The original plan was for a sprawling double album that genre-hopped (in the same way the White Album had down 13 years earlier).
Each side would have a different producer: Dave Edmunds, Nick Lowe, Elvis Costello, and Paul McCartney.
But the Edmunds and Lowe sessions each produced one track and Paul McCartney begged off to do his own album.
So Costello mostly produced the sprawling genre-hopping record that squoze down to the amazing single-record classic East Side Story.
Still, I can't help but wonder what might have happened if Squeeze and McCartney had actually gotten together -- especially since the press was tripping over itself to declare Difford & Tilbrook the new Lennon & McCartney.
Here's the essential, existential problem with Paul McCartney:
He can be so effortlessly brilliant that it seems like he's not even trying.
Or he can be so annoyingly sloppy that he seems like the worst kind of hack (albeit a hack with the most amazing sense of melody you've ever encountered).
For example:
When I met you at the station, you were standing with a bootleg in your hand...
Maybe the problem isn't getting Hi-Hi-Hi, it's that you were already Hi-Hi-Hi when you wrote this.
Sweet Banana.
Or should I call you "My Salamander."
Which, incidentally, doesn't rhyme with "oh no, don't answer."
Standing at the corner of Cool and Bizarre, waiting for a busload of hipsters.
The toned and the tony stand under a bus shelter. Not because it's raining. Not because it's hot.
But because it is there. And ultimately that might be the only reason anything gets done in this world. The rest is an excuse, an attempt to funnel irrational behavior in a bacon-rasher's worth of meaning.
But confronted with the truly random, we rebel.
We want order. Crave it. Pine for it.
So we tell ourselves. We shout to ourselves even when we're not listening:
There must be a reason.
When we find it, we'll be sure to report back to you.