am\u00e9ricaine, pragmatisme glasw\u00e9gien, et talent pour \u00e9crire un refrain qui tient ses promesses.<\/p>\n

La porte d’entr\u00e9e, c’est White on Blonde pour la version de pointe, Southside pour les origines, The Hush pour la suite de singles. \u00ab\u00a0I Don’t Want a Lover\u00a0\u00bb, \u00ab\u00a0Say What You Want\u00a0\u00bb et \u00ab\u00a0Summer Son\u00a0\u00bb couvrent trois \u00e9poques diff\u00e9rentes et d\u00e9fendent le m\u00eame argument : ce groupe savait \u00e9crire une chanson pop qui ne s’\u00e9ternise pas. Pour une seule piste d’introduction, \u00ab\u00a0Say What You Want\u00a0\u00bb illustre encore ce que Texas a construit : une voix qui garde son calme, et un refrain qui tient parole.<\/p>\n

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Texas s’est form\\u00e9 \\u00e0 Glasgow en 1986 autour de Johnny McElhone et Sharleen Spiteri, et a construit une carri\\u00e8re sur la grammaire de la soul am\\u00e9ricaine filtr\\u00e9e par une retenue toute \\u00e9cossaise, pour aboutir \\u00e0 l’un des albums pop britanniques de r\\u00e9f\\u00e9rence de la fin des ann\\u00e9es 1990.<\/p>\n","protected":false},"author":1,"featured_media":16001,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[467,1013],"class_list":["post-16021","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-pop-fr-2","tag-texas-fr"],"yoast_head":"\nTexas - \u00c9l\u00e9gance glasw\u00e9gienne sur fond 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\/fr\/chroniques\/groupes\/texas-glasgow-cool-with-a-motown-backbone\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Texas - 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