Interview with Sharleen by Massimo Cotto for Rai-Radio uno in December 2000 at the Wembley Arena, after a promo-concert for «The Greatest Hits» album.
Article by Olaf Tyaransen for "Hot Press" magazine, March 1998
transcribed by Jacopo Gerosa.


Massimo Cotto: We are in the dressing rooms of the Wembley Arena with Sharleen Spiteri, the amazing voice of Texas; and with her we are going to discover the group and deepen this subject. Hi Sharleen, thank you for being with us. Sharleen Spiteri: Thank you. M.C.: You’re Scottish but you have Italian blood in your veins, haven’t you? S.S.: Yes, from my father’s side. My grandfather was Italian, from a small town in Sicily. From my mother I inherited German and Irish blood. My grandmother was French. As you can see, I am a big mix of everything. M.C.: Your father was a sailor… S.S.: Yes, he was a seaman, I used to travel for a long time, especially in summer, visiting the world and preparing myself to the nomad life of musicians. It was a useful experience. M.C.: What did you learn from him, and his job? S.S.: First of all, that world goes beyond the door of your house, and that differences could unite, instead of separate. I remember many dinners; we were all together around the table, savouring courses from Italy, Ireland, France, England, and naturally Scotland. Today average British families have meals in different times, children an hour, adults another. For us it was different: dinner was a moment of aggregation, unity, and we grew up rapidly and with serenity. Travelling by sea, when I was 12, I knew Europe; being in contact with other sailors was a useful experience, I learned to cement the terms with other musicians, besides the fact that I knew many things on different countries. M.C.: Is it true that when you were asked to spell words, at school, you summoned seafaring idioms? S.S.: How do you know this? I confessed it in an English TV show. Alpha, Bravo Charlie, Delta… Nobody believed in his ears, and had hysterics. This was the way I and my father used to communicate, when he was by sea. We used to end talks with something like: «Over». M.C.: How did music enter your life? S.S.: It was always there, my father used to go often to America, and he was influenced by it. For some time he lived in San Francisco, involved in the hippy movement. From him I learned to love Dylan, Jim Clark, Beatles. My mother, on the other side, loved Staple Singers, Mahalya Jackson, Soul, Gospel, Rhythm ’n Blues: she is the “black side” of the family. When I was a teen-ager, I discovered Ashford & Simpson, Neil Diamond, Blondie. Even in this case, I “drank” a good mix of genres and styles. And it was important, because music, especially for teen-agers and adults, is the shortest way to escape from everyday life, from the lacks of individual existences. Yes, music is escape. My father used to play guitar, I took it for the first time when I saw «Breakfast at Tiffany’s», with Audrey Hepburn. There was a band, which played «Moon River»: I remained charmed. Since there I started to approach music with different eyes and ears. It became more and more important for me. M.C.: Punk was the great revolution, probably the last one. Its commandment was «No past, no future»: they don’t exist, present is the only important. S.S.: This is real, but listen, genres don’t matter, because they all come from one source. And then, everything has to be framed in its time, its historical prospective. Rhythms of life changed from the middle of the 70s. Nowadays, for example, you can use technology. I don’t believe in people who listen to one only kind of music. It is important to pay attention to the new tendencies, the new bands, even without appreciating them. Living in the past is impossible, and you will end up by doing it, if you don’t look at forward. M.C.: Stax or Motown, what do you choose? S.S.: Motown, even if it’s a difficult choice. Motown songs had a particular heart and magic. Also if you have sung by contemporary musicians, you can’t stop singing them. When you listen to them, you say: “Oh! It was such a good record!”. M.C.: A definition for your music is “pop”, a genre that doesn’t own the profundity, the wisdom, the personality of Rock. Do you think it can anyway communicate something, as Rock does? S.S.: I used to be really anti-pop, I got angry when my early songs were defined “pop”. Then I grew up, and I learned that Beatles were “pop”. So, if they didn’t feel offended, why should I? “Pop” also means popular music! I don’t care how people define Texas, I care they listen to us, and decide if they like our music, or not. M.C.: Another word matched to Texas is “sexy”: your music is sexy, and your voice, too; (he smiles) you are, sure, very sexy. What’s “sexy”, for you? S.S.: We are surely a sex bomb, sexy component has always been important for music, even much time before me. I know I’m a woman with a pleasant look, who works on a stage. I don’t know how many people would consider me sexy, if I didn’t lead a group, and I didn’t control thousands of people going crazy for me, with the only strength of my voice, a guitar, and a pleasant look. Maybe my voice, that strikes them, or the fact that I sing on love, on somebody’s possession, or a mix of all these things. For me sexy is wrapping and letting glimpse. Sensuality stays in glances and in smiles. Being nude doesn’t mean sexy. There are things you can’t buy: you already have it, or you’ll never get. M.C.: Gerard Depardieu said that cinema couldn’t tell sex, but only wish. Is that what you mean? S.S.: Exactly. Sometimes pursuing is better than getting. The wish is important, not only for art; it is an important element of human nature. M.C.: A journalist said that you wear telecaster guitar like a bag by Chanel. Fashion and music are strictly connected. S.S.: Yeah, they are, massively. But it is I important not to exaggerate. Some bands live for their look, they can’t do anything without their reliable stylists. The most difficult garment to wear is naturalness: it is important to have an own personality. And even in this case, as for sensuality, you already have it, or you’ll never get. The best compliment you can receive from a stylist is that you have transformed one of his articles in one of your clothes. M.C.: Have you ever considered a career as actress seriously? S.S.: Of course! I continuously receive scripts, but the moment hasn’t arrived yet. I’m too busy making discs. Who can tell for future? M.C.: What kind of role would you like playing, what kind of movie? S.S.: Something interesting, every role that lets me enter places I don’t know. M.C.: I understand that the name Texas takes origin from a movie, «Paris Texas» by Wim Wenders, one of the most loved directors by people who follow rock, probably because he managed to transmit with images what rock, in some periods, wasn’t able to convey through sounds. I really liked what Wenders said once, about «Paris Texas»: “I understood I had a movie in my hands only when I listened to Ry Cooder’s music on Harry Dean Stanton’s walk, along the railway line”. Even cinema, besides fashion, is strictly connected to music. S.S.: Naturally. All kinds of expression flow together with others. For me, one of the most beautiful scenes in the history of cinema belongs to «Lawrence of Arabia», while he is going through the desert. One minute and half in which he looks at the camel, and listens to the sounds of desert. Genial and bold, with sounds that build up the tension, while images proceed. In my concerts I create tension with lights, so that they influence music, without being super-imposed. M.C.: By Texas I like the unity of sounds, with their sort of provided fragility, as there was a crevice where it is beautiful to glide. S.S.: This is fundamental, it was in Marvin Gale’s songs, - I love them - an incredible fragility, as if all may be smashed in a moment. The same in John Lennon, another person who wasn’t afraid to put himself in his songs. It is there that fragility takes origin. I don’t mean that my songs speak about me, I don’t care people think so. Music has the power to move from itself, and to approach to you and your life, to become a part of you. M.C.: By Lennon you also remade «Across the universe», for his tribute. Emotions? S.S.: Many! I felt honoured, when I was asked to participate. I knew that all would choose the most famous songs by John, so I did the contrary. A piano version of «Across the universe», from a female point of view. The first time I listened to it from John I was struck by the mix of fragility and fury that issued from music and words. I tried to maintain it, besides a deep sense of intimacy. M.C.: You have lived in Paris, for one year… S.S.: I’m very connected to France, my grandmother was French, my grandfather had lived in Bordeaux for long. I feel at home, as if I belonged to France. Many friends of mine come from there, and it strengthens my connection. M.C.: You are very popular there. S.S.: Yes, I’m so familiar that some people think I’m French. While I’m Scottish! M.C.: You’re Scottish, but you’re a fan of Arsenal! S.S.: Probably because I live near there. I have many friends in the team, Thierry, for example. We met through Patrick Vieira. They’re genuine and sincere people, like my colleagues, who put passion in every aspect of life. M.C.: Your voice shows up also in acoustic. Have you ever thought to make an unplugged? S.S.: Curious, we were the very first to make an unplugged for MTV, when it really meant “detached plug”: one acoustic guitar and one voice, with the drummer knocking on his knee. Very far from today, with orchestras of 50 elements, 12 acoustic guitars, 5 choristers… Many people told me: “Add more instruments, violins, guitars…” but I did the contrary. It has always been so: even when I was a hairdresser, I never loved the chorus: a dissonant voice is better. I don’t want to be different at all costs, but I follow my own instinct, that hates being shut in cage, imprisoned with other people. I hated school, because teachers said: “You all must thing at the same mode!”. And I looked my desk-neighbour, and I thought that I didn’t want, and never would do, to have anything in common with her. Adolescents’ individuality is choked with too much carelessness. I was scared, seeing that also the bravest re-entered the group in difficulties. Texas demonstrated it is possible to follow one’s own dreams and attitudes, and that people follow it. I don’t know how long will it endure, but we have been by the way for fifteen years. M.C.: I really like the idea that you haven’t chosen a career as soloist, and that you have remained with the band. I believe this is the idea, the essence of Rock ‘n roll: the group. S.S.: You know, I love my band. Some people told me: “You must go on alone”, and bla bla bla, but I answered that I had never felt so good, as in the group. I don’t know if other musicians want to follows other ways, but I stay on this one. I don’t know what happens tomorrow. The only thing I know is that I need a long pause, because I don’t want to be too present and jeopardize. I need to recharge my batteries, to find new stimuli to write songs. M.C.: That’s all; thank you for having been with us. S.S.: Not at all, thank you.


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