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Originally formed in 1974 by Chris Difford who advertised for a guitarist in a local sweet shop, guitar player Glenn Tilbrook was the only respondent and subsequently joined. Keyboard player Jools Holland and drummer Paul Gunn arrived shortly afterwards and the group began playing the pub rock circuit under the monikers Captain Trundlow’s Sky Company and Skyco. The name Squeeze was later decided upon, chosen as a tribute to The Velvet Underground’s 1973 album of the same name. Bassist Harry Kakoulli was added in 1976 at the same time Gunn was replaced by former Chuck Berry drummer Gilson Lavis.
Squeeze released their debut EP “Packet of Three” in 1977 on Deptford Fun City Records, after which the group secured a record deal with A&M Records. With much of their initial output discredited by label execs, Squeeze’s debut self-titled album didn’t prove to be the best representation of their early material upon release in 1978. The group’s 1979 sophomore release “Cool for Cats” was a much more cohesive sound and spawned a pair of No. 2 singles “Cool for Cats” and “Up the Junction”. Subsequently the EP “6 Squeeze Songs Crammed into One Ten-Inch Record” was issued in late 1979, after which Kakoulli was fired from the group and replaced by John Bentley.
“Argybargy” appeared in 1980 representing a modest U.S. breakthrough, spawning the singles “Another Nail in My Heart” and “Pulling Mussels (from the Shell)”. Proficient pianist Jools Holland departed the group after the release wishing to pursue a boogie-woogie aesthetic and was replaced by the extolled Paul Carrack, formerly of Ace. Produced by Elvis Costello and Roger Bechirian, Squeeze’s fourth full-length “East Side Story” was critically acclaimed, peaking at No. 44 on the Billboard 200. The group continued to release a string of albums across the 1980s, following a short hiatus, including “Sweets from a Stranger”, “Difford & Tilbrook”, “Cosi Fan Tutti Frutti”, “Babylon and On” and “Frank”, raising Squeeze’s reputation as one of the respected live bands in the UK.
The live album “A Round & a Bout” arrived in 1990, after which, with contributions from sessions musicians Steve Nieve, Bruce Hornsby, and Matt Irving, the group issued the full-length “Play” in 1991. With little label backing the album performed poorly, and following the record drummer Lavis went to play in Jools Hollands’ big band. The record “Some Fantastic Place” was released in 1993, debuting at No. 26 in the UK, followed by “Ridiculous” in 1995, and the compilations “Piccadilly Collections” and “Excess Moderation”. Having completed their contractual obligations to A&M, Squeeze signed with independent Quixotic Records for their 1998 studio release “Domino”.
Bragg became interested in music in his 20’s as a member of the punk rock band Riff Raff. He took a break from music to join the army in 1981, which only lasted the three months of basic training. He gave music another shot and began composing music under the musical alias Spy V. Spy. Bragg assertively sought the attention of DJ John Peel and convinced him to play his demo song “Life’s A Riot with Spy V. Spy” on the radio.
Bragg’s smart move garnered the attention of Virgin Records and he soon became managed by Peter Jenner. “Life’s a Riot” was re-releaesd in 1983 and the album “Brewing Up With Billy Bragg” debuted in 1984. The album was chalk-ful of political songs and was inspired by the Clash’s Rock Against Racism concert Bragg attended in 1978. His sophomore album “Talking With the Taxman About Poetry” charted in the Top 10 in the UK and featured additional instruments like the horn and piano. The title refers to a poem by Russian Vladimir Mayakovsky.
Throughout the 80’s, 90’s and 2000’s Bragg has stayed true to his original style of mixing politics and music. His album “Mermaid Avenue” released in 1998 was a commercial success both in the UK and the U.S. and even earned him a Grammy nomination for Best Contemporary Album. Bragg declares “You can’t change the world through music, but you can give people a different perspective on the world.”
Squeeze Squeeze came on the seen in the earlier 80’s and it didn’t take long for the London act to gain a cult following. In a similar style to other iconic London bands such as Madness and The Jam they wonderful crafted songs telling the stories of their every day working class lives. In a happy ‘tongue in cheek’ way they sing about all the highs and lows, mischief, troubled romances and many more issues one may come across. Anyone can surely listen to the songs and smile in recognition of such experiences.
The band was made up of Difford and Tilbrook, two wonderfully talented lyricists and songwriters, not to mention an extremely underrated guitarist in Tilbrook. Then with Lavis on drums, who was considered one of the best drummers at the time and Jools Holland on Keys, they had all the tools to make them infamous! They got themselves a reputation for being a wonderful live act. With all the members full of energy and with a repertoire of chart topper such as, Pulling Mussels’ ‘Slap and Tickle’ and ‘Up The Junction’ they are a spectacle l not to be missed. A class, feel good British band! One of the best of the 80’s!
The legend that is Billy Bragg paid a visit to Holmfirth’s Picturedome this June. Since the venue was only a couple of hours from home I snapped up a ticket. Who could pass up the opportunity to see the original song-writing, left-wing activist, punk folk singer? If not to hear his crafted lyrics, then to marvel at how a man with a voice like a foghorn can sound so good! Bragg took to the stage at the old cinema, which dates right back to 1913. An obscure, intimate venue in heart of Yorkshire suddenly seemed the perfect site to witness this performer. Billy spoke easily and conversationally with the crowd. We quickly hushed between songs, keen to hear him explain a little of the personal resonance of each track and, of course, listen to his opinions on class, social equality and the evils of the incumbent Tory-led coalition. As he introduced a cover of Woody Guthrie’s ‘I Ain’t Got No Home’, Bragg lamented that ‘this song could have been written any time in the last five years’ as a comment on recent socio-economic hardships. Which brings us neatly to the must-anticipated rendition of ‘The World Turned Upside Down.’ We immediately began to sing along to the communist take on Winstanley’s famous Digging enterprise, proclaiming in unison that ‘this earth was a common treasury for everyone to share.’
Musically enchanting, politically stirring, this intimate gig was typical Billy Bragg.