{"id":9217,"date":"2026-03-06T15:50:00","date_gmt":"2026-03-06T15:50:00","guid":{"rendered":"https:\/\/musictechohio.online\/site\/squeeze-trixies-review\/"},"modified":"2026-03-06T15:50:00","modified_gmt":"2026-03-06T15:50:00","slug":"squeeze-trixies-review","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/squeeze-trixies-review\/","title":{"rendered":"Squeeze Tackle Teenage Rock Opera On \u2018Trixies\u2019"},"content":{"rendered":"<div>\n<figure><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/static.spin.com\/files\/2025\/11\/251007_Squeeze_S14_1055_v3_CMYK-scaled.jpg\" width=\"2560\" height=\"1372\" alt=\"\"><figcaption>Squeeze (photo: Dean Chalkley).<\/figcaption><\/figure>\n<p>Music fans<em> <\/em>love the story of \u201cthe lost album\u201d \u2014 the one project that got abandoned or crushed by the business. Now, more than 50 years into their career, British pub-pop legends Squeeze have rested their pints long enough to revisit <em>Trixies<\/em> (BMG), a rock opera founding members Chris Difford and Glenn Tilbrook wrote<em> <\/em>as teenagers<em> <\/em>before they had a record deal.<em> In 1974<\/em>. <em>The ambition! The naivete!<\/em><\/p>\n<p>And the goods. <em>Trixies <\/em>is a song cycle centering on a mythical bar and its working class stiffs and gangsters that\u2019s one-part <em>Cheers<\/em>, the other <em>The Untouchables<\/em>. Although its mid-\u201970s origins were in line with Squeeze\u2019s propulsive pub rockin\u2019, punk-adjacent roots, <em>Trixies <\/em>is not exactly the time machine longtime fans will remember (well, save for copious references to drinking). First, the technology used to make records has never been more flexible and imaginative. But most importantly (and expectedly), Difford and Tilbrook\u2019s songwriting has gotten continuously more sophisticated and developed.<\/p>\n<p>More from Spin:<\/p>\n<ul>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/11\/squeeze-trixies-new-album\/\">Squeeze Revisit Early Unheard Songs On \u2018Trixies\u2019<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2024\/01\/heart-embarking-on-first-tour-in-five-years\/\">Heart Embarking on First Tour in Five Years<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2024\/01\/teenage-cancer-trust-lineup\/\">Roger Daltrey Enlists The Who, Eddie Vedder, Robert Plant For Cancer Benefits<\/a>\n\t\t<\/li>\n<\/ul>\n<p>The swathe of great moments here is impressive. The proceedings begin with \u201cWhat More Can I Say\u201d and \u201cYou Get the Feeling,\u201d two breezy acoustic numbers that conjure yacht rock ease and Laurel Canyon whimsy. The former feels like a travel commercial; the latter, a group of friends in Graham Nash\u2019s living room, ca. \u201969. But then the scenes kick in: \u201cThe Place We Call Mars\u201d is a melancholy, Bowie-esque glam ascension, with Tilbrook perfectly channeling Mick Ronson, and \u201cHell on Earth\u201d is the bouncy piano-powered nugget Madness forgot to write.<\/p>\n<p>On the two tracks with Difford singing lead, he assumes the roles of sleazy dive bar narrator (\u201cThe Dancer\u201d) and forlorn lover (the sophisto-pop \u201cIt\u2019s Over\u201d). There\u2019s also crunchy tango (\u201cWhy Don\u2019t You\u201d) and a potential Stiff Records single (\u201cThe Jaguars\u201d) that Nick Lowe could\u2019ve produced. Given its scope, there\u2019s no way this project could\u2019ve been pulled off at any other point in Difford and Tilbrook\u2019s storied career. Indeed, <em>Trixies<\/em> might be the duo\u2019s <em>personal <\/em>masterpiece. So why stop at just an album? Somebody, please slip a flash drive of it to Baz Luhrmann.<\/p>\n<p>To see our running list of the top 100 greatest rock stars of all time, <a href=\"https:\/\/www.spin.com\/2021\/07\/the-greatest-rock-stars-of-all-time\/?utm_source=yahoo&amp;utm_medium=bottomlink&amp;utm_campaign=yahoolink\">click here<\/a>.<\/p>\n<\/div>\n<div style=\"margin-top: 0px; margin-bottom: 0px;\" class=\"sharethis-inline-share-buttons\" ><\/div>","protected":false},"excerpt":{"rendered":"<p>Squeeze (photo: Dean Chalkley). Music fans love the story of \u201cthe lost album\u201d \u2014 the one project that got abandoned or crushed by the business. Now, more than 50 years&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[88,4432],"tags":[],"class_list":["post-9217","post","type-post","status-publish","format-standard","hentry","category-reviews","category-squeeze"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/9217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/comments?post=9217"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/9217\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=9217"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=9217"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=9217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}