5 Lesser-Known Gems by British Pop Legends Squeeze

In terms of greatest hits packages, it’s hard to top Squeeze‘s Singles – 45’s and Under. Released in 1982, it compiled an incredible string of killer pop songs released by the British band in their first five years of existence, and it helped them gain traction in America.

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As scintillating as that collection is, it doesn’t tell anything close to the full story of this tremendous band. Here are five non-singles from throughout Squeeze’s rich history we suggest you check out ASAP.

“Woman’s World” from East Side Story (1981)

East Side Story is the record where Squeeze stretched the boundaries, showing they could do more than the tight, melodic pop songs for which they were known. Country, rockabilly, avant-garde, classical—you name it, they tackled it on this tour de force of an album. And while “Woman’s World” sticks close to their old music formula, it nonetheless shows off the songwriting talents of Glenn Tilbrook and Chris Difford at their best. Tilbrook’s melody keeps straying where you’d least expect it, while Difford’s lyrics get deep inside the head and heart of a harried housewife.

“Cigarette of a Single Man” from Babylon and On (1987)

Thanks in part to some sprightly saxophone that helped it stand out on radio, and cool special effects that helped the video stand out on MTV, “Hourglass” from Babylon and On became Squeeze’s biggest-ever U.S. hit. But we’re going even deeper into that record to unearth the charms of “Cigarette of a Single Man.” The loose, danceable rhythm is a pleasant surprise, even as Difford’s lyrics paint a devastating portrait of a lonely dude and Tilbrook’s melody locates limitless wells of pathos.

“Can of Worms” from Frank (1989)

It’s hard to say why Frank didn’t sell better when it was released. Maybe some considered Squeeze old-hat by that point, or maybe their record label didn’t give it enough promotional push. For those looking for unheralded albums from the band, start here because there’s not a clunker in the batch of songs included. “Can of Worms” displays the band’s willingness to tackle adult topics many other rock bands would never attempt. In this case, it’s the awkward feeling of being the new boyfriend in the life of a single mother.

“Letting Go” from Play (1991)

Operating with a new label and down to a four-piece, Squeeze carried on with the album Play and stepped up with yet another killer of a record. It’s hard to pick just one underrated track from this LP because they’ve all got something to offer. “Letting Go” is interesting because it’s a song about a pretty common topic: a love affair that’s about to sputter to its conclusion. Leave it to Tilbrook and Difford to find new nuance in it. The guy in the song is self-aware enough to see he and his beloved are running on fumes, but he’s afraid to admit to it and face the alternative.

“Jolly Comes Home” from Some Fantastic Place (1993)

Paul Carrack, who famously sang “Tempted” for the band on East Side Story, returned to the Squeeze fold for Some Fantastic Place. Speaking of East Side Story, that album includes the song “Vanity Fair,” which used classical instrumentation as its musical foundation. “Jolly Comes Home” takes a similar approach, although the strings here are used more as an accent. They add something special to a song depicting a domestic scenario where a wife becomes frustrated at her husband’s sleepwalking through their marriage.

Photo by Patrick Ford/Redferns