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The chemistry between Tilbrook and Difford could not be as easily dismissed however, and the ensuing record they made together has become the “lost” Squeeze album for many fans. With albums ‘Argybargy’ and the Elvis Costello-produced ‘East Side Story’, Squeeze even started to make waves across the pond, although in 1980 former Roxy Music and Ace – and future Mike + The Mechanics – man Paul Carrack would replace Jools Holland, going on to lend his unmistakable vocals to the smash hit ‘Tempted’.īy 1984 Squeeze had disbanded. Featuring the classic single ‘Up The Junction’ as well as the title track, it was many listeners’ first introduction to the witty kitchen-sink lyricism and new-wave guitar music that has become the band’s trademark. Yet it was second album ‘Cool For Cats’, released in 1979, which cemented their place as one of Britain’s most important young bands. When Gilson Lavis replaced Gunn on drums everything seemed to fall into place, and word of mouth soon spread about the band – ironically, it was none other than Velvet Underground man John Cale who caught wind in 1977 and offered to produce their debut EP ‘Packet Of Three’ and much of the ensuing album. Over 35 years later, with their legacy intact and as vital as it has ever been, Squeeze are still touring and reminding fans worldwide just why they have left such an indelible impression on the UK’s music scene.Īs teenagers on the South London scene, Squeeze – setting out their stall early on by facetiously naming themselves after a poorly-received Velvet Underground album, and at the time also comprised of Jools Holland on keys, Harry Kakouli on bass and Paul Gunn on drums – became a fixture of the burgeoning New Wave movement. Teenage friends Chris Difford and Glenn Tilbrook form the band that will see them dubbed ‘The New Lennon and McCartney’. Cool for Cats winds up being wild and weird, angular and odd in a way only a new wave album from 1979 could possibly be, but this is a high watermark for its era with the best moments effortless transcending its time." (Stephen Thomas Erlewine, AMG) It's all a bit scattered but in a purposeful way, as the impish wit lends the pub rockers a kinky kick while Tilbrook's tunefulness gives it all an identity.
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Tilbrook pairs these ribald tales to frenzied rock & roll, equal parts big hooks and rollicking rhythms, including a couple of showcases for Holland's boogie-woogie piano. Chief among those is "Up the Junction," a marvelous short story chronicling a doomed relationship, but there's also the sly kinky jokes married to deft characterizations on "Slap and Tickle," the heartbroken tale of "Goodbye Girl," and the daft surrealism of "Cool for Cats." These are subtle, sophisticated songs that are balanced by a lot of direct, unsophisticated songs, as Difford picks up on the sexually charged vibe of John Cale and gets even kinkier, throwing out songs about masturbation and cross-dressing, occasionally dipping into how he's feeling slightly drunk. Squeeze, Cool for Cats feels like it belongs to its time more than its predecessor, partially due to the heavy emphasis on Jools Holland's keyboards and partially due to the dry British wit of Difford, whose best work here reveals him as a rival to Elvis Costello and Ian Dury.
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Although this is considerably less chaotic and aggressive 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. Squeeze - and cut Cool for Cats, which for all intents and purposes is their true debut album. "Rebounding after a difficult debut, Squeeze hunkered down with producer John Wood - the engineer of U.K. The album peaked at number 45 in the UK Albums Chart, spending 11 weeks in that listing. "Cool For Cats" contains four UK hit singles, more than any other album the band has issued. The British new wave group Squeeze's second album, originally released in 1979.