Once upon a time, kids, rock bands were often expected to put out multiple albums in the course of one year. It was extremely taxing on the bands, forcing them to crank out new songs quickly, quality be damned. Sometimes, the results were disastrous; other times, we as listeners were fortunate to get some great music.
Take In Color
, the sophomore release from Cheap Trick. Released a few short months after their self-titled debut, it showcases a band that had discovered who they were... though there was still room to grow.
The opening salvo of “Hello There” and “Big Eyes” sets the perfect tone for this disc. Rick Nielsen and crew prove early and often they had tightened up their songwriting and playing, focusing on energetic pop-rock that packs a surprising punch.
Do you doubt this? Simply drop the needle on “You’re All Talk,” “Come On, Come On” or “Southern Girls.” Try to deny that Cheap Trick was already near the top of their game. You can’t; it’s as simple as that.
So, it’s more than a little ironic that “I Want You To Want Me”—the song that launched Cheap Trick’s popularity into the stratosphere—is the weakest link on this disc. To make such a claim borders on blasphemy to some, but the more plodding tempo and the laid back playing on this one just doesn’t fit the song well. Sorry, but facts is facts... and when you have so many other strong performances on this disc, it stands out even more.
One noticeable difference between the two albums is that Tom Petersson’s bass work seems to have pushed back a bit in the mix. The end result from Tom Werman’s production allows the entire band to shine, not just Petersson or lead singer/guitarist Robin Zander. It’s a subtle, but necessary, touch.
Where Cheap Trick showed promise, In Color builds on that foundation, and strengthens it for what would be Cheap Trick’s salad days that still lay ahead of them. Easily the best album from the pre-Budokan days, this one should be in your collection, flaws and all.