Signed, sealed, delivered (1987)
Me and Johnny [McE/hone, Texas co-founder and bassist] had written ’I Don’t Want A Lover’ and various other songs, and they were on the first demo. We got signed on the strength of that. Then we just decided to do a couple of gigs . . . and that was how it started.
Taking the stage (1988)
First gig . . . Dundee University. In the bar. The stage was about ten inches high, so most of the audience were taller than me. Johnny said to me, ’Don’t expect it to be busy!’ — but it was absolutely packed with all our friends. It ended up being a really good gig, but I remember being terrified. I was fine when I was singing, but when it came to talking I was like 'Ohhh God!’ ! was kind of doing that indie bullshit where you look at your shoes.
'I Don't Want A Lover' (1989)
No one believed in us — our record company always referred to us as ’that band from Scotland’. It was amazing that we suddenly had this massive hit. We suddenly had all these new friends. People go, ’Oh, we knew you would do it,’ and I’m like, ’Yeah, right!’ I had never released a single, nothing. I remember putting the needle on the record for the first time and hearing ’I Don’t Want A Lover’ come out, and thinking, ’Wow, we've really done it!’.
Top Of The Pops (1989)
It was really weird, because I always thought Top Of The Pops was this massive space with hundreds and hundreds of people — and then you’re in this TV studio with about 40 people, and you see how controlled it all is. The first time we did it, I remember Womack and Womack were on too.
The wilderness years (1991—97)
The albums were still coming in Top Twenty, and we had a big hit with ’Tired Of Being Alone’. But the profile of the band was non-existent. We were doing OK; we were just treading water. Europe was going really well, which was pretty lucky because that was what kept us our record deal. We never conSidered giving it up. We believed in ourselves as a band, and Johnny and I believed in ourselves as songwriters.
White On Blonde (1997)
It’s amazing: everyone thinks this explosion of publicity happened with White On B/onde. It never. We released ’Say What You Want’, it was a massive hit; the album came out, went in at Number One; then the press started. I wasn't even on a cover ’til the third single. Everyone seems to forget that the press took so long to come round. A lot of people still srt on the fence; they say ’Oh, she looks great, she does this, she does that’, but no one actually says ’lt was an absolutely brilliant record and that’s why it did so well’. I think the public are big enough to decide for themselves what they like and what they don't like.
YEARS
Becoming a style icon and sex symbol (1997)
I did it because it was my choice When we first signed to the record company they \.‘.ere like, 'OK, female-fronted hand we'll put her face on the cover" And I didn't feel comfortable With that. When we made lr‘ic’n/te On B/onc/e l \.‘.as ready
Credibility knocks (1997)
A lot of people sat up and took notice because lurgen leller did the photcxyraphs, and it was a really nex'v.’ look as far as the artwork was concerned. We worked really hard on that, and JL'irgen didn't care about the whole l'exas uncool thing, he Just really wanted to do it.
lvor Novello Award (1998)
I'm always interested in what the fans are saying, but to be given an award that is actually voted for by other songwriters is speCial. It isn’t given in a political way, like 'maybe it's about time we gave them one',‘ and it's not about \.vliate\./ei' record company’s got the next big album and needs a pat on the bac k,
'Say What You Want' with Method Man (1998)
We'd been namechecking the Wu Tang Clan since we made White On Blonde, and it came about as a bit of an accident Fate, in a way. We did the song together and it was pretty interesting. It showed that you could put people together from very different walks of life and musical backgrounds, and come Lip With something new and fresh.
The Glenfiddich/Scotland On Sunday Scot Of The Year Award (1999)
I said to them ‘Are you sure l’rn old enouger But Ewan MacGregor won one last year, so I guess it's fine It means people are supporting the young Scottish people that are coming through, which I think is really, really good for Scotland
Headlining Edinburgh’s Hogmanay (1999)
We got a lot of offers from a lot of different places, and \.‘~./(‘ turned them all down, but this thing (cifllf‘ up in Edinburgh Just when Rachel HOuse said they x'rere building their nev.» hospice We saw it as a really good opportunity to help them I cOuldn't care less abOut the lvlillenn urn hype, I think it's a load of shit But | WI” be excited because I'm going to be \.'.’alk:ng out in front of thousands of people to do a performance, and at the end of it I'm gOing to feel pretty good because I'm in a s:t.;atron lszhere we can say 'No, we don’t need the money' It feels ike a really positive way to bring in a new milennium
The future (2000)
If I had a crystal ball, I wouldn't be earning my living in the mUSlC industry. We've got plans, things we’re already working on; but as far as what the next year holds, I've no idea. For me it’s personal things. Getting my house together, stuff like that (Intervrew by Hannah McGrlii
Texas play Edinburgh Castle Esplanade on Fri 31 Dec.
.1th 999*010 luau
TEXAS
THE LIST9