Group these guys with Slaughter and Firehouse as bands debuting in 1990 with a clean and crisp brand of prefabricated commercial rock. By 1990, the template for “hair bands” had been pretty much set in stone. Slaughter, Firehouse, and Trixter adhered closely to the established rules. They took few chances, stuck to the formula, and were rewarded with healthy sales. I guess you could say they took the corporate route, but there’s no denying that talent played a part in their success, too.
Trixter were young and good looking. (Except maybe for the drummer Gus Scott — it looked like he had a Chia Pet growing out of his scalp.) Those boyish pin-up looks certainly helped Trixter get their foot in the door. They had a couple of popular videos on MTV and girls swooning for them. Trixter was released by Mechanic Records, an imprint of MCA Records. Usually, MCA flopped with hard rock acts. They couldn’t organize a sock drawer. But Trixter went gold in 1991.
For the heaviness quotient, Trixter were on par with the likes of Bon Jovi on the Richter scale. That’s pretty much one step above AOR. They had an air of positivity that suited their smiling faces. The song Give It To Me Good best exemplifies the good vibrations Trixter were toting along. In fact, I would go as far as to say that Give It To Me Good is a gem of a tune — and by far the best song on the album. (Here’s the video for Give It To Me Good.) One In A Million would be my second choice. It’s no coincidence that these two tunes were two of the three “hit” songs from Trixter. They are the cream of the crop for sure. The rest of the album is okay, but there’s a couple of ballads that drip like a leaky faucet, as well as a few generic rockers. All in all, Trixter is not an inconsequential release, but with the exception of its two strong singles, it’s not essential either. My score: B