SQUEEZE
HAPPY DAYS
(FROM CRADLE TO
THE GRAVE, 2015)Squeeze’s fi rst album of new
material since reforming was
the soundtrack to
BBC2 comedy-
drama
Cradle To
The Grave,
based
on Danny
Baker’s
childhood
memoir. First single
Happy Days saw them back
on daytime radio.
Glenn: “I was very reluctant
to reform Squeeze, as I was
happy with the direction my
music was taking. We went
back to basics, inspired by
the care and attention Brian
Wilson’s band takes. I thought
that, so long as we never slide
into thinking, ‘That’s good
enough’, we’d be OK.”
Chris: “The great thing
about Cradle To The Grave
was having a script and a
timeframe to work to. There
are no goalposts that keep
moving, which mean the
record doesn’t get done.
Writing for the fi rst time for
15 years rejuvenated me
and Glenn.”
Glenn: “I try not to look at
Chris’ lyrics until I’m with a
guitar and piano, ready to
go. First impressions are often
really important, and I want
to have that moment where
I can react immediately. That
process is always exciting.”
Chris: “I’ve never asked
Glenn to rewrite a melody
because it doesn’t suit my
lyrics. Or if I have, it’s always
fallen on deaf ears!”
Glenn: “The Knowledge,
the album after Cradle To The
Grave, is for my money the
best record Squeeze have
ever done. I felt Chris was
slightly more engaged than
he was with Cradle – it’s a
more personal record. I have
more input on lyrics, but only
on specifi c songs. I wrote most
of Rough Ride’s lyrics, but
Chris picked up on the mood
of what it’s about and did a
brilliant job on the chorus.”THE
COMEBACKLOVE’S CRASHING
WAVES(FROM DIFFORD
& TILBROOK, 1984) +
LETTING GO(FROM PLAY, 1991)
Time to let Chris and Glenn nominate their own
favourite hidden gems from their catalogue...
Chris: “I’d love to see Love’s Crashing Waves in the
set. It was from a time when Glenn and I weren’t
getting on particularly well, but we were still able
to write some fantastic songs – there was nothing
to discuss. It’d be interesting to revisit this one.”
Glenn: “When Squeeze started, most of my
favourite songs happened to be chosen as singles.
Towards the end of our second time around, that
wasn’t the case. It coincided with the struggle
of ‘Where do Squeeze fi t in the marketplace?’
conversations with the record label. One A&R said,
‘Why do we need Squeeze when we’ve got Del
Amitri?’ That happens to every band. I knew we
were done, but we carried on writing some really
good stuff, and Letting Go is always a favourite.”
THE LOST
TREASURES”THE MOST YOU CAN HOPE FOR IN A BAND IS
THAT EVERYONE KEEPS THEIR EYE ON THE BALL,
PARTICULARLY ME AND CHRIS. BY DOMINO, CHRIS
WASN’T REALLY THERE. THE WRITING WAS ON
THE WALL. HALF OF DOMINO IS GREAT, AND
HALF REALLY IS NOT.”GLENN TILBROOKSTILL (FROM GLENN TILBROOK AND THE FLUFFERS’
PANDEMONIUM ENSUES, 2009) +BATTERSEA BOYS
(FROM CHRIS DIFFORD’S THE LAST TEMPTATION OF
CHRIS, 2008)
Squeeze split after 1998’s Domino. They went on to solo
careers, and both still tour solo in conjunction with Squeeze.
Chris also runs songwriting workshops, where musicians
meet up to write songs together in a relaxed environment.
Glenn: “The most you can hope for in a band is that
everyone keeps their eye on the ball, particularly me
and Chris. By Domino, Chris wasn’t really there. He was
restricting how much time he’d be in the studio for.
The writing was on the wall. Half of Domino is great,
and half really is not.”
Chris: “I went to a songwriting workshop in France
and felt very at home there with other songwriters.
I suddenly felt I could write out of the box of Squeeze,
and it dawned on me it’d be great to do something like
that in the UK.”
Glenn: “The biggest infl uence on my own lyrics has always
been Chris. It still is.”
Chris: “Glenn has become a very competent lyricist. But my
solo career hasn’t affected how I make records. When he
makes records, Glenn gets very involved in production – he’s
great at it. And I’m not someone who gets excited at spending time in the
studio, I fi nd it claustrophobic. If it’s spontaneous, it’s fun.”
Glenn: “Classic Pop readers can probably name 10 songs about enduring
love that gets refreshed, but I can’t think of any. Still is about my missus, and
I’m very proud of that song.”
Chris: “I did a songwriting workshop in a Tunbridge Wells hospice, spending a fortnight
bringing to life stories these people in various stages of leaving us wanted to tell. This guy, Jim,
told me a story about his brother. I put it into a meter, which my friend Geoff Martyn put to
music. Jim’s brother came to one of my shows, which was like being in a Mike Leigh fi lm –
he was in a red velvet jacket, bow tie and a ruffl ed shirt. It was very moving.”
THE SOLO
YEARS