‘I Had the Stroke, and It Was All Over’: Matthew Sweet’s Road to Recovery

(via msn) by David Browne

When one of his eyes doesn’t feel as if it’s wobbling up and down, or he doesn’t feel so depleted that he has to nap, Matthew Sweet still has moments of hope. Until last fall, one of the downstairs rooms in his Omaha, Nebraska, home was his music room, filled with guitars, a recording console, and assorted gear. But since he can no longer climb stairs for the foreseeable future, he now spends a good deal of his time in that room on a newly installed king-sized bed. What remains of his musical setup is still visible, reminders of a life and career on pause.

I guess I have a feeling that I will make music with all of it,” Sweet says, in his first interview eight months after he was rushed to a hospital. “In that way, it’s positive. It’s a vision of the time when I’ll be able to use everything. I don’t feel like it’s that far away. I don’t feel like it will be an impossible thing for me to write songs. Then again, I don’t really feel a burning desire to figure that out, because there’s just so much stuff making it difficult right now.”

For Sweet, 2024 was shaping up to be a reset. After several years off the road after the pandemic, the man who almost single-handedly kept power-pop alive had put together a new band and played shows in the spring. He was in the early stages of prepping his first album since 2021. In the fall, he started another round of gigs, this time opening for Hanson, whom he’s known and worked with for more than 20 years, and doing his own separate shows. “I really felt very positive about it,” he says. “I was doing two-hour-long acoustic shows playing songs from all during my career.”

Then, last Oct. 12, Sweet and his crew – his small acoustic band, his road manager – arrived at their hotel in Toronto. His tour with Hanson was into its second week, and Sweet had just driven up from the previous stop in Baltimore. As they were checking in, the singer, who had turned 60 a week before, felt a sensation he’d never experienced before. “The first thing I felt was really cool, like cold sweat,” he says. “And I remember saying to one of my band members, ‘Feel my arm. It’s freezing cold.’ Something wasn’t right.”

Slumping into a chair behind the front desk, Sweet began hearing what he calls “this kind of tinnitus, more like white noise, and that became really, really, really loud, in both my ears. And that’s the last thing I remember until I was in an ambulance and I heard a guy say, ‘Sir, you’ve had a stroke.'”

Read more: https://www.msn.com/en-us/music/news/i-had-the-stroke-and-it-was-all-over-matthew-sweet-s-road-to-recovery/ar-AA1GgSsD?ocid=entnewsntp&pc=DCTS&cvid=72d8308180d04407912e7af623b65a13&ei=58

See also: https://edcyphers.com/2025/03/17/songs-you-may-have-missed-768/

See also: https://edcyphers.com/2013/10/11/songs-you-may-have-missed-488/

See also: https://edcyphers.com/2013/06/20/songs-you-may-have-missed-430/

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Recommended Albums #97

The Lover Speaks (1986)

Full disclosure about this one:

I have no idea why I own this CD. I have too many CD’s, this is a given. And it makes for some head-scratching moments when I come across an unfamiliar title in an untended stack on the floor of the spare bedroom I call my “office” (except most “offices” aren’t littered with stacks of under-curated CD’s).

In a recent (brief) spate of tidying said room I came across The Lover Speaks and decided I’d give it a fair listen before banishing it to a “discard” pile.

As I did the accompanying dive into the band’s story, I remained mystified as to why I owned a copy of the one and only official release of a band that never had a hit song, properly speaking. I can only think it was bought on the algorithmic recommendation of a certain online music seller, where I noticed copies are currently selling for prices that would make the most ardent music collector squirm.

The Lover Speaks were vocalist David Freeman and composer/arranger Joseph Hughes. Their 1985 demo tape passed through the hands of the Eurythmics’ Dave Stewart and then Chrissie Hynde on its way to producer Jimmy Iovine, who helped get the duo signed to A&M Records.

They later toured in support of Eurythmics.

But a series of singles failed (“No More ‘I Love You’s'” peaked at #58 in the UK; none of their singles cracked the US charts at all) and a second album was shelved by A&M.

The duo broke up, their main claim to fame being that Annie Lennox turned “No More ‘I Love You’s'” into a solo smash a decade later.

So again, what compelled me to purchase this obscurity? It clearly came recommended in some form or fashion, and I had to determine whether there was any validity to the recommendation.

With each repeat listen as I attended to other tasks, the hooks dug deeper. The songwriting chops sounded keener. The intelligent turns of lyrical phrase came to the fore. And the male/female vocals of Freeman and June Miles Kingstone, swooping and soaring together in an interplay of melody and countermelody made it clear “No More ‘I Love You’s'” was no fluke.

Much of 80’s synth pop was chilly and short on soul. But Freeman’s vocals on “Face Me and Smile” and “Absent One” absolutely ache. His baritone suggests Human League. But the authentic emotional resonance and the soul are closer to Pet Shop Boys or Bryan Ferry.

And I simply can’t understand how “Never to Forget You” missed the American top twenty.

Far from being “No More ‘I Love You’s'” and a bunch of filler, this album sounds like a string of lost mid-80’s new wave hits…or a lesser band’s “Best Of” compilation.

Now I know why it’s in my collection. And I’m glad I got a physical copy while it was still affordable to do so.

Turn an 80’s new wave fan onto this album.

Listen to: “Every Lover’s Sign”

Listen to: “No More ‘I Love You’s'”

Listen to: “Never to Forget You”

Listen to: “Face Me and Smile”

Listen to: “Absent One”

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