Squeeze
Trixies
(BMG/Love)

For more than 50 years, the enduring Squeeze songwriting partnership between singer/guitarists Glenn Tilbrook and Chris Difford has produced some of the most memorable, finely crafted pop music ever to emerge from England.

Here in America, the award-winning band is best known for such pop/rock radio hits as “Black Coffee in Bed,” “Annie Get Your Gun,” “Hourglass” and “Tempted” (sung by onetime member Paul Carrack). Then there are college radio faves and UK hits from the late ‘70s/early ’80s like “Cool for Cats,” “Up the Junction,” and “Another Nail in My Heart.”

Now the duo is back with Trixies, its first studio album since 2017’s The Knowledge and it’s definitely a keeper. A highly engaging concept album revolving around fictitious British nightclub Trixies, the colorful characters and goings-on there, the tunes were originally written in 1974 (when Tilbrook was age 16 and Difford, 19), yet they got shelved before notoriety for Squeeze arrived.

Recently, the duo unearthed the original demos. They were surprised at how accomplished their teenage musician selves actually were and decided to flesh out the arrangements with the current eight-piece Squeeze lineup and others.

The results are sure to delight diehard fans. Tilbrook manages the lion’s share of lead vocals, as usual, but Difford also does a couple and they both harmonize throughout the 13 tracks. Trixies opens with the idyllic “What More Can I Say,” as Tilbrook sings about the bar past closing time: “The doors have all been closed…the lipstick has been smeared.” Difford had a knack for picturesque lyrics even then. A subtle, acoustic guitar led “You Get the Feeling” could've fit on the 1991 Play album, while the warm “The Place That We Call Mars” reminds of Mott the Hoople’s “All the Young Dudes.”

Highlights include the frantic, keyboard-dominant “Hell on Earth” (think: 1987's Babylon and On), slow burn rocker “Don’t Go Out in the Dark,” about the seedy area outside the club, the tension-filled rocker “Why Don’t You,” a luxurious Difford-sung “It’s Over” (also, about closing time at the club, with sonic shades of Prefab Sprout),” and the finger-snapping, subtle glam rock vibe of “The Jaguars,” surrounding a typical busy night. Tilbrook does some searing electric guitar work in various places, while the band provides exquisite power pop sounds via mellotron, celeste, vibraphone, harpsichord, and more. Snazzy up-tempo closer “Trixies Pt. 2” even features sax by Jeff Coffin (I assume the same musician from Dave Matthews Band).

Physical versions are strongly recommended due to the brilliant design that should be nominated for a Grammy in 2027. Graphics for the 3CD edition – comprising the Trixies album, 1974 demos, two 2024 live tracks and the album in Dolby Atmos and 24bit Stereo Master - include a 4+2 panel fold out, with full color images of the band and Trixies show posters; the liner notes or “Concoctions Menu” contains lyrics and a detailed overview by UK music scribe Pete Paphides. The back states: “Difford and Tilbrook – The Mixologists Since 1973.”