Appropriately looking a lot like Tony Hancock on the album cover, 'The Last Temptation Of Chris' sees Chris mixes gentle, wry humour with observations on and reminiscences of everyday life, relationships and family and, thanks to collaborator Boo Hewerdine, packs them all into some of the most rich and unforgettable songs he has ever released either solo or with his former group. The whole album has the feel of classic Squeeze and yet, with 'The Last Temptation Of Chris', we have an album which works, as a whole, probably better than any Squeeze album since 'East Side Story'. You don't need to be or have been a huge Squeeze fan to appreciate this album - actually, I believe that this album is so strong, it could be the ideal place to start if you were looking for an introduction to Chris Difford's writing.
It's all so almost effortlessly good. Whether lamenting that he could have been a better father in the superbly catchy 'Broken Family', singing about his artistic brother in the magnificent 'Battersea Boys' or describing how money gets in the way of a relationship in the excellent opener, 'Come On Down', the first trio of songs set the very high standard for the album and, thankfully, what follows doesn't disappoint. Song after song, from ballads ('Julian And Sandy', 'The Gates Of Eden') to shimmering pop ('The Other Man In My Life', 'Reverso'), everything works beautifully.
Without listing every track, my favourites include 'My Mother's Handbag', a song in which Chris describes his curiosity about the contents of his Mother's handbag and what he finds when he tentatively delves inside - if it doesn't bring a lump to your throat and the hint of saltwater to your eyes, there's probably something wrong with you. Also, 'Fat As A Fiddle'. I wish that I could say that I didn't relate to this song, but I do, and it's also such a brilliantly funny song. Another personal favourite is the jazz-tinted 'Never Coming Back' which has an immensely enjoyable New Orleans-style instrumental ending, as is the apt last track, the jazz-lite of 'The Party's Over'.
All throughout this album, there are one liners to make you smile, to warm your soul, to casually break your heart. Perhaps one of the main reason this affable album works so well is because, like the very best art, it speaks to you and, indirectly, speaks about your own life. There will be something for nearly everyone to connect with, but I suppose that if you're getting on a bit in years, you will find more to share a smile with Chris about than a younger listener, but I remain confident that this album has near-universal appeal and is, without doubt, a real gem of an album and one of the very best of the year. Exceptional.
