Squeeze Concert including one odd tidbit


I saw Squeeze (or, more precisely, Chris Difford and Glenn Tillbrook of Squeeze) in concert at a local club last night. They performed mostly acoustic versions (tho Tillbrook played some electric guitar) of Squeeze's greatest hits and they did so with great style. The simpler arrangements still managed to capture a lot of the kinetic energy that is central to so many Squeeze songs. Overall, a very fun show and one worth catching for any Squeeze fan.

Squeeze is a band that I admire greatly: IMO, they combine outstanding songs (irresistible hooks) with excellent musicianship (Tillbrook is a fine, under-appreciated guitarist) and they often provide witty lyrics rife with clever wordplay. When the band performs, they rock with much more power than you might expect from such shiny songs. When they perform as a duo, however, the concert is less manic and involves more interaction with the audience. I've seen them do request-heavy shows in the past, but last night they had a guy with a mic walking thru the audience to take questions.

While most of Squeeze's best lyrics are probably best characterized as "clever good fun", one of their songs, "Some Fantastic Place", is a kind of pop elegy. The song is sung as a paean to a lover who died young. I've always wondered whether it was a true story or an imagined one. I've also always found it to be a tremendously moving and inspirational statement at a time of great sadness. I like a lot of Squeeze's lyrics, but I've always felt that "Fantastic Place" is a cut above anything else that Squeeze has done lyrically. (Actually, I find it a cut above all but a very few lyrics from anyone - there's just a very intense personal connection with that song on my part.)

When the mic came my way, I asked if a two part question was okay. They approved and I first asked:

"What lyric are you most proud of?"

Tillbrook hemmed and hawed for a minute ("That answer might change every day"), before he eventually settled on...... "Some Fantastic Place". Tillbrook said he was very proud of that one and then he thanked Difford for penning the lyric that told the story so movingly. He then asked me for part two of my question.

I told him that my second question was about..... "Some Fantastic Place". I asked whether the song was about an actual person in his life and, if it was, whether he might share that story.

He explained that his first great love died young of Leukemia. When Difford first provided his lyric shortly after her death, Tillbrook said the chords just spilled out of him in a spontaneous torrent. It was evident that it was a moving moment for him. It was satisfying to see that I had shared that sentiment with him regarding the power of the song.

It was a nice cap to a really fun evening with two terrific pop musicians. It also made it clear that a chance to interact with the people who write our favorite songs is an opportunity that happens way too rarely. If you like Squeeze, and Difford/Tillbrook comes to your neighborhood, I'd urge you to check this one out. Come armed with a question, too - it might make the night special.

martykl
Re: The Beatles playing. "In the land of the blind the one-eyed man is King ."
Loomis,

As per usual, I don't really disagree with anything that you've written, with one slightly different take on how a given songwriter might integrate a solo into a given song.

The solo in SFP is an example of what I meant by "playing in service to the song"'. I completely agree that it's not the most inventive thing you'll ever hear, but - IMO - sometimes the highest purpose of a guitar solo is to re-state the melody in a way that reveals a different side to it. It's almost a different art form than soloing for the sake of a unique statement in, and of, itself. In this case, I think Tillbrook 100% made the "right" decision (with the caveat, of course, that there are an infinite number of right decisions) in keeping the solo within the four corners of the melody. The song is so strong that stepping outside those constraints risks breaking the spell. As always, YMMV - particularly if you're not as enthralled with the song as I am.

I will note one beautiful structural element to the solo. Both melodically and rhythmically, it sets up the walk down which transitions to the middle eight. In my view, that's brilliant song-craft. It's a very clever solution to the always present problem of segueing to a completely new segment of a song. The middle eight (as usual) only appears once in SFP and it's quite different in feel from both the chorus and the verse, yet the solo flows seamlessly into that passage. Again, it's another way in which that solo is in service to the song.

SFP probably more powerfully resonates for me because, despite persistent efforts to improve myself in this regard, I remain a fundamentally cynical soul. I've been to too many funerals and have never found much comfort in anyone's attempt to celebrate the life of the person that has died. That sentiment just never works for me....except in that song. The lyric strikes me as completely genuine, completely heartfelt, and astonishingly joyous in the face of great sadness. Like I said, that particular formula resides as much in this listener as it does in that song. Although, interestingly, when I asked Tillbrook (Difford wasn't really participating in this game) to choose the one he was proudest of, he chose SFP. So, I guess he may share my own issues around the subject of death, hope, and faith. Who knows?

BTW, I must give you this: Your choice of the descriptor "tragicomic" for Up The Junction was spot-on. I love the couplet:

"She left me when my drinking,
became a proper stinking"

You want to smile at the rhyme (and the oh-so-British use of the modifier "proper"), but the narrator has just lost his family to alcohol. It really is that rarity - a truly tragicomic moment.
Schubert, 60's pop/rock is no different from any other genre. There's a lot of horrible-to-mediocre stuff and then there's good, better, great and the very top. The Beatles were at the very top. If they produced something that wasn't top-shelf they usually had the sense not to release it. Leonard Bernstein got on board pretty early on (but Glenn Gould hated them). In more than 30 years of teaching guitar I've come across two students who did not care for the Beatles. That's an astonishingly low number. Anyway, Harrison was a great pop/rock guitarist and McCartney was perhaps the premier bassist of his time (I wouldn't compare pop bass to jazz). No flies on this boys