1 00:00:00,520 --> 00:00:03,320 Speaker 1: Take a walk. There are bands that make great records, 2 00:00:03,360 --> 00:00:06,080 Speaker 1: and then there are bands that make records that feel 3 00:00:06,120 --> 00:00:10,120 Speaker 1: like they were written just for you, Songs that capture 4 00:00:10,160 --> 00:00:14,120 Speaker 1: a moment, a place of feeling so precisely that you 5 00:00:14,280 --> 00:00:17,200 Speaker 1: swear the writer must to be looking through your window. 6 00:00:17,760 --> 00:00:20,319 Speaker 1: Squeeze has always been that kind of band for me 7 00:00:20,840 --> 00:00:24,160 Speaker 1: and maybe for you as well. Up the junction to 8 00:00:24,320 --> 00:00:28,880 Speaker 1: tempted to cool for cats Glenn Tilbrook and Chris Difford 9 00:00:29,440 --> 00:00:32,640 Speaker 1: that built one of the most celebrated songwriting partnerships in 10 00:00:32,760 --> 00:00:36,320 Speaker 1: rock history, a partnership that has a catalog that has 11 00:00:36,360 --> 00:00:39,960 Speaker 1: stood the test of time like very few others. But 12 00:00:40,040 --> 00:00:43,800 Speaker 1: here's the twist. The story of Squeeze has a new chapter, 13 00:00:44,200 --> 00:00:47,640 Speaker 1: and it actually begins at the very beginning. The band's 14 00:00:47,760 --> 00:00:52,239 Speaker 1: extraordinary new album, Trixies, is out now on BMG, and 15 00:00:52,280 --> 00:00:55,880 Speaker 1: it's unlike anything you've heard from them before, because in 16 00:00:55,920 --> 00:00:59,160 Speaker 1: a sense, it's unlike anything they had heard from themselves before. 17 00:01:00,120 --> 00:01:03,400 Speaker 1: These are songs that Glenn and Chris wrote as teenagers 18 00:01:03,840 --> 00:01:07,160 Speaker 1: Glenn was just sixteen years old, set in a fictional 19 00:01:07,280 --> 00:01:11,360 Speaker 1: nightclub called Trixies. The songs were written before the hits, 20 00:01:11,640 --> 00:01:15,720 Speaker 1: before the world tours, before the legend. They were too young, 21 00:01:15,800 --> 00:01:18,880 Speaker 1: too inexperience to record them properly at the time, so 22 00:01:18,959 --> 00:01:24,840 Speaker 1: they waited fifty years, and now finally Trixies has had 23 00:01:24,880 --> 00:01:28,680 Speaker 1: its moment. The New York Times says, Tilbrook comes them 24 00:01:28,720 --> 00:01:33,600 Speaker 1: full of life, the buoyant hooks and confident, soulful vocal lines, 25 00:01:34,120 --> 00:01:38,160 Speaker 1: classic rock calls at a record imagined the youth realized 26 00:01:38,160 --> 00:01:42,240 Speaker 1: in maturity on Buzznight. And today I'm taking a walk. 27 00:01:42,560 --> 00:01:44,880 Speaker 1: We're gonna sit down with the man himself, the voice, 28 00:01:44,920 --> 00:01:49,600 Speaker 1: the guitar, the melodic genius behind one of Britain's greatest bands. 29 00:01:50,360 --> 00:01:55,160 Speaker 1: Next we'll talk to Glenn Tilbrook Squeeze on taking a walk. 30 00:01:58,840 --> 00:02:02,640 Speaker 1: Taking a Walk. Then take me back to nineteen seventy four. 31 00:02:02,840 --> 00:02:06,720 Speaker 1: You're sixteen years old. You and Chris Differd are just 32 00:02:06,840 --> 00:02:12,080 Speaker 1: beginning your songwriting partnership, and you're already writing songs about 33 00:02:12,080 --> 00:02:16,600 Speaker 1: a fictional nightclub called Trixies. What was the world you 34 00:02:16,639 --> 00:02:18,320 Speaker 1: were living in that inspired that? 35 00:02:19,639 --> 00:02:25,520 Speaker 2: Well, a world of limited horizons, I would say, but 36 00:02:26,320 --> 00:02:29,440 Speaker 2: a lot of hopes and dreams and optimism about what 37 00:02:29,520 --> 00:02:33,959 Speaker 2: the future could hold for us. And I think that's 38 00:02:33,960 --> 00:02:38,920 Speaker 2: strangely enough, that optimism is reflected in the writing of Trixies. 39 00:02:38,960 --> 00:02:42,720 Speaker 2: It sounds optimistic to me. I don't know if I'm 40 00:02:42,760 --> 00:02:47,120 Speaker 2: just imbuing it with my memory, but it does sound optimistic. 41 00:02:47,240 --> 00:02:49,520 Speaker 2: And we have our whole future ahead of us, so 42 00:02:49,600 --> 00:02:51,160 Speaker 2: low wouldn't we be optimistic? 43 00:02:52,400 --> 00:02:56,400 Speaker 1: And Lord, do we need optimism these days? Don't we? 44 00:02:56,400 --> 00:02:56,840 Speaker 2: We all do? 45 00:02:57,240 --> 00:03:03,480 Speaker 1: That's true when you rediscovered that original cassette after fifty years, 46 00:03:04,600 --> 00:03:07,840 Speaker 1: Take our audience back to what that moment was actually like. 47 00:03:08,080 --> 00:03:11,799 Speaker 1: Was it a shock? Was it extremely emotional? Of what 48 00:03:12,040 --> 00:03:14,600 Speaker 1: came flooding back at that moment? 49 00:03:15,880 --> 00:03:20,200 Speaker 2: Well, at the risk of I want to dispel a 50 00:03:20,240 --> 00:03:24,240 Speaker 2: myth that is growing up around this. We knew about 51 00:03:24,280 --> 00:03:29,320 Speaker 2: the songs all the time, We hadn't forgotten them, and 52 00:03:29,840 --> 00:03:32,960 Speaker 2: I think, you know, some Chris found a tape and 53 00:03:33,000 --> 00:03:34,440 Speaker 2: he brought it in and it was good to hear 54 00:03:34,480 --> 00:03:36,240 Speaker 2: it because we hadn't heard it for a long time. 55 00:03:36,280 --> 00:03:39,760 Speaker 2: But we knew, we knew what we had for The 56 00:03:39,840 --> 00:03:44,520 Speaker 2: real moment I think was when we thought about doing 57 00:03:44,560 --> 00:03:47,120 Speaker 2: the songs and I learned how to play them because 58 00:03:47,120 --> 00:03:49,920 Speaker 2: I haven't played them for a long time, and we 59 00:03:49,960 --> 00:03:52,720 Speaker 2: sat down in here where I am now, this studio 60 00:03:52,760 --> 00:03:57,000 Speaker 2: control room, on this piano here and played the songs 61 00:03:57,760 --> 00:03:59,920 Speaker 2: to Owing middlind to Chris, and by the end of 62 00:04:00,120 --> 00:04:04,000 Speaker 2: that we did think, oh my god, this is better 63 00:04:04,000 --> 00:04:09,240 Speaker 2: than we thought it was. You know, it's a really 64 00:04:09,280 --> 00:04:13,840 Speaker 2: strong collection of songs, considering well, considering everything to do 65 00:04:13,920 --> 00:04:16,440 Speaker 2: with where they were made and the time they were made, 66 00:04:17,279 --> 00:04:19,839 Speaker 2: that stand up and didn't really need a lot of 67 00:04:19,839 --> 00:04:23,120 Speaker 2: help from us, except in the areas where we could 68 00:04:23,160 --> 00:04:26,479 Speaker 2: do with the most help. At that time in nineteen 69 00:04:26,520 --> 00:04:29,000 Speaker 2: seventy four, we couldn't play our sing particularly well, and 70 00:04:29,040 --> 00:04:30,400 Speaker 2: we can do it a lot better now. 71 00:04:32,200 --> 00:04:35,800 Speaker 1: You've said the act of revisiting those songs had you 72 00:04:36,120 --> 00:04:41,200 Speaker 1: in tears, and that you're aware of all the stuff 73 00:04:41,720 --> 00:04:45,360 Speaker 1: you've still yet to hear and write when you're hearing it. 74 00:04:45,400 --> 00:04:48,760 Speaker 1: That's a profound thing to say about your own work. 75 00:04:49,080 --> 00:04:50,760 Speaker 1: Can you talk about that a bit more. 76 00:04:52,279 --> 00:04:56,039 Speaker 2: Yeah, I'm glad I said it. I'm glad I put 77 00:04:56,080 --> 00:04:59,440 Speaker 2: it like that, because that's really meanful. What it means 78 00:04:59,520 --> 00:05:04,839 Speaker 2: to me is my musical palette in nineteen seventy four 79 00:05:04,960 --> 00:05:09,640 Speaker 2: consisted mostly of current stuff that I'd heard in the 80 00:05:09,720 --> 00:05:13,520 Speaker 2: last three years, but also was wider informed by the sixties. 81 00:05:13,520 --> 00:05:16,120 Speaker 2: That's why I taught myself how to play. And I 82 00:05:16,200 --> 00:05:19,800 Speaker 2: used to play a lot of songs in record songbooks 83 00:05:20,880 --> 00:05:23,240 Speaker 2: and teach myself how to play them. So all that 84 00:05:23,279 --> 00:05:28,160 Speaker 2: stuff is inside. I mean, also from my parents' record collection, 85 00:05:28,320 --> 00:05:32,359 Speaker 2: you know, and Fitzgerald and all sorts of different jazz 86 00:05:32,680 --> 00:05:36,640 Speaker 2: had found its way into my consciousness. So there was 87 00:05:36,680 --> 00:05:40,120 Speaker 2: that there. But rock music, well, that was twenty years old, 88 00:05:41,800 --> 00:05:44,480 Speaker 2: you know, and you of course there was R and 89 00:05:44,520 --> 00:05:48,520 Speaker 2: B and rock and roll before that, black music. But 90 00:05:49,520 --> 00:05:52,120 Speaker 2: there's so much more now, so much more, you know, 91 00:05:52,160 --> 00:05:56,200 Speaker 2: what I write now, I'm occupying all the decades that 92 00:05:56,240 --> 00:06:01,320 Speaker 2: I've had since then with information and influences. And at 93 00:06:01,320 --> 00:06:04,520 Speaker 2: that point it really wasn't that much stuff clunking around, 94 00:06:04,640 --> 00:06:07,200 Speaker 2: so it's more targeted, more precise. 95 00:06:08,640 --> 00:06:12,240 Speaker 1: You mentioned Owen Biddle earlier. He produced Tricksies, a man 96 00:06:12,320 --> 00:06:16,839 Speaker 1: you know very well as Squeezes bassist. Talk about what 97 00:06:16,960 --> 00:06:20,680 Speaker 1: he brought to the recordings that, you know, maybe someone 98 00:06:20,760 --> 00:06:24,040 Speaker 1: outside of the band couldn't have. 99 00:06:24,880 --> 00:06:27,960 Speaker 2: He bought. He brought a lot of the recordings. He bought. 100 00:06:28,000 --> 00:06:34,800 Speaker 2: His talent is here, his innate musicianship and also bought 101 00:06:34,920 --> 00:06:37,520 Speaker 2: He has such an appreciation for Chris and I think 102 00:06:37,560 --> 00:06:40,160 Speaker 2: he's the first sort of I'll be one of mind 103 00:06:40,200 --> 00:06:44,640 Speaker 2: I saying, his first Squeeze fan to join Squeeze, So 104 00:06:45,240 --> 00:06:48,800 Speaker 2: you know, that's sort of lovely. It's it's really lovely 105 00:06:48,880 --> 00:06:51,919 Speaker 2: to have someone like that in the band. On what 106 00:06:52,000 --> 00:06:55,600 Speaker 2: he brought to the table in terms of helping get 107 00:06:55,640 --> 00:06:57,480 Speaker 2: the songs ready is immense. 108 00:06:59,320 --> 00:07:02,120 Speaker 1: It's got to be a dream for him too to 109 00:07:02,160 --> 00:07:04,359 Speaker 1: be part of that. I mean, boy, what a beautiful, 110 00:07:04,680 --> 00:07:08,680 Speaker 1: beautiful story. The album has this incredible arc. It's it's 111 00:07:08,680 --> 00:07:13,840 Speaker 1: set in the nightclub. It has crime scene vignette characters 112 00:07:14,200 --> 00:07:18,160 Speaker 1: on the margins. Was there always this narrative structure to 113 00:07:18,640 --> 00:07:22,320 Speaker 1: trick caese or did that reveal itself over time? 114 00:07:23,320 --> 00:07:25,280 Speaker 2: You know, I think it. One of the things that 115 00:07:25,320 --> 00:07:29,560 Speaker 2: fascinates me about it lyrically is that there is a 116 00:07:29,640 --> 00:07:34,600 Speaker 2: story there, but it does involve lots of different characters, 117 00:07:35,200 --> 00:07:40,440 Speaker 2: but it's just not specific enough to say, oh, this 118 00:07:40,560 --> 00:07:42,960 Speaker 2: led to that, and then this happened, and then and then, 119 00:07:43,160 --> 00:07:48,760 Speaker 2: and the conclusion is it's not like that. It's something 120 00:07:48,800 --> 00:07:51,600 Speaker 2: that is really tantalizing to me is that it manages 121 00:07:51,640 --> 00:07:54,040 Speaker 2: to paint a picture of a place without ever revealing 122 00:07:54,600 --> 00:07:58,640 Speaker 2: everything about it or the people and so there are 123 00:07:58,680 --> 00:08:02,720 Speaker 2: all sorts of characters in now who we maybe come 124 00:08:02,760 --> 00:08:06,720 Speaker 2: across or just dreamt of. You know, certainly Chris had 125 00:08:06,800 --> 00:08:09,400 Speaker 2: more worldly experience than I did at that point. 126 00:08:10,120 --> 00:08:13,520 Speaker 1: You and Chris have one of the great songwriting partnerships 127 00:08:13,520 --> 00:08:19,840 Speaker 1: in rock history, often compared to Lennon and McCartney. What 128 00:08:20,000 --> 00:08:22,520 Speaker 1: is it about the way the two of you work 129 00:08:22,600 --> 00:08:26,520 Speaker 1: together that has endured over these fifty years. 130 00:08:28,160 --> 00:08:30,200 Speaker 2: I think the fact that we're very different people and 131 00:08:30,320 --> 00:08:36,400 Speaker 2: we don't we don't socialize, We have very little to 132 00:08:36,440 --> 00:08:39,559 Speaker 2: do with each other outside squeeze, and in a way, 133 00:08:40,040 --> 00:08:43,120 Speaker 2: in a strange way, the fact that we've found out, 134 00:08:43,160 --> 00:08:47,480 Speaker 2: probably in nineteen seventy six or something, has a great 135 00:08:47,559 --> 00:08:51,199 Speaker 2: bearing on our ability to maintain our relationship. Because if 136 00:08:51,240 --> 00:08:54,960 Speaker 2: our relationship isn't going anywhere except professionally, and we have 137 00:08:55,040 --> 00:08:56,959 Speaker 2: the utmost respect for each other, I think. 138 00:08:58,120 --> 00:09:00,600 Speaker 1: I think that's a fascinating way to look at it, 139 00:09:00,640 --> 00:09:05,240 Speaker 1: because it's it takes out a lot of the messy 140 00:09:05,320 --> 00:09:08,800 Speaker 1: things that can happen in relationships and keeps you on 141 00:09:08,880 --> 00:09:13,760 Speaker 1: a very constant track to this day. You know exactly 142 00:09:13,840 --> 00:09:15,120 Speaker 1: what I'm talking about. 143 00:09:15,320 --> 00:09:17,800 Speaker 2: I know exactly what you're talking about, right you're right. 144 00:09:17,880 --> 00:09:21,560 Speaker 2: It's sorry right. It's like an unintended superpower that we have. 145 00:09:22,640 --> 00:09:29,119 Speaker 1: I'd love that the press release mentions that revisiting Trixies 146 00:09:29,840 --> 00:09:33,720 Speaker 1: has sparked a new wave of songwriting, which is so 147 00:09:34,120 --> 00:09:37,560 Speaker 1: exciting to hear it that a brand new album of 148 00:09:37,600 --> 00:09:41,360 Speaker 1: Squeeze songs has already finished. What did going back to 149 00:09:41,440 --> 00:09:44,439 Speaker 1: the beginning unlock for you guys creatively? 150 00:09:45,520 --> 00:09:48,439 Speaker 2: I thought it was really important when we were talking 151 00:09:48,440 --> 00:09:52,120 Speaker 2: about doing this, about doing Trixies, that we didn't just 152 00:09:52,240 --> 00:09:55,240 Speaker 2: do that, because I thought there was a danger that 153 00:09:55,280 --> 00:10:00,239 Speaker 2: we trap ourselves in the past, and the way to 154 00:10:00,240 --> 00:10:03,280 Speaker 2: combat that is to do two things at the same time, 155 00:10:03,320 --> 00:10:06,800 Speaker 2: and that's a new an old album, and to give 156 00:10:06,840 --> 00:10:11,680 Speaker 2: them both the amount of attention that they deserve. And 157 00:10:11,760 --> 00:10:16,760 Speaker 2: what happened throughout that process is that Trixies really informed 158 00:10:17,120 --> 00:10:22,840 Speaker 2: our songwriting. But it's not it's not where it was 159 00:10:22,880 --> 00:10:25,680 Speaker 2: in nineteen seventy four. It's where we are now and 160 00:10:25,800 --> 00:10:29,839 Speaker 2: we have many more influences coming into play. And I think, 161 00:10:29,880 --> 00:10:34,880 Speaker 2: as anyone who loves music or the test, your taste 162 00:10:35,400 --> 00:10:40,200 Speaker 2: never remains static. It's a constant, ongoing digestion of whatever 163 00:10:40,440 --> 00:10:43,400 Speaker 2: is really floating your boat at the moment than Bine 164 00:10:43,440 --> 00:10:46,559 Speaker 2: with all the other stuff that you've heard. So we're 165 00:10:46,679 --> 00:10:49,199 Speaker 2: very different writer as to how we were then. But 166 00:10:49,320 --> 00:10:53,000 Speaker 2: I think the great thing is that we're capable of 167 00:10:53,040 --> 00:10:57,400 Speaker 2: writing something that is at the very least the equal 168 00:10:57,440 --> 00:11:01,120 Speaker 2: of Trixies. And that's a really big thing because we 169 00:11:01,200 --> 00:11:04,160 Speaker 2: knew that. We knew that Trixies would be a big thing, 170 00:11:04,720 --> 00:11:06,880 Speaker 2: but we knew that the thing after that I had 171 00:11:06,920 --> 00:11:11,040 Speaker 2: better be something good and it's necessary be the end 172 00:11:11,040 --> 00:11:13,440 Speaker 2: of our legacy, you know, it could be that, it 173 00:11:13,559 --> 00:11:15,839 Speaker 2: might be that, who knows, we're getting another bit. 174 00:11:18,160 --> 00:11:21,440 Speaker 1: Well, Squeeze is about to headline arenas in the UK 175 00:11:22,000 --> 00:11:27,120 Speaker 1: for the first time, including a hometown show at the 176 00:11:27,200 --> 00:11:30,800 Speaker 1: Big Arena, three miles from where the band began. 177 00:11:31,840 --> 00:11:33,160 Speaker 2: Yeah, one mile. 178 00:11:35,080 --> 00:11:38,280 Speaker 1: Wow, All right, what is that that? That's the Two Arena? 179 00:11:38,360 --> 00:11:40,520 Speaker 2: Is that right? It's the two The Two Area is 180 00:11:40,600 --> 00:11:41,240 Speaker 2: just down the right. 181 00:11:41,520 --> 00:11:44,920 Speaker 1: Yeah. So talk about what that means to you personally. 182 00:11:46,040 --> 00:11:51,120 Speaker 2: Well, you know, when I reflect on my career, I 183 00:11:51,200 --> 00:11:54,640 Speaker 2: go back to meeting Chris and having Squeezes a band 184 00:11:54,679 --> 00:11:57,800 Speaker 2: for three years before we made a record, and then 185 00:11:58,440 --> 00:12:03,120 Speaker 2: the early success and the mid period of hanging about 186 00:12:03,120 --> 00:12:05,360 Speaker 2: a bit, and then in a way. One of the 187 00:12:05,360 --> 00:12:09,560 Speaker 2: things that's the strongest influence on me is what happened 188 00:12:09,559 --> 00:12:11,520 Speaker 2: when our career. You know, when we split up in 189 00:12:11,600 --> 00:12:14,960 Speaker 2: ninety seven, it was a sort of tough time. I 190 00:12:15,040 --> 00:12:19,160 Speaker 2: was so low and I was playing clubs and sometimes 191 00:12:19,240 --> 00:12:22,559 Speaker 2: people will come at other times, not necessarily that many. 192 00:12:23,200 --> 00:12:27,960 Speaker 2: At that point, I really discovered something that maybe I'd forgotten, 193 00:12:27,960 --> 00:12:31,199 Speaker 2: which is that I love doing this and whatever it is. 194 00:12:31,360 --> 00:12:34,439 Speaker 2: If I'm playing in a lawn direct to six people, 195 00:12:34,679 --> 00:12:38,040 Speaker 2: that's what I'll do, and I'm happy doing that and 196 00:12:38,160 --> 00:12:41,360 Speaker 2: never to think, oh, you know, I could have been, 197 00:12:41,600 --> 00:12:45,240 Speaker 2: I should have been. You know, that's I don't see 198 00:12:45,240 --> 00:12:48,360 Speaker 2: anything productive in thinking like that. I see a great 199 00:12:48,400 --> 00:12:52,800 Speaker 2: deal of productivity in enjoying the moment and wherever the 200 00:12:52,800 --> 00:12:56,079 Speaker 2: moment is, make sure you're there, present, and in it. 201 00:12:57,160 --> 00:13:00,480 Speaker 2: And that has been the biggest gift to go forward 202 00:13:00,840 --> 00:13:04,560 Speaker 2: back into Squeeze and bring that to where we are now, 203 00:13:04,559 --> 00:13:07,040 Speaker 2: where I think we're the best we've ever been, and 204 00:13:07,120 --> 00:13:10,000 Speaker 2: I think that the new album contains some of the 205 00:13:10,000 --> 00:13:14,160 Speaker 2: best songs we've ever written, and that's such a fantastic 206 00:13:14,200 --> 00:13:14,880 Speaker 2: place to be in. 207 00:13:14,960 --> 00:13:19,080 Speaker 1: Now. Do you have a recollection of the first moment 208 00:13:19,240 --> 00:13:23,760 Speaker 1: in your life that you knew you would be deeply 209 00:13:23,840 --> 00:13:27,360 Speaker 1: connected with music for the rest of your life. 210 00:13:29,440 --> 00:13:32,880 Speaker 2: I think that in the first half of my life. 211 00:13:32,920 --> 00:13:35,880 Speaker 2: I'm sixty eight now, I'm going to say probably for 212 00:13:35,960 --> 00:13:38,959 Speaker 2: the first half of it, I wasn't at all sure 213 00:13:39,679 --> 00:13:42,160 Speaker 2: my career in music would last, and I wonder what 214 00:13:42,320 --> 00:13:47,000 Speaker 2: that was about. There was a fear of losing the 215 00:13:47,040 --> 00:13:52,360 Speaker 2: foothold that we've got again. I mentioned the time when 216 00:13:52,640 --> 00:13:57,240 Speaker 2: my career was at its lowest. Became like a superpower 217 00:13:57,240 --> 00:14:01,240 Speaker 2: for me because I realized that to do this and 218 00:14:01,240 --> 00:14:03,720 Speaker 2: that it's not going to stop. I'd already reached the 219 00:14:03,760 --> 00:14:05,959 Speaker 2: point where if I was going to stop or to 220 00:14:06,040 --> 00:14:08,520 Speaker 2: stop then, if I had been depressed, it would have 221 00:14:08,559 --> 00:14:12,000 Speaker 2: been then. But it's not what happened. I enjoyed that time, 222 00:14:12,360 --> 00:14:13,480 Speaker 2: and I enjoy this time. 223 00:14:14,679 --> 00:14:19,120 Speaker 1: We talk often on this podcast about when folks have 224 00:14:19,240 --> 00:14:24,320 Speaker 1: that first Beatles moment. Many times it's the first Beatles moment, 225 00:14:24,440 --> 00:14:27,600 Speaker 1: and it's a reference to the Ed Sullivan Show appearance. 226 00:14:28,440 --> 00:14:32,200 Speaker 1: What was your first Beatles moment that impacted you? 227 00:14:33,920 --> 00:14:37,440 Speaker 2: Do you know? I have a very vivid memory of 228 00:14:38,080 --> 00:14:44,560 Speaker 2: walking to my school when I was six or seven 229 00:14:45,440 --> 00:14:49,320 Speaker 2: and hearing the intro called to Hard Day's Night when 230 00:14:49,320 --> 00:14:52,280 Speaker 2: it was a new song come out of an upstairs 231 00:14:52,280 --> 00:14:55,920 Speaker 2: window and I stood and listened to it from the 232 00:14:55,960 --> 00:15:01,720 Speaker 2: street and it just elect tied me. And I don't 233 00:15:01,720 --> 00:15:04,120 Speaker 2: know if I was I was aware of the Beatles before, 234 00:15:04,760 --> 00:15:07,480 Speaker 2: but that sound absolutely captivated me. 235 00:15:08,360 --> 00:15:13,720 Speaker 1: Wow, what a visual. Yeah, that's incredible. You guys are 236 00:15:13,720 --> 00:15:17,600 Speaker 1: going to be at the Hollywood Ball in September. That 237 00:15:17,680 --> 00:15:23,160 Speaker 1: must be really incredibly exciting thinking about that, you know, Lucky, Yeah, 238 00:15:23,200 --> 00:15:27,880 Speaker 1: it's amazing alongside adam Ant in the English Beat a 239 00:15:28,000 --> 00:15:34,800 Speaker 1: remarkable British invasion bill talk about that, the energy like 240 00:15:34,840 --> 00:15:38,760 Speaker 1: when Squeeze plays a room of that magnitude, you. 241 00:15:38,720 --> 00:15:48,560 Speaker 2: Know, Squeeze. Since for Lockdown and all that stuff, we 242 00:15:48,600 --> 00:15:52,800 Speaker 2: did a lot of housekeeping and we've got better and better. 243 00:15:52,920 --> 00:15:56,960 Speaker 2: We're now a nine piece band that seems unimaginable to 244 00:15:57,040 --> 00:16:00,160 Speaker 2: paper are used to a five piece Squeeze. But we 245 00:16:00,400 --> 00:16:01,920 Speaker 2: have a lot of different things that we can do 246 00:16:02,000 --> 00:16:05,320 Speaker 2: now that we could never do. One of them being vocals. 247 00:16:05,320 --> 00:16:07,240 Speaker 2: We have six people in the band that can sing, 248 00:16:08,280 --> 00:16:10,560 Speaker 2: so we use that to its full extent. We have 249 00:16:10,680 --> 00:16:15,320 Speaker 2: Bv's Harmony vocals. Well, we have so broadened our palette 250 00:16:15,320 --> 00:16:17,760 Speaker 2: of what we can do and how we can deliver 251 00:16:17,840 --> 00:16:20,640 Speaker 2: it live. It's just I'm so excited for when we 252 00:16:20,720 --> 00:16:25,440 Speaker 2: turn because we just knocked people over. Now it's you know, 253 00:16:25,640 --> 00:16:29,400 Speaker 2: I'm not the change in us. And then the audinance 254 00:16:29,480 --> 00:16:34,880 Speaker 2: reaction is really palpable and it's incredible and we deserve 255 00:16:34,920 --> 00:16:35,840 Speaker 2: every bit of it. 256 00:16:36,600 --> 00:16:40,840 Speaker 1: I would say so. And I'm incredibly looking forward to 257 00:16:40,880 --> 00:16:44,320 Speaker 1: seeing you guys again. I've seen you guys many times 258 00:16:44,360 --> 00:16:47,400 Speaker 1: through the New York City trips that you would make. 259 00:16:47,560 --> 00:16:51,000 Speaker 1: It's always been a special place. I'm imagining to play 260 00:16:51,120 --> 00:16:51,840 Speaker 1: New York City. 261 00:16:52,320 --> 00:16:56,440 Speaker 2: Absolutely, yeah. Completely. I was told to someone earlier on 262 00:16:57,080 --> 00:17:00,160 Speaker 2: and saying about the first few of Manhattan and you 263 00:17:00,320 --> 00:17:03,680 Speaker 2: drive in from JFK. Frost, which is in nineteen seventy eight. 264 00:17:03,680 --> 00:17:05,840 Speaker 2: You come as that little bit of a hill you 265 00:17:05,880 --> 00:17:09,720 Speaker 2: go over and then you see Manhattan glinting in the distance, 266 00:17:09,800 --> 00:17:13,240 Speaker 2: and that was that thrill has never left me. I 267 00:17:13,320 --> 00:17:16,240 Speaker 2: still get that buzz without right, you know, I'm riding 268 00:17:16,280 --> 00:17:20,120 Speaker 2: into town and see that view. It was everything and 269 00:17:20,200 --> 00:17:21,879 Speaker 2: more than I ever could have imagined. 270 00:17:22,280 --> 00:17:25,600 Speaker 1: Oh, I have chills with that description. That's so fantastic. 271 00:17:25,880 --> 00:17:29,639 Speaker 1: And from all those performances and being able to be 272 00:17:29,760 --> 00:17:34,200 Speaker 1: part of a radio station where you guys were instrumental, 273 00:17:34,320 --> 00:17:39,240 Speaker 1: which was WNWFO Wow New York City. Yeah, I got 274 00:17:39,240 --> 00:17:43,600 Speaker 1: to work weekends there played many Squeeze records during my time, 275 00:17:43,680 --> 00:17:49,480 Speaker 1: for sure, and we'll never forget that. So finally, Glenn, Yeah, 276 00:17:49,560 --> 00:17:53,240 Speaker 1: the signature taking a walk question, if you could take 277 00:17:53,280 --> 00:17:56,080 Speaker 1: a walk with anybody living or dead, who would it 278 00:17:56,119 --> 00:17:59,399 Speaker 1: be and what would you want to talk about? And 279 00:17:59,440 --> 00:18:00,879 Speaker 1: where would you take that walk? 280 00:18:00,960 --> 00:18:06,320 Speaker 2: Glenn, it will be, uh, it will be with Paul McCartney. Actually, 281 00:18:08,560 --> 00:18:11,399 Speaker 2: and this could never happen because we are not equals. 282 00:18:12,080 --> 00:18:13,800 Speaker 2: We happen to have done the same thing. But his 283 00:18:14,240 --> 00:18:18,000 Speaker 2: influence has been so immense on me. You know, he is, 284 00:18:19,280 --> 00:18:22,600 Speaker 2: he is fantastic. I would love to get to know 285 00:18:22,680 --> 00:18:24,560 Speaker 2: him in a way I know I never will. 286 00:18:27,200 --> 00:18:31,400 Speaker 1: Beautiful having you on. It's amazing talking to you, Glenn, 287 00:18:31,600 --> 00:18:37,560 Speaker 1: And congratulations on Trixy's on the upcoming tour, the next album, 288 00:18:38,160 --> 00:18:40,879 Speaker 1: and thank you for all the joy that you continue 289 00:18:41,040 --> 00:18:43,399 Speaker 1: to give us. Thanks for being untaken a Walk. 290 00:18:44,119 --> 00:18:47,119 Speaker 2: Oh, thank you, boss, It's been really lovely. Thank you. 291 00:18:49,359 --> 00:18:51,720 Speaker 1: I'm buzz night and thanks for listening to the Taking 292 00:18:51,760 --> 00:18:55,919 Speaker 1: a Walk podcast. Now please check out our companion podcasts 293 00:18:56,359 --> 00:18:59,920 Speaker 1: produced by Buzznight Media Productions with your host Lin Haff 294 00:19:00,440 --> 00:19:04,280 Speaker 1: Music Save Me, showcasing the healing power of music, and 295 00:19:04,440 --> 00:19:08,159 Speaker 1: comedy Save Me shining a light on how laughter is 296 00:19:08,200 --> 00:19:13,920 Speaker 1: the best medicine. All shows are available on Apple Podcasts, Spotify, 297 00:19:14,280 --> 00:19:17,240 Speaker 1: and are part of the iHeart podcast network.