Released in 1988, "In Color" was Cheap Trick's ninth studio album, marking a pivotal moment in the band's career. Following a period of commercial decline, the band sought to revisit their roots and rejuvenate their sound. The result was an album that blended the band's signature power pop with a more contemporary edge, featuring some of their most beloved tracks such as "If You Want My Love" and "I Don't Want to Miss a Thing." "In Color" achieved significant commercial success, peaking at No. 4 on the Billboard 200 chart and earning a double platinum certification. The album not only revived Cheap Trick's fortunes but also underscored their ability to evolve while remaining true to their musical essence.
The Steve Albini Sessions of "In Color" hold significant artistic and historical value. They represent not just a re-recording but a reimagining of a pivotal album in Cheap Trick's discography. This project demonstrated the band's continued relevance and creativity well into their career, engaging both long-time fans and new listeners. The sessions also serve as a testament to the enduring quality of Cheap Trick's songwriting and musicianship, capable of inspiring new interpretations and performances.
Moreover, the collaboration with Steve Albini brought Cheap Trick's music to a wider audience. Albini's reputation and influence in the alternative and grunge movements potentially exposed Cheap Trick's work to fans who might not have been familiar with their earlier output. This cross-pollination of audiences and musical styles underscores the universal appeal of Cheap Trick's music and the timelessness of "In Color."
For power pop purists and Cheap Trick devotees, the story of In Color (1977) is one of "what could have been." The band’s debut album, produced by Jack Douglas, captured the raw, visceral energy of their legendary live shows at the Budokan. However, the follow-up, In Color, was handed to producer Tom Werman. Werman smoothed out the edges, bathed the band in radio-friendly gloss, and stripped away the feedback that defined their early sound. While the songs remained brilliant—from the falsetto theatrics of "I Want You to Want Me" to the manic energy of "Hello There"—the production has long been criticized for lacking the band's signature grit.
Enter Steve Albini.
The 1998 CD FLAC release of the Steve Albini Sessions presented "In Color" in a new light. The album showcased Cheap Trick's ability to imbue their classic material with a fresh vigor, while maintaining the core essence that fans loved. Albini's production style, known for its clarity and immediacy, brought a new level of intimacy and dynamism to the tracks. The re-recorded versions offered a detailed sonic landscape that highlighted the band's signature interplay, showcasing Robin Zander's distinctive vocals, Rick Nielsen's innovative guitar work, Tom Petersson's melodic bass lines, and Bun E. Carlos's versatile drumming.
Albini’s recording technique is hostile to lossy compression. MP3s destroy the transients of his drum miking. This session demands FLAC.
Rick Nielsen’s Guitar: On the Tom Werman version, Nielsen’s five-neck guitars are smoothed out. On the Albini session, his guitar sounds like a band saw. The mid-range is aggressive. There is no "smile curve" EQ here. The FLAC preserves the harmonic distortion of his amp—the actual wood and wire fighting each other.
Robin Zander’s Vocals: This is the shocker. Without double-tracking or plate reverb, Zander sounds uncomfortably close. You hear the saliva in his mouth. You hear the room. His falsetto on "I Want You to Want Me" is no longer a sweet serenade; it is a desperate, ragged plea in a small room. In FLAC, the sibilance is natural, not digitized. Released in 1988, "In Color" was Cheap Trick's
Tom Petersson’s 12-String Bass: The hallmark of Cheap Trick. On the original LP, it rings like a bell. Here, it is a clanking, metallic chain. The low-end is dry. You feel the fret buzz. The FLAC resolution (16/44.1) captures the attack of the pick on the winding of the string perfectly.
Bun E. Carlos’s Drums: This is the star of the show. Werman buried the drums in reverb. Albini mics them like a jazz record. The kick drum is a thud, not a boom. The snare is a crack. The hi-hat is washy and present. In FLAC, the stereo separation is natural—ride cymbal on the right, crash on the left—exactly how you’d hear it if you were sitting at the drum stool.
The specific release noted here—the 1998 CD—is a coveted item for audiophiles. Unlike modern "remasters" which often fall victim to the "Loudness War" (compression that kills dynamic range), the 1998 Albini CDs were engineered to sound organic.
Why FLAC matters here:
This is the controversial question. Tom Werman’s In Color is a perfect pop record. Steve Albini’s In Color is a perfect rock record.
You do not listen to the Albini sessions for the hits. You listen for the space between the hits.
Because this CD was never given a proper wide release, the only way to experience this dynamic range is via a lossless rip. A 320kbps MP3 will sound muddy and harsh. A FLAC file (properly ripped with EAC or XLD) will reveal the micro-dynamics: the squeak of the kick drum pedal, the hum of the tube amp, the count-in before the song starts.