Albums I Love #5: 100% Fun

Matthew Sweet's 5th Album

My standard Matthew Sweet line is this:

Girlfriend is my favorite album and 100% Fun is my favorite Matthew Sweet album.

Obviously, that’s impossible, but it’s also somewhat true. Those albums are #1 and #1A for me in Sweet’s catalog and the album sandwiched in between them (Altered Beast) is no slouch either. It’s probably a toss-up which one I’ve listened to more since 100% Fun came out on March 14, 1995, but the fact Girlfriend came out in October 1991 means it has the all-time mark. When I saw him in concert last April, he only played 2 songs from 100% Fun (as opposed to 7 from Girlfriend), but I was very happy to hear those two. One of those, the final song of the encore that night, opens the album…

Sick of Myself - It starts with the twisty downward riff and Ric Menck just attacking the drums before the full band kicks in. It’s heavy, but not as heavy as Sweet’s fantastic contribution to the No Alternative compilation, “Superdeformed.” The ascending chorus plays off of the riff, Sweet harmonizing with himself. Richard Lloyd’s guitar solo erupts from the mix and then you get that stop/start thing at the end. Plus, the whole idea of being sick of myself resonated with me; I turned 24 not long after the album came out and was working at Subway, thinking I would never get anywhere. Gen X knew what Sweet was singing about.

Not When I Need It - “Well, I find it all the time/But not when I need it” is a perfect sad sack lyric and balances the uplifting music, with Robert Quine on guitar solo duties this time. The outro has Sweet harmonizing with himself again, but nothing else. This is where you start thinking the album is going to have legs and you are not wrong.

We’re the Same - This is a great 3-minute pop song, with ringing guitars, snappy drums and fills, Sweet going to his falsetto in the back half of the chorus, and a perfect little guitar solo (this time by Sweet himself). You listen to it and then want to listen again and again and again.

Giving It Back - Here’s a sturdy rock song that is made infinitely better by Lloyd’s guitar squalls and, to a lesser extent, the use of the ride cymbal as the song comes to a close.

Everything Changes - A slow-burn ballad that relies on Sweet’s plaintiff vocals (ably abetted by those stacked harmonies) and Lloyd guitar solo to match the mood. It works tremendously.

Lost My Mind - This song goes more psychedelic, but allows both Lloyd and Quine space to work their guitar magic. It’s not the strongest song on the album, but the different texture makes the more traditional power pop pop. No, that’s not a typo. And no, I’m not sorry.

Come to Love - Did I say traditional power pop? Here’s some, featuring a nice guitar crunch along with the harmonies and even offering a bridge before wrapping up in a tight 2:28.

Walk Out - I loved this song the first time I heard it and 30 years has not dimmed my passion. It starts with flanged vocals and a crisply strummed acoustic guitar, before kicking in. Then, it switches to harpsichord and bass before bringing all the instruments back in. There’s a hooky guitar riff and a effortless melody. “What will the past remember/What will the future bring/When you walk out” goes the chorus. Richard Lloyd is back on the guitar solo. It’s a rush every single time.

I Almost Forgot - The second ballad on the album relies on the piano and pedal steel (courtesy of Greg Leisz) and pleading vocals from Sweet. It’s in the same mode as “Your Sweet Voice” from Girlfriend, which is a highlight. While it doesn’t quite reach those heights, it’s not far off.

Super Baby - This mid-tempo rocker gets nice and sludgy; Quine gets to slather some seething guitar over top of it all. What’s not to love?

Get Older - Another power pop gem with Sweet playing most of the instruments (including lead guitar) and layering his vocals. I’ve come to love it even more as I’ve gotten older…and 54 is less than a week away.

Smog Moon - This is the perfect closer for the album, built around piano and soaring vocals. After it finishes, I often have to resist pressing play on the whole album again. I usually don’t, but I also know it’s always waiting for me to listen to it again. And I will until I am no longer able.