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In Nashville, most successful songwriters have a fairly short run. On hit, one year, two years, five years. Occasionally, we get one whose career approaches the length of a real career or, more often, one who has a few years success, then slips into oblivion, only to emerge again for another brief era of hit-making.
She speaks softly, not unlike the way she sings --soft, soulful passages, almost like secrets to the closest of friends --punctuated by bursts of exaltation. It's much like the span of emotion in her work, and in her new record, Balm in Gilead, which veers from the pure, naked heartbreak of "Bonfires" to the elation of "Old Enough," to the beautiful "Wild Girl," which celebrates the 21st birthday of her daughter, while simultaneously reflecting on the unchained fervor of her own wild days.
Q&A With Squeeze's Chris Defford
After practically defining the New Wave genre in the '80s and, with partner Glenn Tilbrook, writing some of the classic pop songs of the late 20th century, Squeeze's venerable co-writer Chris Defford went the solo route, with detours into film scoring and the occasional Squeeze reunion.