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The Hush
Studio album by
Texas
Released10 May 1999[1]
Recorded1998–1999
StudioShar's House, Park Lane Studios (Glasgow, Scotland)
Genre
Length50:40
LabelMercury
ProducerJohnny McElhone (as "Johnny Mac")[2]
Texas chronology
White on Blonde
(1997) 		The Hush
(1999) 		The Greatest Hits
(2000)
Singles from The Hush
  1. "In Our Lifetime"
    Released: 12 April 1999[3]
  2. "Summer Son"
    Released: 9 August 1999[4]
  3. "When We Are Together"
    Released: 15 November 1999[5]

The Hush is the fifth album by Scottish rock band Texas. Released in May 1999 as the follow up to their previous studio album released in 1997, the album went onto achieve similar international success than that of its predecessor. It debuted at number one in Scotland and the United Kingdom and spent a total of 43 weeks on the UK Album Chart.[6] It has been certified triple platinum by the British Phonographic Industry. It performed strongly in a number of continental European album charts, reaching the top ten in France, Germany, Switzerland and Sweden.[7]

The album was recorded at both Shar's House, the home recording studio of lead singer Sharleen Spiteri, and Park House Studios, both in Glasgow, Scotland.[8] Its release marked the first time that outside record producers were not involved in the production process of a Texas album. Instead, bassist Johnny McElhone, performing under the name Johnny Mac, assumed sole responsibly for the album's production.[2] Three singles were taken from the album: "In Our Lifetime", "Summer Son" and "When We Are Together".

Background and recording

[edit]

The album was recorded mostly in singer Sharleen Spiteri's house and was produced by co-songwriter Johnny McElhone.[9] Band member, Johnny McElhone, under the name of Johnny Mac, assumed the lead production duties during the recording of The Hush.[2] The decision to have a band member as the sole producer for the album was a major milestone for the band, as their previous albums had some involvement from outside record producers who were involved at various points throughout the recording of their previous releases. Three co-writers – Robert Hodgens, Mark Rae and Steve Christian – assist lead singer Sharleen Spiteri and McElhone in songwriting duties on the tracks “Tell Me the Answer”, “Summer Son” “Move In” and “The Day Before I Went Away". All other songs on the album were written solely by Spiteri and McElhone.[2]

During the recording of the album, the band were said to be "in an exploratory mood musically", having "shored up the technical aspects of the recording processes".[2] The band described "In Our Lifetime" as "Siouxsie's "Hong Kong Garden" remixed by Prince".[10] Andy Gill of The Independent wrote that "Day After Day" sounded like Diana Ross meeting Massive Attack and "Saint" as "Chrissie Hynde covering a Van Morrison song".[10]

Release and promotion

[edit]

The album was released internationally on 10 May 1999 via Mercury Records.[11] Released as the lead single of the album, "In Our Lifetime" reached number four on the UK Singles Chart. The other singles, "Summer Son" and "When We Are Together" respectively peaked at numbers five and 12 in the UK.[12] An additional song, "Tell Me the Answer", was released as a promotional single in the United States in November 1999.[13] The Hush has been certified triple platinum by the BPI for UK sales in excess of 900,000 copies. This makes it the band's second most successful studio album after their previous album, White on Blonde (1997), which had been certified 6× Platinum.

Writing in Albumism, Quentin Harrison commented on the album saying "the autumnal pop sprawl favored for White on Blonde is exchanged for a summery amalgamation of R&B, jazz and guitar-pop sounds. Though there had been American and British pop-soul strains underneath Texas’ rock musculature on past endeavors, here Texas pull them forward to operate as the axis of The Hush. There are the elaborate anachronisms of "When We Are Together" and the title track that evoke spirits of The Supremes and Dusty Springfield. The striking album side "Day After Day" is a Thom Bell inspired downtempo number shamefully overlooked for consideration as a single". He further commented, saying "thematically, Texas salutes the incomparable art form of the love song in its various emotional shades of lust ("Summer Son"), joy ("Sunday Afternoon") and melancholy ("Saint"). Spiteri's voice—boundless in its range—sketches vivid aural portraiture on "Tell Me the Answer" and "The Day Before I Went Away", to spotlight just two entries. To call Spiteri a singular talent as a singer would be a vast understatement of her abilities".[2]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[14]
Entertainment WeeklyB+[15]
The GuardianStarStarStar[16]
The IndependentStarStarStarStar[17]
NME4/10[18]
Pitchfork4.0/10[19]
QStarStarStarStar[9]
Rolling StoneStarStarStarHalf star[20]
The Times7/10[21]
UncutStarStarStarStar[22]

The Independent wrote a favourable review, describing the song "Summer Son" as "funk motorik with bells Spectorising majestically away". Reviewer Andy Gill stated: "It's almost as if they've set out to make ... a post-modern pop that sums up the entire history of this most varied of 20th-century media. The miracle is that they've just about pulled it off."[10] In a 4 out of 5 star review, Q magazine said: "Production is paramount to The Hush ... but for all the handsome noise, it's Spiteri's ever-widening vocal palette that gives the songs personality. 'Move In' is built upon the muscular funk framework of, say, [Grace Jones's] 'Pull Up to the Bumper', but elevated by a light, hipswaying vocal. In case anyone thinks 'When We Are Together' is standard Motown confection, Texas strip it back to Spiteri and a piano in the middle just to prove how strong it is. For 'Day After Day', she's Dusty Springfield." Reviewer Andrew Collins concluded that the album "is rare pop music that possesses both a collective personality and accumulated wisdom."[9]

Pitchfork wrote: "'Summer Son' bounces along like two-toned buttocks frolicking under a silk skirt, while the title track slowjams erotically like Spiteri rubbing down her body with her eyes closed, lips blooming to reveal marble teeth and a sentient tongue. Well, no. Really, there's more to this 'music' than the singer's looks. Really. Stop looking at that. She's out of our league. Give me that back. I want the artwork!"[19]

Commercial performance

[edit]

The Hush was regarded as a "repeat success" for Texas, as the follow up to their 1997 international successful fourth studio album White on Blonde. The Hush was a major success for the band, debuting atop the albums charts in both Scotland and the United Kingdom.[23][24] In the United Kingdom, it spent twelve weeks within the UK Top 10, and a further twenty-seven weeks within the Top 20, forty-three in the Top 40 and fifty-three within the Top 100 as a whole.[25] It continued a similar pattern in continental European albums charts to that of its predecessor, White on Blonde, debuting at number two on the French Albums Charts, and spent fifty-five weeks on the French charts.[7] In Switzerland, it peaked at number five and spent forty-two weeks on the Swiss Albums Charts, and in Germany, it spent thirty-seven weeks on the German Albums Charts following a peak of number seven. On the Austrian Albums Charts, it peaked at number eleven, spending a further nineteen weeks on the Austrian charts.[7]

In the Netherlands, it peaked at number twenty-nine, and went onto spend a total of twenty-two weeks on the Dutch Albums Charts, and in Belgium, it peaked at three on the Flanders Ultratip Albums Charts, spending forty-two weeks on the Flanders charts, and in the Wallonia region of Belgium, it peaked at number nine and went onto spend a total of forty four weeks on the Wallonia Albums Charts.[7] Elsewhere in Europe, it peaked within the top ten in Sweden, charting at number seven on the Swedish Albums Charts and spending a total of twenty-three weeks on the Swedish charts. In Norway, it reached the same position as it did in Sweden, and spent a total of eighteen weeks on the Norwegian Albums Charts. In Australia, however, it peaked at number seventy-five and in New Zealand, it reached number forty-two, and spent a further six weeks on the albums charts in New Zealand.[7]

Track listing

[edit]
No.TitleWriter(s)Producer(s)Length
1."In Our Lifetime"Johnny McElhone, Sharleen SpiteriJohnny McElhone4:06
2."Tell Me the Answer"McElhone, Spiteri, Robert HodgensMcElhone, The Boilerhouse Boys3:54
3."Summer Son"McElhone, Spiteri, Eddie Campbell, HodgensMcElhone4:04
4."Sunday Afternoon"McElhone, SpiteriMcElhone4:21
5."Move In"McElhone, Spiteri, Mark Rae, Steve ChristianMcElhone, Mark Rae, Steve Christian4:28
6."When We Are Together"McElhone, SpiteriMcElhone3:30
7."Day After Day"McElhone, SpiteriMcElhone4:37
8."Zero Zero"McElhone, Spiteri, CampbellMcElhone1:42
9."Saint"McElhone, SpiteriMcElhone4:46
10."Girl"McElhone, SpiteriMcElhone3:46
11."The Hush"McElhone, Spiteri, Rae, ChristianMcElhone, Rae, Christian4:53
12."The Day Before I Went Away"McElhone, SpiteriMcElhone6:28
13."Let Us Be Thankful" (hidden track)   
Japanese bonus tracks
No.TitleLength
14."You'll Never Know" 
15."In Our Lifetime" (Return to tha Dub mix) 

Personnel

[edit]
Texas
Technical
  • Lee Swillingham, Stuart Spalding – art direction, design
  • Andy Dockerty, Davie Robertson, Derek Paterson, Fast Eddie, Graham Cochrane, Stevie Marr – crew
  • Eddie Campbell, Johnny Mac, Kenny Macdonald, Richard Hynd, Sharleen Spiteri – engineer
  • Mark "Spike" Stent – mixing
  • Luis Sanchis – photography
  • Johnny Mac – production

Charts

[edit]

Certifications

[edit]
Region Certification Certified units/sales
Belgium (BRMA)[50] Platinum 50,000*
France (SNEP)[51] 2× Platinum 600,000*
Germany (BVMI)[52] Gold 250,000^
Norway (IFPI Norway)[53] Gold 25,000*
Spain (PROMUSICAE)[54] 2× Platinum 200,000^
Sweden (GLF)[55] Gold 40,000^
Switzerland (IFPI Switzerland)[56] Platinum 50,000^
United Kingdom (BPI)[57] 3× Platinum 900,000^
Summaries
Europe (IFPI)[58] 2× Platinum 2,000,000*

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Hush

View on Grokipedia
from Grokipedia
The Hush is a thriller novel by American author John Hart, serving as the sequel to his book The Last Child, which won the Edgar Award for Best Novel in 2010. Set in rural Raven County, , it centers on the adult protagonists Johnny Merrimon and Jack Cross, who navigate isolation, hidden powers, and resurfacing traumas from their youth. The story blends elements of mystery, psychological suspense, and horror, exploring a secret wilderness world fraught with danger and the supernatural. Ten years after the harrowing events that defined their , Johnny Merrimon has retreated to live alone on 6,000 acres of untamed , evading public fascination with his past exploits while harboring enigmatic abilities. His lifelong friend Jack, now a , remains his sole link to the outside world, but when signs of peril emerge on Johnny's secluded property, their unbreakable bond pulls them into a confrontation with murder, madness, and betrayal. Key themes include the persistence of friendship amid isolation, the corrupting allure of forgotten power, and the enduring prison of one's history, all woven into an atmospheric narrative that defies genre conventions. Published in hardcover by on February 27, 2018, The Hush spans 432 pages and quickly became a New York Times bestseller, lauded for its immersive and unflinching portrayal of human darkness. John Hart, a native and two-time winner of the Edgar Award for Best Novel, crafts the tale with deep regional authenticity, drawing on Southern folklore and personal introspection to elevate it beyond standard suspense. Critics highlighted its ambitious scope, comparing it to the works of for its eerie tension and character depth, solidifying Hart's reputation as a master of literary thrillers.

Background

Prior albums and band status

Texas formed in Glasgow, Scotland, in 1986, when lead vocalist Sharleen Spiteri, known for her deep and soulful voice, connected with bassist Johnny McElhone, a veteran of the Scottish post-punk scene from bands like Altered Images and Hipsway, along with guitarist Ally McErlaine. The group initially drew from indie rock influences in their early work, signing to Mercury Records and releasing their debut album Southside in 1989, which featured the top-five UK single "I Don't Want a Lover" and marked their entry into the alternative rock landscape. Over the following years, Texas evolved toward a more accessible pop rock sound, as seen in their 1993 album Ricks Road, blending soulful melodies with broader appeal that set the stage for mainstream breakthrough. The band's trajectory culminated in the 1997 release of , their fourth studio album, which debuted at number one on the and became their commercial pinnacle. Certified six times platinum by the for sales exceeding 1.8 million copies in the UK, the album also achieved platinum status in and , and gold status in , signaling an international expansion beyond their Scottish roots. Worldwide, sold over four million copies, spending 112 weeks on the UK charts and twice reaching the top spot, driven by hits like "Say What You Want" and "Halo." By 1998, Texas had solidified their status as established UK artists with a burgeoning European fanbase, fueled by the continent-wide success of White on Blonde, though their presence in the US market remained limited, with prior albums like Southside peaking modestly at number 88 on the Billboard 200. Central to their sound were Spiteri's prominent, versatile vocals, which brought emotional depth to their pop rock anthems, and McElhone's key contributions to songwriting, often collaborating closely with Spiteri to craft the band's signature blend of melody and introspection. This foundation positioned Texas for further musical explorations in subsequent work.

Album conception

Following the massive commercial success of Texas's 1997 album , which achieved six-times platinum status in the UK and sold over four million copies worldwide, the band began conceiving The Hush in late 1997 as a deliberate evolution in their sound. Frontwoman and bassist aimed to transition from the previous record's autumnal pop expansiveness toward a brighter, more summery blend of R&B, , and guitar-pop elements, while ensuring the album retained broad commercial viability to capitalize on their rising popularity. Seeking a more intimate creative space after the high-pressure touring and promotion cycle of , Spiteri proposed recording in a relaxed home environment at her residence, which influenced the project's personal tone from the outset. This setup, supplemented by sessions at nearby Studios, allowed the band to eschew rigid schedules and external studio constraints, fostering a natural flow in their work. Songwriting commenced in early 1998 through close collaborations between Spiteri and McElhone, who co-wrote the bulk of the material, with additional contributions from bandmates and on select tracks. The duo emphasized capturing fleeting emotional and seasonal moments, resulting in initial demos that explored contrasts of "light and shade" to form a cohesive arc, as Spiteri described: "Our aim was to make an album which took you on a journey." A key decision during this phase was for McElhone, performing as Johnny Mac, to assume full production responsibilities for the first time, diverging from the co-production model of prior albums and empowering the band's internal vision. Throughout 1998, band discussions centered on integrating subtle new genre influences like Motown-inspired soul to refresh their established rock-pop foundation, with demos progressively refined before full recording began.

Production

Writing process

John Hart wrote The Hush as a standalone sequel to his 2009 novel The Last Child, set ten years after its events and revisiting protagonists Johnny Merrimon and Jack Cross. Hart conceived the idea years after completing The Last Child and described knowing the story from the first page, blending thriller elements with magical realism inspired by the prequel's conclusion. He completed the manuscript in ten months—an unusually rapid pace for him—using an organic writing process without a formal outline, likening it to driving through fog with only headlights to guide the way.

Publisher and collaborators

The Hush was published in hardcover by , an imprint of , on February 27, 2018. As a solo-authored work, it involved no external co-writers, though Hart drew on his roots for authentic atmosphere. The novel spans 432 pages and was edited to maintain Hart's signature immersive prose and character depth.

Composition and themes

Literary style

The Hush is written in a literary style that combines thriller elements with psychological depth and atmosphere. John Hart employs vivid, immersive to depict the rural setting, emphasizing isolation and the supernatural through descriptive language that evokes tension and unease. The narrative structure alternates perspectives between protagonists Johnny Merrimon and Jack Cross, building suspense through non-linear flashbacks to their youth while maintaining a fast-paced present-day plot. Hart's writing draws on , incorporating subtle horror elements like hidden dangers, which enhance the story's eerie tone without relying on overt gore. Critics have praised the novel's polished craftsmanship, noting its 432-page length allows for character-driven exploration amid action sequences.

Themes

The novel explores themes of isolation, trauma, and the enduring bonds of friendship. Johnny Merrimon's retreat to 6,000 acres of wilderness symbolizes emotional withdrawal from past traumas, while his enigmatic abilities represent the corrupting influence of hidden power. The story delves into resurfacing childhood horrors, madness, and betrayal, portraying how history imprisons individuals and challenges their resilience. Psychological suspense underscores the corrupting allure of power and the redemptive potential of loyalty, set against a supernatural-tinged wilderness that mirrors internal conflicts. These elements create a narrative that examines human darkness and renewal, defying strict genre boundaries.

Release

Book release

The Hush was published in hardcover by on February 27, 2018, in the United States. The spans 432 pages and was also released in and formats on the same date. A edition followed on February 26, 2019. The book was made available internationally through Macmillan imprints, with the release also on February 27, 2018. Promotion focused on the market, leveraging author John Hart's prior success as a two-time Edgar Award winner and New York Times bestselling author. The quickly debuted on the New York Times list, marking Hart's fifth NYT . The cover artwork features a dark, atmospheric image evoking the novel's themes, with standard copyright notation © 2018 John Hart.

Singles

As a , The Hush did not have singles released.

Critical reception

Contemporary reviews

Upon its release in February 2018, The Hush received generally positive reviews from critics, who praised John Hart's atmospheric prose and character development while some noted mixed feelings about the supernatural elements. Publishers Weekly described the novel as having "lush" prose in its rural North Carolina setting but critiqued the plot as "overburdened with too many twists and turns" and the supernatural aspects as "forced." Kirkus Reviews called it an "ambitious, uneven, but ultimately provocative thriller," appreciating its setup but acknowledging conventional narrative lines. The Washington Post lauded it as "an engrossing, cumulatively disturbing narrative that encompasses murder, madness, magic, betrayal and obsessive, undying love." The Associated Press highlighted the novel's strength in its evocative setting but suggested the magical elements might not appeal to all readers. Criminal Element commended it as a "visceral, atmospheric novel" and a "worthy follow-up" to The Last Child. Reader reception was strong, with the novel achieving New York Times bestseller status. On , it holds an average rating of 3.7 out of 5 based on over 8,600 ratings as of 2025.

Retrospective views

In the years following its release, The Hush has been increasingly appreciated for its blend of psychological suspense, elements, and supernatural intrigue, often compared to the works of for its eerie tension and depth. Retrospective assessments, such as those on Book Marks, rate it positively based on multiple professional reviews, emphasizing Hart's immersive world-building and exploration of trauma. The novel's sustained popularity is evident in its ongoing reader discussions and high sales, contributing to Hart's reputation as a master of literary thrillers. Critics now highlight the subtlety of its themes—friendship, isolation, and hidden powers—that were initially overshadowed by the ambitious scope but have aged well.

Commercial performance

The Hush became a New York Times bestseller upon its release, marking the sixth consecutive by John Hart to achieve this distinction. The book debuted on the New York Times Hardcover Fiction bestseller list in March 2018, reaching as high as number 9 during its run. Specific sales figures for the are not publicly detailed, but its success contributed to Hart's reputation as a commercial author in the thriller genre, with over two million copies of his books in print as of 2018. No content applicable. This section pertains to the music album The Hush by Texas, which is unrelated to the novel The Hush by John Hart described in this article. The section has been removed to maintain accuracy and relevance. For novel-specific details, refer to sections on plot, themes, and reception as per the article structure.

References

  1. https://us.macmillan.com/books/9781250012289/thehush/
  2. https://www.johnhartfiction.com/the-hush
  3. https://www.amazon.com/Hush-Novel-John-Hart/dp/1250012309
  4. https://www.johnhartfiction.com/
  5. http://www.bettyloumusic.com/texasbiography.htm
  6. https://www.udiscovermusic.com/artist/texas/
  7. https://www.udiscovermusic.com/stories/texas-white-on-blonde-album/
  8. https://www.musicmusingsandsuch.com/musicmusingsandsuch/2022/1/13/feature-the-return-of-the-black-eyed-boy-texas-white-on-blonde-at-twenty-five
  9. https://www.pressreader.com/uk/the-herald-magazine/20240928/282153591692389
  10. https://www.musicvf.com/Texas.alb
  11. https://www.irishexaminer.com/lifestyle/artsandculture/arid-40800738.html
  12. https://albumism.com/features/texas-the-hush-album-anniversary
  13. http://balcar.free.fr/totalg.htm
  14. https://www.discogs.com/release/417012-Texas-The-Hush
  15. https://www.amazon.com/Hush-Texas/dp/B00000J2UH
  16. https://www.publishersweekly.com/pw/by-topic/authors/profiles/article/75560-life-on-the-road-pw-speaks-with-john-hart.html
  17. https://www.npr.org/2018/02/27/589121870/book-review-the-hush-by-john-hart
  18. https://www.nytimes.com/2018/03/02/books/review-john-hart-hush.html
  19. https://www.bookpage.com/reviews/22947-john-hart-hush-fiction/
  20. https://us.macmillan.com/books/9781250012302/thehush/
  21. https://www.barnesandnoble.com/w/the-hush-john-hart/1124362624
  22. https://www.amazon.co.uk/Hush-John-Hart/dp/1427285446
  23. https://books.apple.com/us/book/the-hush/id1271826187
  24. https://www.kirkusreviews.com/book-reviews/john-hart/the-hush-hart/
  25. https://www.washingtonpost.com/entertainment/books/the-hush-murder-madness-magic-betrayal-and-obsessive-love/2018/04/17/00b0f29c-4248-11e8-8569-26fda6b404c7_story.html
  26. https://apnews.com/the-hush-book-reviews-4635f75f7b184cef91bd4d80f47ba5b2
  27. https://www.criminalelement.com/review-the-hush-by-john-hart/
  28. https://www.goodreads.com/book/show/31450687-the-hush
  29. https://www.reddit.com/r/books/comments/u9wdaf/just_finished_the_hush_by_john_hart/
  30. https://bookmarks.reviews/reviews/all/the-hush/
  31. https://www.bookreporter.com/reviews/the-hush-0
  32. https://mhl.org/borrow/recommendations/new-york-times-best-seller-lists?date=2018-03-22
  33. https://murderbooks.com/hart-finn
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