Squeeze’s ‘Trixies’: Revisiting a Lost Rock Opera – Review

More than five decades into their career, British pub-pop stalwarts Squeeze are doing something even they didn’t see coming: releasing a rock opera written when they were teenagers. Trixies, due March 6th via BMG, isn’t a lost album unearthed by chance, but a deliberate excavation of songwriting sketches from 1974 by founding members Chris Difford and Glenn Tilbrook. The project, initially conceived before Squeeze had a record deal, centers on a mythical bar and the colorful characters who frequent it – a blend of Cheers and The Untouchables, as one observer put it.

The story of a band revisiting teenage work often conjures images of cringeworthy lyrics and amateurish arrangements. But Difford and Tilbrook, even in their youth, possessed a knack for melody and storytelling that shines through on Trixies. The album isn’t simply a historical artifact; it’s a testament to the enduring creative partnership that has defined Squeeze for generations. As Difford reflected on the unearthed material, he expressed “full respect for the imagination that was employed to write these songs,” as reported by NPR. Tilbrook echoed this sentiment, stating he felt “immensely proud of us that we managed to achieve something so early.”

From Pub Rock Roots to a Teenage Dream

Squeeze emerged from the fertile ground of the British pub rock scene in the mid-1970s, alongside contemporaries like Dr. Feelgood and Eddie and the Hot Rods. Their early sound was raw, energetic, and deeply rooted in the traditions of rock and roll. However, Difford and Tilbrook quickly distinguished themselves with their sophisticated songwriting, blending witty lyrics with catchy melodies. Hits like “Cool for Cats” (1979) and “Up the Junction” (1981) established them as a major force in British new wave. Difford & Tilbrook’s songwriting partnership, as detailed on Wikipedia, has been the driving force behind Squeeze’s success, responsible for a string of chart-topping singles and critically acclaimed albums.

The band’s history hasn’t been without its turbulence. Squeeze briefly disbanded in 1982, with Difford and Tilbrook releasing a self-titled album under the Difford & Tilbrook moniker. Internal tensions led to further lineup changes and Difford’s departure in 1999, though the band has since reformed with a rotating cast of musicians centered around the core songwriting duo. Despite these shifts, the creative chemistry between Difford and Tilbrook has remained remarkably consistent.

“Trixies”: A Sophisticated Reimagining

What sets Trixies apart isn’t just its origins, but the level of polish and sophistication applied to the original sketches. The album benefits from the technological advancements in recording and production over the past five decades, allowing Difford and Tilbrook to realize their teenage vision with a clarity and depth that would have been impossible in 1974. But more importantly, their songwriting has matured and evolved, adding layers of nuance and complexity to the material.

The album opens with the breezy acoustic tracks “What More Can I Say” and “You Secure the Feeling,” evoking the laid-back vibes of yacht rock and Laurel Canyon folk. These songs serve as a gentle introduction to the world of Trixies, before the narrative takes a darker turn with tracks like “The Place We Call Mars,” a glam-infused ballad reminiscent of David Bowie, and “Hell on Earth,” a piano-driven romp that could have easily been a hit for Madness. Difford takes the lead vocal on “The Dancer” and “It’s Over,” inhabiting the roles of a cynical barfly and a heartbroken lover, respectively. The album also features a crunchy tango (“Why Don’t You”) and a potential single, “The Jaguars,” that Nick Lowe might have produced.

Why Now? The Appeal of Revisiting the Past

The decision to revisit Trixies after all these years speaks to a broader trend in the music industry: a fascination with archival material and a willingness to explore an artist’s creative roots. For Squeeze, it’s an opportunity to reconnect with their earliest songwriting efforts and offer fans a glimpse into their formative years. It’s also a testament to the enduring power of their partnership. As Glenn Tilbrook noted, the project allowed them to “achieve something so early,” and revisiting it now is a celebration of that youthful ambition and creativity. The New York Times highlighted the album as a fascinating window into the group’s musical roots.

The album’s release also comes at a time when rock operas are experiencing a resurgence in popularity, fueled by the success of projects like Green Day’s American Idiot and The Who’s Tommy. Trixies, with its compelling narrative and memorable characters, fits neatly into this tradition, offering a fresh take on the genre.

Beyond the Album: A Potential Stage Adaptation?

Given the scope and ambition of Trixies, it’s not surprising that some have speculated about a potential stage adaptation. The album’s narrative structure, with its distinct characters and dramatic scenes, lends itself perfectly to a theatrical production. One enthusiastic observer even suggested sending a copy of the album to Baz Luhrmann, the acclaimed director known for his lavish and visually stunning stage and film adaptations of classic stories.

For now, Squeeze is focused on promoting the album and touring in support of it. However, the possibility of a stage adaptation remains open, and it’s not hard to imagine Trixies taking on a life of its own beyond the confines of the recording studio. The band’s current touring schedule, and any potential plans for a theatrical production, will likely be announced on their official website and social media channels.

What’s next for Squeeze? The band is currently promoting Trixies with a series of live performances and media appearances. Fans can stay up-to-date on their latest activities by visiting their official website and following them on social media. The success of Trixies could pave the way for further explorations of their archival material, and perhaps even a new wave of songwriting collaborations.