Matthew Sweet In Reverse CD - Import

Matthew Sweet quietly spent most of the '90s carrying the power-pop torch. On Sweet's seventh album, gifted eccentric Phil Spector became his inspiration. Although he avoided going for an orchestral sound a la Spector, the native Nebraskan emulates the production genius by layering as many as five players on drums, bass, keyboards, and guitars. Reuniting with producer/drummer Fred Maher (who co-produced Sweet's 1991 smash GIRLFRIEND), the power-pop maven went so far as to enlist the help of famed California studio vet Carol Kaye (who played on PET SOUNDS along with hundreds of '60s and '70s sessions) to play bass.

Overflowing with reverb and echo, IN REVERSE tackles the uncertainties of love and relationships. Unsavory paramours abound in Sweet's songs, whether it's the person whose true colors come out in the twangy "I Should Never Have Let You Know" or the apologetic cad trying to explain away the hurt on the theremin-drenched "Beware My Love." Among the most intricately recorded numbers are "If Time Permits," with its Spectorian punch; "Worse to Live," with its sweeping harmonies; and the nearly nine-minute "Thunderstorm," an epic that smoothly makes the transition from Ronettes-flavored harmonizing to psychedelic baroque pop with a dollop of Crazy Horse-inspired guitar.

Recorded at Cello Studios, Hollywood, California in May & June 1999.

Personnel includes: Matthew Sweet (vocals, acoustic 6- & 12-string, electric 6- & 12-string & electric baritone guitars, piano, organ, synthesizer, bass, percussion); Greg Leisz (acoustic 12-string, electric 6- & 12-string, pedal steel & lap steel guitars); Paul Chastain, Rick Cunha (acoustic guitar); Pete Phillips (electric guitar); Walt Fowler (trumpet, flugelhorn); Bruce Fowler (trombone, euphonium); Jamie Muhoberac (acoustic & electric pianos, organ, Jupiter 8 synthesizer); John Ginty (acoustic & electric pianos, electric harpsichord); Greg Kurtsin (tack piano, organ, electric harpsichord); Brian Kehew (organ, electric harpsichord); Tony Marsico (acoustic bass); Carol Kaye (electric bass); Fred Maher, Jim Keltner, Ric Menck (drums, percussion).

Producers: Jim Scott, Greg Leisz, Fred Maher.

Rolling Stone (11/25/99, p.102) - 3.5 stars out of 5 - "...he finally masters his own love of retro gimmickry....these songs are such perfect little valentines that the production just brings them larger to life..."
Entertainment Weekly (10/15/99, p.82) - "...rather than breaking new ground, [Sweet's] taking intriguing side trips into forests of thick guitar chords...and muddy vocals....Follow [his] intentions and you'll be invigorated, even...elated." - Rating: A-
Q (12/99, p.146) - 3 stars out of 5 - "...building Phil Spector's wall of sound, and though a few bricks short, the use of theremin, brass and PET SOUNDS bassist Carol Kaye certainly helps....A grown-up rock record with...widespread appeal..."
Magnet (1-2/00, p.79) - "...stunning. A biting brass section...pokes through the dense, echo-laden mix...heralding the arrival of the heavyweight champ...of power pop....Sweet delivers the goods....IN REVERSE may be his crowing achievement."
CMJ (11/1/99, p.23) - "...these 14 songs...somehow transcend museum-quality affectation and exude a multitude of bittersweet charms."
Mojo (Publisher) (12/99, p.114) - "...a return to the sonic values of the epic '60s singles made in southern California....hooks, harmonies [and] miraculous melodicism..."