My son Max, whose musical tastes definitely do not center on ‘80’s new wave but rather whatever is its exact opposite, just had to discard his prized version of the Squeeze LP “Argybargy.” About a year ago he’d inherited use of my aunt’s pretty old car – old enough to have a tape deck – and, presumably on a whim, had picked up a tape copy of Squeeze’s triumphant 1980 recording at a used record store for a dollar. He then proceeded to play it, as I understand pretty much exclusively, on all rides thereafter, to the point that parts of the familiar brown-colored tape became see-through from wear. Until, predictably, the decades-old tape player finally spit out the woefully overtaxed plastic reel (in an action late-gen baby boomers can all readily picture).

Though Max’s captivation and subsequent usage may seem overly intense to some, it’s given me reason to ponder further: leaving aside the highest tier of bands in history (Beatles, Stones, Who, Kinks, etc.…I think we all pretty much know who they are), are there many bands that could match Squeeze, another set of cheeky Brits, for pop song perfection when limited to a 10-tune playlist? Are there, in fact, any? And yet you never seem to hear Squeeze celebrated as a prominent artist – or really, even mentioned at all – when discussions of great bands arise. Admit it, the last time “squeeze” came up in a conversation was describing an attempt to get into an old pair of jeans, or that friend who always hugs too aggressively.

Despite lacking the historical acclaim, Squeeze truly was a consequential band. Co-writers, -vocalists and -guitarists Glenn Tilbrook and Chris Difford were even hailed by Rolling Stone as “the heirs to Lennon and McCartney’s throne” during the band’s initial popularity in the late 1970’s – surely a kiss of death. Perhaps that level of ascension didn’t exactly take place, but for a peak period of 1978-1982 and across five studio albums, Squeeze produced a rather dazzling collection of impeccably tuneful nuggets – composed, played and sung in exquisite synchronicity, not to mention with deceptively intelligent lyrical sensibilities.

Alright then, time for some evidence. Here’s my list of ten top-notch tunes to constitute a Squeeze Top 10 – which I think you could put up against just about any other band not named The Beatles or among that somewhat undefined elite to which we alluded earlier (fear not, an applicable playlist will follow at the end):

  • Pulling Mussels (From the Shell)
  • Another Nail in My Heart
  • Tempted
  • Cool for Cats
  • Black Coffee in Bed
  • Is That Love?
  • Up The Junction
  • Take Me I’m Yours
  • Annie Get Your Gun
  • If I Didn’t Love You
  • Goodbye Girl
  • In Quintessence

It’s possible you may need to re-familiarize yourself with a few of those, but that is one killer list (and fine, you caught me, after much indecision I did “squeeze” in twelve to a list of ten).

So, among that stellar decade (I just learned that beyond years that word generally defines any group of ten items), what song is best to feature? Let’s skip past ‘Pulling Mussels (From the Shell),’ the opening track on Max’s now-defunct cassette and just about the most infectious 4-minutes of music I can possibly conceive (that may seem like hyperbole, but it is not). And let’s instead spotlight the song that follows it up in the above grouping as well as on the “Argybargy” album, another masterfully crafted piece titled ‘Another Nail in My Heart.’

In short, this tune has more hooks than a fisherman. Beyond catchy, it is crackling. Vibrant. Unfailingly buoyant in tone (though the tune’s un-cheery lyrics of a bar-driven breakup are not). And, of course, it’s a spirited showcase for Tilbrook and Difford’s signature high register / low register harmonies.

But the thing that surely must be focused on is…that guitar solo! For starters, Tilbrook jumps into it highly unusually early in the song, taking a break after just one verse and the band’s communally sung chorus. And when he does, he simply submits 26 seconds of sublimity (it’s at 0:51 through 1:17 in the song, so you can follow along). Artful, intricate, and yet uncompromisingly melodic. It’s two measures of understated genius.

The New York Times described the song in its entirety as an “ingenious pop-rock confection,” and I would hardly differ. The video, as well, provides an amusing diversion, highlighted by keyboardist Jools Holland, long prior to initiating his over 30-year career as host of BBC’s extravagant musical revue “Later…with Jools Holland,” hauling his piano across town whilst the band is already playing, only to arrive at the studio just in time to play a final arpeggio, his only contribution to the performance.

Enjoy this gem, along with the remainder of the underrecognized Squeeze Top 10/11 list. Maybe you’d be able to find a place in front of these for another “second-echelon” band that can sport a more tuneful compilation. But if so, I believe it’s going to be a tight squeeze.