Feelin’ nostalgic today so… I will be running some past reviews I did in the upcoming days and weeks…
MATTHEW SWEET In Reverse (Volcano)
For most of this decade, Matthew Sweet has been the flag bearer for classic pop-rock craft in an era where grunge, electronica and ska has come and gone. Like Tom Petty, Sweet has – despite his less than fashionable choice of medium – managed to build up a considerable body of consistent work and along the way a significant fan base. Girlfriend (1991), Sweet’s breakthrough album was in fact his third after the relatively obscure Inside (1986) and Earth (1988) released by Columbia and A&M respectively. In the early 1990s, Zoo decided to take a chance with Sweet and Girlfriend was the result. It was the first album Sweet recorded with a live band, and its sound was considerably more immediate and raw than its predecessors. This new approach paid dividends and Girlfriend was a commercial and critical success. Sweet’s next two records, Altered Beast (1993) and 100% Fun (1995), were both critically acclaimed and relatively successful albums, with the latter reaching gold status and making many year-end “Best Of” lists. Sweet’s last album, Blue Sky On Mars (1997) received mixed reviews and it failed to match the success of its immediate predecessor
Matthew Sweet In Reverse is a concept album but only in the subtlest of ways. With some of the tracks, Sweet elected to employ the Phil Spector ‘Wall-of-Sound’ method (albeit stripped down) by recording multiple instrumentation “live” in the studio with minimal overdubs. This technique has opened up greater possibilities for Sweet’s tune-friendly material – it sounds more natural, more spontaneous, and more “alive” than before. This process has indeed breathed life into his sixties influenced repertoire resulting perhaps in Sweet’s greatest musical achievement so far. The results are consistently impressive.
You know you’re in for a groovy ride when the trumpets (ala Arthur Lee’s Love) punctuate the opening self-conscious Millennium Blues. This psychedelic nuance is emphasized in the backward guitar intro to Beware My Love. Elsewhere, Sweet raves it up with the melodic Neil Young-ish rockers Faith In You and Split Personality. Conversely, Sweet pours it thick with the gorgeous ballads Hide and Worse to Live – which deserve to be played to death on radios all over the world along with the breezy and infectious I Should Never Let You Know. Unrelenting in scope and value, Sweet manages to top it all with the Wilsonesque suite Thunderstorm which is actually four songs woven into one coherent tapestry.
At the beginning of this review, I described In Reverse as a concept album. If it only succeeds in making you appreciate the rich inspiration of the sixties as manifested in Matthew Sweet’s sublime songcraft, then that concept has become a vital reality – the power of pop