The Toy Box: Squeeze

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Retro Spins: Difford & Tilbrook - Difford & Tilbrook

One more Squeeze related album before we move on to other things. When the group initially broke up in 1982, Chris Difford and Glenn Tilbrook decided to continue writing together, and eventually released their one and only album under the name Difford & Tilbrook in 1984.

Despite being released by the duo, since the two were the main songwriters for the band, their "solo" effort has often been regarded as a Squeeze album. In fact, remastered tracks have been included on the band's compilation albums, Piccadilly Collection and Excess Moderation, both released in 1996.

Unfortunately, it continues the trend of Squeeze, wherein the album really doesn't make many waves in the sea of 80's music. While it produced three singles, only one, Love's Crashing Waves, would be a minor hit, peaking at fifty-seven in the UK. It does, however, introduce us to bassist, Keith Wilkinson, who would join Squeeze when formally reform in 1985.

With the opening track, Action Speaks Louder, my mind immediately went to the territory of Queen's Hot Space. It's that kind of system shock, in terms of abrupt musical style change. It even sounds like it belongs in an 80's dance club.

Things then shift without warning to a string and bass disco type sound for Love Comes Crashing Down. So far, this album felt like it was going to be all over the place, unfocused, and incohesive. Ironically, the first two tracks also weren't bad. They just didn't really fit together.

Depending on your view, for better or worse, the disco sounds continued. For me, it worked out just fine. I am, after all, a fan of ABBA, Kool & The Gang, and Bee-Gees. Despite this, I soon found myself only mildly paying attention. At this point, the whole aspect of Squeeze had run its course with me. It was growing monotonous, and my brain needed something else. It didn't help that when I did tune in mentally, things were mediocre at best. I did notice though that at some point in all of this, things did shift back to a more new wave and pop sound.

About the only other standout among the ten tracks was Picking Up The Pieces, but with that noted, I can't honestly say I'd ever find myself stating, "I need to hear that again." In fact, that's pretty much how I feel about the whole album. As I sit here and reflect on that statement, I ponder I would be happier if I actually learned to let go, and purged my CD collection down to the albums I would actually play again. It will probably never happen, but I image if I did that my collection would deflate to two or three shelves, versus the seven it's currently at.

I digress though.

As noted above, Difford and Tilbrook eventually reformed Squeeze, and from their, the history of the band has remained ongoing, albeit with another brief breakup in 1999. If you want to read all about that, please dive into the last series of posts for my listening session of their entire 80's discography. Until then, I'm off to find my next Retro Spin adventure.

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Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.

Retro Spins: Squeeze - Frank

When I was deciding if I was going to focus in on Squeeze and grab their remaining albums for my collection, I came across the song, If It's Love. This instantly cemented that decision, with me stating to myself, "I really like the vocals of Glenn Tilbrook."

Frank serves as the last release from Squeeze for the decade, and unfortunately, it would fail to produce any successful singles for the band. This, for me, is particularly disappointing based on how much I dug the above noted tune. However, in retrospect, there's no doubt that the landscape of music was changing by 1989. Hair metal had come and gone, and in its wake was the evolving grunge scene. The world had seemingly moved on from pop rock, at the time, myself included.

Things started out great with If Its Love, and provided additional standouts such asPeyton Place, Rose I Said, and (This Could Be) The Last Time. However, it was around the latter, that I suddenly found myself uninterested. The remaining tracks to come simply weren't resonating, and I actually found myself saying by track eleven (of twelve), "Isn't this thing done yet?"

While Squeeze still had a solid layer of instrumentation across all the songs on Frank, it did feel like a more straightforward rock and roll album versus the new wave and pop sounds that filled the majority of their 80's discography. I suppose I don't fault the band for evolving with the times, but on the same hand, when you listen to albums back to back, these shifts can feel out of place. I suppose had I listened to it in 1989, it would have felt like a more natural transition.

Ironically, the album ends with the track, Is It Too Late, which picks things up a bit with its New Orleans vintage club sound. While I initially wasn't paying that much attention, it was the lyrics, "(Is it too late) To kick me in the teeth? (Is it too late) Knock them down my throat? (Is it too late?)" that my mind jolted back with a, "Wait, what'd he just say?"

Despite this sudden new investment, the album ended after the song faded, leaving me to sit here thinking, "Eh, it was just okay." Based on its reception at the time of it original release, I don't appear to be alone in this mindset.

The end result of Franks lackluster response would be A&E dropping Squeeze, the band which they had supported since their 1978 debut, and across eight studio albums. Undeterred, Squeeze made a deal with I.R.S. to release the live album, A Round And A Bout, while also adding new keyboardist, Matt Irving.

By this time, the television career of Jool Holland was booming, and he opted to leave the band to pursue not only that, but a solo career. It would be his second departure from the band, and he would not be immediately replaced.

Still undeterred, the band signed with Reprise, and released 1991's Play. Unfortunately, this would prove to be another failure, and ironically, A&E would sign them again, releasing 1993's Some Fantastic Place, and 1995's Ridiculous. Despite both albums making the top fifty in the UK, Squeeze would continue to experience difficulties with major labels, and depart in 1997 to release albums independently.

During this entire period, lineup changes would continue to occur. This included Gilson Lavis being fired in 1992 after relapsing into alcoholism, and Keith Wilkinson, who departed after 1995's Some Fantastic Place for undocumented reasons. With that said, it was surprising to see that Paul Carrack would make a brief return to the band, his first since singing the lead on Tempted back in 1982 for East Side Story. However, his return would be very brief.

Squeeze would break up again in 1999, with both Tilbrook and Difford going on to solo careers. An attempt at reuniting Difford, Tilbrook, Holland, Wilkinson and Lavis seemed to start positively in 2004 when spearheaded by the VH1 series, Bands Reunited. Unfortunately, it ultimately didn't happen, Holland would state he was too busy, Lavis would only express mild interest, and Tilbrook completely decided against it.

In 2007 it was announced by Difford and Tilbrook that they were going to reform Squeeze. While they'd release four albums between 2010 and 2026 the two would be the only reoccurring classic lineup members. With an ever rotating lineup, the band continues to actively tour, and who knows, maybe they have some more studio album in them that will come down the pike.

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Retro Spins: Squeeze - Babylon And On

With the release of 1985's Cosi Fan Tutti Frutti, Squeeze found themselves needing another keyboard player to recreate the layers of sounds produced for the albums tracks in a live setting. For this, they would bring in Christopher Holland, brother of keyboardist Jools. While Christopher would support the band during their promotional tour, he had his sights set on a solo career, prompting him to eventually depart. He would be replaced by Andy Metcalfe.

Now as six members, featuring Chris Difford, Glenn Tilbrook, Jool Holland, Andy Metcalfe, Keith Wilkinson, and Gilson Lavis, Squeeze returned to the studio to record and release 1987's Babylon And On. This would be the album, or rather the song, but better stated, the music video, which would introduce me to the band. Its quirkiness, and overall fun tone captivated me, cementing the song in my mind, and making the album a must have when I began building my massive CD collection.

Babylon And On would spawn the only US top forty hits for the band with Hourglass and 853-5937, peaking at fifteen, and thirty-two, respectively, on the Billboard Hot 100. Both would receive music videos, and see a decent amount of airplay on MTV. Aided by all of this, the album would become silver certified in the UK, which on the surface may not seem like much, but for Squeeze was a major achievement. To date, it was only their fourth album to receive such a status, and would also be the last. Further, it would also be their last album to spawn any Billboard hits.

The comical side to the phone number based song was that it was actually Tilbrook's home number. The tune would come to life initially as a jingle on his answering machine. Naturally, many listeners would call the number, driving the lead singer crazy with how often his phone started ringing. Sadly, you won't reach him at his London number these days.

What I noticed in playing through it was how pulled back the bassline was. This was counter to previously released Cosi Fan Tutti Frutti which seemed to want to showcase new bassist Wilkinson by making his parts very prevalent.

Along with the two hits noted above, tracks Footprints, The Prisoner, Trust Me To Open My Mouth, Some Americans, and Striking Matches resonated with me. In fact, Striking Matches may be among my favorites from the band now. I enjoyed it so much that I actually went back to it for a second listen after I wrapped up all the tracks. I think it's the backing vocals of Pam Baker, and Chris Difford taking lead that makes it stand out. Here, have a listen.

Overall, this was a good listening session, and pumped me up to jump into their next release.

Metcalfe would depart in 1988, leaving Difford, Tilbrook, Holland, Wilkinson, and Lavis to record their final album for the decade, 1989's Frank. It would also be their last with long time label, A&E, who had released every album from the band since their 1978 debut. However, that would be far from the end for them. We'll pick up there tomorrow.

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Retro Spins: Squeeze - Cosi Fan Tutti Frutti

After a successful one-off charity gig in 1985 with lineup from 1980's Angrybargy, Chris Difford, Glenn Tilbrook, Jools Holland, Gilson Lavis, and John Bentley decided to pick up where Squeeze had disbanded in 1982 and return to the studio. There was just one catch, Bentley was ousted in lieu of new bassist, Keith Wilkinson, as the other members wanted to go in a different musical direction.

It kind of reminds me of that scene from Aqua Teen Hunger Force's episode, Knapsack. Here, check this out, and picture Frylock as Bentley. Specifically starting at the 35 second mark and summing it up around the 55 second mark.

See what I'm saying?

To hammer this aspect home, Cosi Fan Tutti Frutti kicks off with an eighteen second drum and heavily bass driven intro to Big Beng, as if to ensure the listener firmly understands the band has a new bassist. I'm not going to lie, Wilkinson knows how to play, and he definitely brings a funky aspect to the band.

As a whole, the sounds coming through on this album feel more complex and layered, and this is most likely driven by the double-tracked keyboard parts. It's what would lead to Squeeze not being able to perform the songs live without adding Holland's brother, Christopher to the tour as an additional keyboardist.

Overall, it was a pretty good listening experience, and I found some stuff to add to my shuffle list. In addition to the aforementioned opening track, these included By Your Side, King George Street, and Last Time Forever. More importantly, it reinvigorates me to dive into the next album, which coincidentally also has the song that introduced me to the band back in the day.

For now, I think that pretty much wraps this one up.

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Retro Spins: Squeeze - Sweets From A Stranger

Despite their iconic staple hit, Tempted, Squeeze wasn't burning up the charts with it back when it was initially released in 1981. In truth, the song would only be considered a minor hit, peaking at forty-nine on the Billboard Hot 100, though it would be their first single to chart. Unfortunately, for Paul Carrack, who joined the group that year, and was asked to sing it by producer Elvis Costello, since he didn't write the track, royalties were non-existent. Carrack would decide to forge out on his own solo career shortly after its release and be replaced by Don Snow.

This revised lineup, consisting of founding members Glen Tilbrook, Chris Difford, and Gilson Lavis, along with John Bentley, who joined in 1980, and newest member Don Snow, headed to the studio to record and release 1982's Sweets From A Stranger. It would be their third for the decade, and their fifth overall. Sadly, it would also be a massive critical flop.

Well, that's a fun note to start this one off on.

If it's a weaker album, I couldn't really tell. To me, it just sounds like more of the same. I'd call it average at best. Enjoyable to listen to once, but nothing I'm necessarily going to come back to.

Mind you, I say this while also noting that there were some standout tracks. These included I Can't Hold On, When The Hangover Strikes, I've Returned, Tongue Like A Knife, and His House Her Home. It almost feels like the band was going for a late era Beatles vibe. Layers of instrumentation and harmony.

Compounded by negative reviews, the stresses of touring, and conflict between band members led Difford and Tilbrook to break up the band later that year. However, this would be after releasing a final single, Annie Get Your Gun.

Though you might think the story ends there, the lineup of Chris Difford, Glenn Tilbrook, Jools Holland, Gilson Lavis, and John Bentley would reunite in 1985 for a one-off charity gig. This would lead the band to reform, and though there would be changes,

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Retro Spins: Squeeze - East Side Story

I love to see all the connecting threads when poking around the history of music from the 80's. There are so many recognizable people in the industry that pop up here, there, and everywhere, linking everything together. Such is the case with today's Retro Spin.

Despite not having a band, Chris Difford stole 50p from his mother's purse in 1974 and placed an advertisement to put a card in a local sweetshop window to advertise for a guitarist to join his group. Glenn Tilbrook would be the only person to respond. The two began writing songs together, and soon added Jools Holland on keyboards, and Paul Gunn as their drummer.

In the early years, they performed under several names, which included Captain Trundlow's Sky Company, and Skyco. However, they would eventually adopt the name Squeeze, a tribute to the Velvet Underground album of the same name.

Gilson Lavis joined in 1975, replacing Gunn on drums. Additionally, bassist Harri Kakoulli would be added to the lineup. Together, they became part of the local scene, which included Alternative TV and Dire Straits.

Initially they would sign to Miles Copeland III's BTM Records, but the label would go under in 1976. This resulted in their early singles and debut EP, 1977's Packet of Three, being released on Copeland's other label, Deptford Fun City label, an affiliate label of I.R.S., ironically also co-founded by Copeland with Jay Boberg in 1979. Apparently, the man has owned many labels, and it's quite a messy pile to sift through.

Side note: Miles Copeland III had a brother in the industry. You may have heard of him, Stewart Copeland, drummer for The Police.

Velvet Underground co-founder, John Cale, would be brought in to produce the band's 1978 self-titled debut. However, the songs he worked with the guys on would be deemed uncommercial, and their self-produced tracks, Take Me I'm Yours and Bang Bang would ultimately become their first hit singles.

Because of an already existing banded called, Tight Squeeze, for releases outside of the UK, the band was required to adopt the name, UK Squeeze. This would be something that would stick with them through 1985's Cosi Fan Tutti Frutti.

While the original lineup would return to the studio to record their second album, 1979's Cool For Cats, Harry Kakoulli would be fired shortly thereafter, with no public explanation ever being given. He would be replaced by John Bentley. The new lineup of Difford, Tilbrook, Holland, Bentley, and Lavis would record and release 1980's Angrybargy, their most popular album to date at the time, and the one which garnered them their first Billboard 200 album, peaking at number seventy-one.

Holland would depart in 1980, wanting to carve out a solo career. However, this wouldn't be something which would come immediately for him, nor be as successful as his time with Squeeze. It wouldn't be until 1987 that he formed Jools Holland and His Rhythm & Blues Orchestra. Holland would be replaced by Paul Carrack.

For their 1981 album, East Side Story, Carrack would be handed a microphone by producer Elvis Costello and asked to re--record the lead vocals on the Difford and Tilbrook penned, and initially sung by Tilbrook, Tempted. The song would later become a staple of the decade and be the one the band was predominantly remembered for. However, the reality of it was that the song would actually chart the lowest of all their Billboard Hot 100 hits, which only included three. Tempted would peak at only forty-nine.

Further, not being written by Carrack, he would only be paid for recording the song. All royalites would go to Difford and Tilbrook. It wouldn't be until he re-recorded the song in 2010 for his own retrospective album that Carrack would get royalties, but only if his version is used over Squeeze's.

Part of the problem with writing all of the above, is that it detracts me from actually listening to the album. As a result, East Side Story really only got attention from me when I remembered it was on.

While mildly paying attention to it, I did conclude that it was essentially more of where their debut left off. That's not necessarily a bad thing. In Quintessence, Tempted, Picadilly, and Labelled with Love were the standout tracks for me.

Wanting to pursue his own solo career aspirations, Paul Carrack would leave the band after the album's release. He'd be replaced by Don Snow, and this revised lineup would record 1982's Sweets From A Stranger. Negative reviews, burnout, and stress from constant touring would come to a head, and the band would break up. But fear not, their story wouldn't end there. But we'll pick up there tomorrow for that story.

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Retro Spins: Squeeze - Argybargy

Squeeze. They hit my radar way back in the heydays of MTV, when the station actually played music videos. It was here that I came across the 1987 music video, Hourglass. It was unique, comical, visually stunning, and overall, fun. It stuck with me all those years, to the point that when I started building my 80's collection, they were on that list relatively early. Mind you, not just for that particular song, but also for 1980's Pulling Muscles From A Shell, and 1981's Tempted.

That was relatively all I needed for the longest time from their six albums released in the 80's. However, while out and about on one of my many CD excursions, I came their 1989 album, Frank. This was nothing more than a, "It's here, it's 80's, I know them, let's get it purchase. As for their remaining two albums, 1982's Sweets From A Stranger, and 1985's Cosi Fan Tutti Frutti, if I knew they existed, I didn't remember until May 2026 when I looked further into them.

Mind you, I didn't purchase them immediately. Instead, I dug a little into their hits, where I came across the equally quirky music video to Another Nail In My Heart. It brought me back to that moment in time when I first saw the video for Hourglass and immediately intrigued me.

From there, I kept digging and quickly came to the realization that I really enjoyed not only the music, but the vocals of lead singer, Glenn Tilbrook. This pretty much solidified me grabbing their final two albums, and well, here we are today, kicking off another series of Spins with 1980's Angrybargy.

It's the third in their overall discography to date (at the time), it was the first to chart in the USA on the Billboard 200, reaching number seventy-one. Regardless of the album's popularity, singles didn't fare too well on US charts, with only Another Nail making any waves on the dance charts, where it reached number seventy-six. It would also reach gold sales status in Canada.

Despite this, Pulling Muscles From A Shell would become a fan favorite, and bounce around college radio airwaves, and dance clubs. In 1982, it would even be the song which Squeeze would select to play live on Saturday Night Live.

The album kicks off with Pulling Muscles From A Shell, and is followed by Another Nail In My Heart, escalating the bar really high from the starting gate.

Packaged in fantastic new wave and power pop, the band, consisting of Chris Difford, Jools Holland, John Bentley, Gilson Lavis, and of course, Tilbrook, deliver an album that's just enjoyable to listen to. I can't quite put my finger on it, but I can't figure out if the band is writing serious songs, or instead just having fun with it all. Maybe it's both.

Though enjoyable, perfect it is not. There were actually only a handful of tracks beyond the aforementioned ones which stood out to me. These included Misadventure, I Think I'm Go Go, and There At The Top. Still, I'm invested for now, and I want to hear more from the band. I'm hoping to find several more hidden gems in the albums to come.

Tomorrow I'll pick up with 1981's East Side Story. Believe it or not, though that album has probably their most recognized song from the 80's, the single is actually their lowest Billboard Hot 100 charting in the USA. We'll pick up there tomorrow.

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