Squeeze best songs
Image: Squeeze band members Chris Difford and Glenn Tilbrook performing on stage, showcasing their enduring musical partnership.
Spearheaded by the brilliant songwriting partnership of Chris Difford and Glenn Tilbrook, Squeeze, the steadfast quintet hailing from South London, has sculpted a catalog that is not only highly sought-after but also remarkably quintessential to English pop music. Spanning over four decades, their discography, as highlighted by the best Squeeze Songs, is a testament to their resilience and creative prowess. Initially catapulted into the limelight as punk rock transitioned into the New Wave era, Squeeze became synonymous with hits like “Cool For Cats” and “Up The Junction.” Despite navigating the ebbs and flows of band dynamics, including two breakups and subsequent reunions, they have consistently graced the UK Top 40 charts. Their appeal extends across the Atlantic, boasting a devoted fanbase in North America. After a hiatus of five years, they made a vibrant comeback in 2015 with the critically acclaimed album Cradle To The Grave. This record, inspired by the autobiography Going To Sea In A Sieve by fellow South Londoner Danny Baker, signaled a refreshed and invigorated Squeeze.
Listen to the definitive Squeeze songs on Apple Music and Spotify.
The Squeeze story began in Deptford, Southeast London, where teenage talents Difford and Tilbrook joined forces in 1974. Their band name was derived from the rather obscure final album by The Velvet Underground, an LP released after the departure of iconic members Lou Reed and John Cale. Following some initial lineup adjustments and a period honing their craft as the house band at The Bricklayers Arms in Greenwich, Squeeze solidified their classic formation. This lineup featured Difford and Tilbrook alongside the dynamic drummer Gilson Lavis, bassist Harri Kakoulli (later succeeded by John Bentley), and the exceptionally talented pianist Jools Holland.
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Squeeze’s foray into vinyl commenced in July 1977 with the Packet Of Three EP. Released via Deptford Fun City, an independent label founded by Alternative TV’s frontman Mark Perry and Squeeze’s manager Miles Copeland (brother of The Police’s Stewart), the EP featured the raw, punk-edged track “Cat On A Wall.”
Selling an impressive 25,000 copies, Packet Of Three significantly amplified Squeeze’s visibility, earning them an invitation to record a prestigious Peel session on August 17. This success paved the way for Squeeze to sign with major label A&M Records in late 1977. The burgeoning band swiftly recorded their self-titled debut LP, and later, the 1980s classic Argybargy (both recently re-released on vinyl). Adding to the album’s pedigree, production was helmed by one of their musical heroes, former Velvet Underground luminary John Cale. Key tracks from these sessions included the forceful “Sex Master,” the Velvet Underground-esque “Strong In Reason,” and the Eastern-tinged “Take Me, I’m Yours.” The latter became their first Top 20 hit and marked their debut on the iconic British music show Top Of The Pops.
Take Me I’m Yours
Video: Squeeze performing “Take Me I’m Yours” in a vintage television studio setting, highlighting their early new wave sound.
Squeeze truly hit their stride with the release of Cool For Cats in April 1979. This album saw their innate Cockney charm and streetwise sensibility overshadow the punkier inclinations of their debut. An eclectic collection, Cool For Cats spanned genres from the playful 60s pop vibe of “It’s So Dirty” to the synth-laden, Giorgio Moroder-esque “Slap And Tickle.” The album spawned two massive Top 10 hits: the jaunty, Ian Dury-inspired “Cool For Cats” and “Up The Junction.” The latter, a poignant and enduring narrative of a relationship’s decline, showcased Difford’s burgeoning talent as a lyricist, crafting stories within songs.
Cool For Cats achieved silver certification in the UK, while Argybargy, released in February 1980, broadened their fanbase in the United States, reaching the Top 75 on the Billboard 200 and earning gold status in Canada. Another album brimming with pop brilliance, Argybargy featured two popular singles: the Top 20 hit “Another Nail For My Heart” and “Pulling Mussels (From The Shell),” a vivid snapshot of a British seaside holiday. The album also included vibrant tracks like the delightful “Separate Beds,” where Difford’s lyrical wit captured the awkwardness of a young man’s first overnight stay at his girlfriend’s parents’ house.
Separate Beds
Video: Squeeze performing “Separate Beds” live, emphasizing the song’s storytelling nature and relatable themes of young love and social awkwardness.
Argybargy firmly established Squeeze as a band poised to outlast many of their new wave contemporaries. However, Jools Holland’s departure to pursue a successful television career (initially co-hosting Channel 4’s The Tube with Paula Yates) led to the recruitment of talented ex-Ace keyboardist/vocalist Paul Carrack for 1981’s East Side Story. Often considered their most critically acclaimed work, East Side Story, produced by Elvis Costello, peaked at No.19 in the UK and earned Squeeze their second silver disc.
A quintessential pop album, East Side Story saw Difford and Tilbrook at the peak of their songwriting powers. The album featured enduring fan favorites and some of the best Squeeze songs, including the exquisitely crafted, infidelity-themed radio hit “Tempted” and the exuberant soul-pop of ‘In Quintessence.” Additionally, the country-tinged ballad “Labelled With Love” soared to No.4 on the UK singles chart.
Recorded after Don Snow replaced Carrack, 1982’s Sweets From A Stranger contained several gems, such as the subtle, string-laden “When The Hangover Strikes,” the glorious, Beach Boys-esque “The Elephant Ride,” and the yearning single “Black Coffee In Bed.” The album capitalized on Squeeze’s growing popularity in the US, reaching No.32 on the Billboard 200. However, this success was bittersweet, as the band fractured in the aftermath of a stressful world tour.
The Elephant Ride
Video: Squeeze performing “The Elephant Ride,” showcasing the song’s Beach Boys-inspired harmonies and upbeat tempo in a live concert setting.
A&M released the compilation Singles: 45s And Under as the band went their separate ways. Ironically, this retrospective collection achieved platinum status on both sides of the Atlantic. Fortunately, the split was temporary. After Difford and Tilbrook collaborated on 1984’s Difford & Tilbrook, they reformed Squeeze with Lavis, a returning Jools Holland, and Keith Wilkinson replacing John Bentley on bass.
This lineup recorded 1985’s Cosi Fan Tutti Frutti, notable for the evocative, childhood-themed “King George Street,” and the robust Babylon And On in September 1987. Babylon And On climbed to No.14 on the UK Top 40 and delivered Squeeze’s two biggest US Top 40 hits: ‘853-5937’ and “Hourglass.” The latter was promoted by a memorable, optical-illusion-filled video directed by comedian Adrian Edmondson.
Following the triumph of Babylon And On, Squeeze faced a relative setback with 1989’s Frank. Despite strong singles like “If It’s Love” and “Love Circles,” and Difford’s pro-feminist track “She Doesn’t Have To Shave,” the album underperformed commercially, leading to Squeeze’s departure from A&M. Warners/Reprise signed them, releasing the sophisticated Play in 1991. Recorded with Elvis Costello’s keyboardist Steve Nieve substituting for the departing Holland (who from 1992 was dedicated to his BBC Two show Later… With Jools Holland), Play marked a transitional period.
She Doesn’t Have To Shave
Video: Squeeze performing “She Doesn’t Have To Shave,” emphasizing the song’s socially conscious lyrics and Difford’s storytelling.
A mature and consistent album, Play featured two US radio hits, “Satisfied” and the horn-infused “Crying In Your Sleep.” However, the album’s creation was fraught with tension, hinted at in the ominous closing track “There Is A Voice.”
Long-time drummer Gilson Lavis left in 1992, and Squeeze became primarily a vehicle for Difford and Tilbrook, with a rotating cast of collaborators. A&M re-signed the band for two excellent mid-90s albums: Some Fantastic Place (featuring Paul Carrack’s return and Elvis Costello drummer Pete Thomas) and 1995’s Ridiculous. Both showcased a wealth of quality tracks.
Some Fantastic Place, reaching No.26 in the UK, included the lively Top 40 single “Third Rail” and the poignant title track, a tribute to Tilbrook’s late first girlfriend, Maxine. Squeeze’s resurgence continued with the vibrant Ridiculous, which arguably benefited from the Britpop wave. It produced two glorious Top 40 hits: the wistful “This Summer” and the joyous yet nostalgic “Electric Trains.”
Electric Trains
Video: Squeeze performing “Electric Trains” live, capturing the song’s upbeat and nostalgic feel, reflecting on themes of childhood and simpler times.
However, Ridiculous proved to be Squeeze’s last major foray into mainstream pop, as A&M opted not to renew their contract. The band released 1998’s Domino, their final studio album for 17 years, on Tilbrook’s Quixotic label. Domino had notable moments, including the energetic title track and the touching “Without You Here,” but it was largely overlooked. Following a challenging tour (without Difford), Squeeze disbanded for a second time.
Both Difford and Tilbrook pursued solo careers to critical acclaim. Yet, they reunited Squeeze for a third chapter in 2010. Extensive tours in the UK and US, and Spot The Difference (featuring re-recordings of band highlights) followed. Fans’ anticipation for new material was richly rewarded with 2015’s outstanding Cradle To The Grave. The album’s numerous highlights, from the celebratory, Tamla Motown-esque title track to the uplifting, spiritual “Snap, Crackle & Pop,” garnered widespread critical praise. Its impressive UK chart peak at No.12 definitively proved Squeeze’s enduring appeal and cemented their status as a band that can never be underestimated.
Listen to the best Squeeze songs on Apple Music and Spotify.
