LISTENING PARTY: Play

Every band has that album, the one that usually comes in the middle of their career. The one that unless you were a huge fan of that band you’ve never heard, the one that gets none of its songs onto the two disc Ultimate Best Of Collection. I love those albums. And I love Squeeze. I love Squeeze as a band probably more than I love any other band, because while there are bands that I like more, that have done better work, there’s just something about Squeeze that makes me love them so much more. Maybe it’s the insanely gifted lyrics of Chris Difford, and the way singer/guitarist Glen Tilbrook marries them to some of the most perfectly constructed pop rock of all time. Maybe it’s because of their best song, “Up the Junction” and the way it tells a complete and compact story about a boy and girl falling in love, having a baby, then splitting up in about 2 and a half minutes, and how it doesn’t have a chorus. And when the record company told the band that the song was insanely catchy and would be a number one smash if they would only add a chorus, SQUEEZE STILL RELEASED THE SONG WITHOUT A CHORUS. There’s something about that that just gets to me.

And I love Squeeze albums, especially Play. They had already broken up and gotten back together at this point, and were coming off of their biggest American albums Babylon and On (with its huge hit “Hourglass”) and Frank, and moved from the smaller label A&M to Warner Brothers. They recorded Play, and were dropped by Warner Brothers like thirty-five minutes after it was released. So it just kind of exists in the cut-out bin vaccuum. It gets no love on compilations (which Squeeze has an inordinate amount of) and if generally forgotten about. Three years later they would resign with A&M and release Some Fantastic Place, another great record that was considered their “come-back.” Oh, world. Squeeze hadn’t gone away. You fools just weren’t listening.

“Satisfied”- Chris Difford writes lyrics about the strangest things. This song is about laying around after having sex. The best part of the song is that for a song called “Satisfied” the song is so unsatisfying. The verses chug along, building towards a chorus that, tonally, goes down when you think it would go up. I’m sure someone with more music theory understanding than myself could explain it better, but the song builds you up for an exciting chorus, and then lets you down. And I’m 100% Squeeze does this on purpose. Because the lyrics are ironic. “They looked at each other, they looked at the night. Under the covers they were satisfied.” Doesn’t sound like a ringing endorsement for sexual fulfillment, does it? This song also goes on much longer than most Squeeze songs usually do. I think that’s intentional, too.

“Crying in My Sleep”- This album was produced by Tony Berg, and it certainly makes it sound unlike any other Squeeze album, but dear God Jesus does he put the bass way up into the mix. It feels like it’s punching you in the throat. Squeeze has had like 400 different bass players, and Keith Wilkinson, who plays on this album (and all the great later Squeeze records) is definitely the best. But I’m now halfway through “Crying in my Sleep” and all I can talk about is the bass playing. Difford writes about weak men better than almost anybody, and not in the desperate loser way that a lot of great songwriters do (Randy Newman, Freedy Johnston, Joe Henry) but in a really kind of pathetic way, like a song about crying in your sleep. I imagine the guy singing the song to be sitting in those pajamas that older men wear, where it looks like they just came from some kind of flannel prom.

“Letting Go”- The album starts to drift away from what a regular Squeeze album sounds like here. There’s some great organ and chamberlain work on this track, which is I think by Steve Nieve, Elvis Costello’s regular keyboard player. Squeeze was without a keyboard player because Jules Holland got a job hosting a late night talk show on the BBC. That would never happen in America. That would be like hiring the rhythm guitarist of Creed to take over the Tonight Show.

“The Day I Get Home”- Squeeze is basically two guys: Chris Difford and Glen Tilbrook. Difford writes all the lyrics, drops them in Tilbrook’s mailslot, and then Tilbrook writes the song. Glen is also the lead singer and the lead guitar player. Difford actually didn’t really do much musically, occasionally adding low harmonies, and strumming an acoustic rhythm guitar that when I saw them play was so low in the mix that I wondered if it was even plugged in. So it should come as no surprise that Difford hates touring, since his real role in the band is as a songwriter instead of a touring musician, and it should comes as no surprise that he would write a song about it. My favorite thing about this track? The backing vocals are by Michael McKean, Christopher Guest, and Harry Shearer, otherwise known as Spinal Tap. See? This is why I love Squeeze. They get their first big recording contract with a big budget and they hire g-d Spinal Tap to sing background vocals. If I ever get a big recording contract I’m going to hire Sarah Michelle Gellar to play spoons on one track, just because I can.


“The Truth”- This is the first truly brilliant song on this record. The chorus of this song is “The truth has to be told, my blood runs hot and cold. The truth is not my middle name.” It’s hard not to just quote the lyrics to all these songs because so many of them are so odd and unexpected. Difford should be the poet laureate of rock music. You know how a lot of songs you like do the thing where the lyrics don’t make sense, or the singer has to rush through a bunch of syllables so that he can get to the end of the rhyme, or there’s just one line that completely inverts conventional English grammar so they can make the lines rhyme, even if the singer sounds like Yoda when he’s doing it? Tilbrook never has to do any of those things because Difford’s lyrics scan perfectly.

“House of Love”-The lyrics to this song are even better than the last one. “her eyes were stale and spun, like marbles left in the sun.” This song does suffer a little bit as some Squeeze songs do, with Tilbrook deciding that he needs to play a guitar solo. I’ve never met Squeeze, but I imagine always that there’s a really cute girl around all the time, and whenever Difford writes a really brilliant lyric, the girl kind of winks at him, and then Tilbrook hits his pedal and starts playing an incredible solo. Just to show him up. Other than that, this song is pretty amazing.

“Cupid’s Toy”- This was the first song I loved off this album. It’s about a slick guy in a club trying to score. The chorus is “This boy doesn’t get love, this boy doesn’t get love” and the reason it’s repeated twice is because it has a double meaning. He doesn’t get (doesn’t understand) love, so he doesn’t get (striking out with the ladies) love. Brilliant. If I were single, I would memorize all the disses in this song and go to a club and use them on all the lame guys there and the ladies would think I was so clever and suave, I’d have to send Chris Difford a check to pay him back for all the ass I’d get. Maybe. I think I’d probably still have to be more attractive to pull it off. But damn if they don’t tear this guy apart in this song.

“Gone to the Dogs”- a song about a guy at the dog track. It’s a great little story, but I wish I knew whose idea it was to put effects on the guitars to make them sound like dog barks, because I need to know where to send my letter of complaint. Especially since they sound more like elephants in heat. Tilbrook just sang about trying to ply someone with German wine. I’m no wine connoisseur, but does Germany even make good wine? It doesn’t strike me as their specialty, so it’s one of those little details that tells so much. What kind of guy drinks German wine? Nobody I’d like to know, that’s for sure. And sure enough, right after Difford brilliant line about the German wine, Tilbrook comes in with a guitar solo. I might be reading too much into this rivalry, but oh dear god, he’s making his guitar solo sound like a dog on the fade! Why can’t you two guys just get along??!!

“Walk A Straight Line”- That last song was a bit rough, and it feels like the boys know it and grace us with this beautiful little number. Some nice acoustic guitars and accordions. I’d like to take a second to highlight the great drumming on this record. This song consists of the drummer hitting the bass drum on quarter notes and every so often hitting a tambourine. I love restraint like that. Especially since restraint has rarely been Squeeze’s calling card. This song is just lovely all around. I think it’s about getting pulled over while drunk driving. Seriously. That’s the way these guys roll.

“Sunday Street”- There is no reason on Earth this song wasn’t a monster hit back in 1990. It’s definitely their catchiest number since “Pulling Mussels From A Shell” which most of you would recognize if you heard it even if the title doesn’t sound familiar. It’s such a great rocking number you might think they’d skimp on the lyrics but it contains the lines ‘a sarsaparilla drink turns white teeth shades of pink.’ That’s one of those details that you’d think was well-spotted if you read it in a novel, and it’s in a pop song that’s about four minutes long. The chorus mines the same territory that the Cure would later use in “Friday I’m in Love”, going through the days of the week, but the great bit is how it talks about how each of the days of the week kind of suck, but when it gets to the weekend, it’s “and then Friday and Saturday night, we get happy till Sunday’s through!” Do you see how he runs Friday and Saturday together that way? Have I mentioned that Difford was battling alcoholism all throughout the nineties? Do you get it know? I wouldn’t be surprised if the original lyrics were “we get shitted till Sunday’s through.” It’s a great pop song about going on benders. It also talks about playing on a trivia team. “How long is the river Thames? It’s where the evening ends.” I love that detail because it indicates to me that a) they play on the trivia team but aren’t any good and b) there’s a lot of liquid in the River Thames. It’s a crime that this song never became very popular. I imagine that this is what a lot of people’s weekends are like. Mine? I sit around and listen to Squeeze albums. It’s called living vicariously.

“Wicked and Cruel”- The bass part of this sound is way up in the mix, like the sound engineer accidentally feel asleep and his forehead pushed the mixer on the bass part all the way up. This song is another great acoustic number and has the best lyrics on the album. It’s about wanting to die and come back as a variety of different insects so you can watch what your girlfriend does after you die. “When I die I’ll return as a housefly, and parade upon her wall. So I can see who she’ll end up with, if that’s anyone at all. Did I say that? How could anyone be so wicked and cruel?” I love that the chorus “how could anyone be so wicked and cruel?” he’s talking about himself. If you’re so concerned about it, you could stop, right? No. “When I come back I’ll return as a spider, because she hates them so much.” What a dick. Although now he’s worried that she’ll wash him down the sink plug hole. You should be. You’re being a jerk. Better make it up to her. “She likes to kick like a mule.” No good, Difford. “If I came back as her, would I love me?” Probably not. “She likes to think I’m a fool, two fools in love.” Better, but you should’ve quit when you admitted you were a fool. No need to rope her in with you. This song is nearly perfect. Except for the drum part at the end.

“There is a Voice”- Another really nice acoustic number. “There is a voice inside us all that says destruct.”
Reading the book these two guys wrote, it’s pretty clear now that Difford was having a pretty terrible time in his life, and the lyric to this song reflects that. The chorus is “each day is a night” repeated over and over again. Talk about a nihilistic attitude. But I love how brilliant minimalist that phrase is, and how powerful it is, especially when you hear Difford’s voice finally repeating it over and over again, while Tilbrook does that wailing thing. It’s a pretty downer ending for the album, but looking back over the whole thing, that seems to fit. That’s what makes the album so great, is how the upbeat music is paired up with really dark lyrics. They’re hardly the first people to do that, but they’re among the best at it.

This album is pretty stellar, but ridiculously rare. In fact, while talking to you about it, I felt like those guys who claim they see a yeti, and they can’t prove it because nobody else has seen it. You’ve all heard “Tempted” and some of you might have heard “Black Coffee in Bed” or “Cool for Cats” but those songs are like squirrels, and this album is like the Loch Ness Monster. Most of you will never hear it or see it, and that’s a shame. But it seems like the guys from Squeeze almost expected it. Do you know how I can tell? Because they’re all sitting in a giant flowerpot.