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Track Listings
| 1. Hello There |
| 2. Big Eyes |
| 3. Downed |
| 4. I Want You to Want Me |
| 5. You're All Talk |
| 6. Oh Caroline |
| 7. Clock Strikes Ten |
| 8. Southern Girls |
| 9. Come on, Come On |
| 10. So Good to See You |
| 11. Oh Boy [Instrumental Version][*] |
| 12. Southern Girls [Previously Unreleased Demo][*] |
| 13. Come on, Come On [Previously Unreleased Demo][*] |
| 14. You're All Talk [Previously Unreleased Demo][Live][*] |
| 15. Goodnight [Previously Unreleased Live Version][*] |
Product Description
From Amazon.com
Cheap Trick's second album (and second of '77!) doesn't exactly pick up where its classic, hard-edged debut left off; it was the "Power" and this is the "Pop." Their workaholic gigs as an unsigned Midwest bar band in the mid-'70s left them with an impressive backlog of original material, another batch of which forms the core of In Color. Though the band disdained producer Tom Werman's bubblegum-flavored touches, it was indeed the kinder, gentler Cheap Trick that Japanese audiences first took to their hearts at Budokan, with the rest of the world soon to follow. That approach is best exemplified by the evergreen "I Want You to Want Me" (which didn't become a hit until Live at Budokan), here dolled up with a Fats Domino-flavored piano break. While Werman's poppy approach dilutes the band's wall-of-noise live bent, it also underscores their impressive individual musical talents: Rick Nielsen's manic riffing on "Big Eyes" and the album's other retro-burner, "Clock Strikes Ten"; Robin Zander's vocal multiple-personalities that range from the suicidal angst of "Downed" (surely a favorite of Trick admirer Kurt Cobain) through the sweet anticipation of "I Want You" to the world-weariness of "So Good to See You"; and the rhythm section of Tom Petersson and Bun E. Carlos anchoring everything (especially the delicious "Southern Girls") with a flawless wallop. This expanded edition features significantly upgraded audio quality, new notes and photos, and five bonus tracks: the unpredictable instrumental B-Side "Oh Boy"; 1975 demos of "Southern Girls" and the anthemic "Come On, Come On" that ably display just the "before" side of the producer argument; and live versions of "You're All Talk" and longtime show closer "Goodnight" recorded at L.A.'s Whiskey in 1977. No sophomore jinx here. --Jerry McCulley
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