Squeeze

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As one of the most traditional pop bands of the new wave, Squeeze provided one of the links between classic British guitar pop and post-punk. Inspired heavily by the Beatles and the Kinks, Squeeze was the vehicle for the songwriting of Chris Difford and Glenn Tilbrook, who were hailed as the heirs to Lennon and McCartney's throne during their heyday in the early '80s. Unlike Lennon and McCartney, the partnership between Difford and Tilbrook was a genuine collaboration, with the former writing the lyrics and the latter providing the ...[more]

 

 

 

 

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Where Cool for Cats marked a great leap over the debut, Argybargy improved at least that far over its own predecessor. Still a distinctly British band, Squeeze compensated with an incredibly catchy batch of songs that, despite the subject matter, spoke the universal language of bright, bouncy, instantly endearing pop. The acute observations of the British working class were even more vivid -- none so poignant as the classic "Pulling Mussels (From the Shell)," which offers a series of detailed   [ read more ]

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If any one album were responsible for sowing the seeds of Chris Difford and Glenn Tilbrook's reputation as the new Lennon and McCartney, it's Argybargy, Squeeze's third album and undisputed breakthrough. Squeeze made a great leap forward between their awkward debut and its great sequel, Cool for Cats, but that distance is small compared to the gap between Cool for Cats and Argybargy. Cool for Cats was the work of a rock & roll band -- one that lathered on the keyboards and h   [ read more ]

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Where Cool for Cats marked a great leap over the debut, Argybargy improved at least that far over its own predecessor. Still a distinctly British band, Squeeze compensated with an incredibly catchy batch of songs that, despite the subject matter, spoke the universal language of bright, bouncy, instantly endearing pop. The acute observations of the British working class were even more vivid -- none so poignant as the classic "Pulling Mussels (From the Shell)," which offers a series of detailed   [ read more ]

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Following a brief period of arty, self-conscious indulgence, Squeeze decided to return to the more straight-ahead pop of their classic period. Babylon and On strips back a bit and, although the return is a welcomed one, much of the material misses the mark, and the move seems a little forced. Flaws aside, there are some moments of inspiration, and the near-novelty of "Hourglass," unfortunately not one of those moments, became the band's biggest Stateside hit. [Universal/Polydor's 2007 Japanese e   [ read more ]

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Over the course of Squeeze's 25-year career, an inexplicable number of greatest-hits compilations have surfaced (seven, to be specific), and nearly all of them have suffered from a serious flaw, whether it's the exclusion of important hit singles or the inclusion of mediocre album cuts and B-sides. The only two worthwhile compilations -- 1982's Singles 45's & Under and 1994's Greatest Hits -- both suffered somewhat by not covering the entirety of the band's career. Big Squeeze is the attempt to    [ read more ]

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Squeeze's The Complete BBC Sessions runs from 1977 until 1994 -- from the release of their debut EP until just after their tenth album, 1993's Some Fantastic Place -- and that time span suggests that the double-disc, 29-track collection covers more ground than it does in actuality. As it happens, Squeeze didn't have too many {#BBC Sessions} during their salad days of 1979-1982, when they were one of the biggest and best new wave bands: they only had one in March of 1982, a few months before {^Sw   [ read more ]

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Rebounding after a difficult debut, Squeeze hunkered down with producer John Wood -- the engineer of U.K. Squeeze -- and cut Cool for Cats, which for all intents and purposes is their true debut album. More than U.K. Squeeze, Cool for Cats captures the popcraft of Chris Difford and Glenn Tilbrook, while also sketching out a unique musical territory for the band, something that draws deeply on '60s pop, the stripped-down propulsive energy of pop/rock, and the nervy style of new wave.    [ read more ]

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Cosi Fan Tutti Frutti marked not only a re-formation of the band but also a reunion with Jools Holland. And while history and a dated production style haven't been particularly kind to the album, it is not without its merits. True, it is marred by much of the overblown ambition that undercut Sweets from a Stranger and the Difford & Tilbrook album, but several of the songs -- especially the often overlooked "King George Street" -- are real gems in the classic Squeeze tradition, and the move   [ read more ]

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Roundly regarded as Squeeze's grand masterpiece, in its planned incarnation East Side Story was going to be much grander: it was designed as a double-album with each side produced by a different musician, all a forefather of a different aspect of Squeeze. Dave Edmunds and his Rockpile cohort Nick Lowe were both contracted, as was Lowe's main producing success story Elvis Costello, and then Paul McCartney was slated for a side, but as the sessions started all but Elvis and {$Edm   [ read more ]

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