To prepare for the March 25 release of "Blue Sky," which was recorded in Atlanta with producer Brendan O'Brien, Sweet played a 20-date mini-tour to test his new songs and re-acquaint himself with his older material. After a recent show at the Elbow Room, a 400-capacity rock club in Columbia, South Carolina, Sweet took time out from the tour to talk about the album; how divorce led to his 1991 breakthrough album, "Girlfriend;" and the curative powers of cortisone shots.
RS.com: How does it feel to be out on the road again? It seemed like you were really enjoying yourself up there tonight.
Matthew Sweet: It's actually been feeling really good, but last night I was very sick. I didn't want to cancel any dates on this tour, so I finally had to get a cortisone shot just to play. Before, it was hard to cover up for the bad voice, and I just kept getting sicker and sicker. So they finally gave me a cortisone shot, right in the ass (laughs).
You've been previewing some of your new songs. What's your assessment of how they sound live?
It's kind of hard to say. But I think this new record translates really well live, actually. The last record ["100% Fun"] was more complex, and there was all sorts of stuff going on in the songs that was a little harder to capture onstage. This new CD is simpler, I think. Maybe more straightforward.
On "Blue Sky on Mars," you play most of the instruments yourself. Did that require a significant departure in terms of how you wrote the songs?
On my records I usually play a lot of the stuff. But, yeah, on this record I play all the guitars. I just hope that people like the songs and don't miss the lead guitar too much (laughs sheepishly).
How do you think "Blue Sky" fits in with your other albums?
I think this one's more fun than "100% Fun." It's funny, because people saw that album cover and thought it was going to be a lot lighter than "Altered Beast." But then --
They heard songs like "Sick of Myself."
Yeah, right (laughs).
Do you, at this point, consciously approach making an album in a certain way, so that it has a particular feel to it?
It's funny, because even with my last four records, I don't think they were that huge a departure from my first one. But, regarding your second question, I think it's really a good thing when you don't think too much when you're recording, because you want the songs to come naturally. And so far, I think it's worked pretty well.
Let's backtrack and talk about "Girlfriend," because I'm always struck by how radically different that album sounds from your previous work. It seems like such a sharp shift in direction, from the '60s-era stereo separation to the songwriting, which is so much more focused.
There were a few factors. I was sort of giving up on the idea of ever finding an audience and I just decided to start writing songs I wanted to hear because I really had no audience. And I became kind of self-centered about it. But you know, we had a lot of the same players we had on "Earth."
That's what I think is so interesting, because the sound on "Girlfriend" is a lot fiercer.
Well, also at that time, I had just split up with my first wife, so that meant I could move a drum set into the living room, and it didn't matter if I had microphone stands and amps everywhere cluttering up the room. And I recorded the demos for "Girlfriend" that way -- really loud and noisy. And the record was an outcome of those demos.
So basically, you lost a wife and gained a record contract. One more question: You still got that Dodge Challenger [pictured on 1993's "Altered Beast"]?
(Smiles) Still got the Challenger. But you know, it's hard because I moved to Los Angeles and there's not really many places to open it up on the road, because you've gotta blow out the carbon. But yeah, the Cha
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