How Sweet it is.

Various Artists-Altered Sweet: A Tribute to Matthew Sweet. Futureman Records' Keith Klingensmith knows his way around a tribute album, and 2016's Sloan tribute was one of the best of the genre. So to say this project covering another power pop luminary with a long track record of quality music was widely anticipated in the power pop community is a bit of an understatement, and unsurprisingly Futureman comes through here again. Like the Sloan tribute, Altered Sweet has a lineup dominated by artists I've featured on these pages, so the winning tribute formula of "songs you like covered by artists you like" is clearly present here.

Although Sweet has been active since the mid-to-late 80s and remains so through today, the bulk of the covers here are from his peak creative period in the 90s from Girlfriend through In Reverse. The title track of the former is probably Sweet's best-known track and Michael Carpenter (a master of covers himself with some 6 covers albums under his belt) does the honors here with a straightforward version. Lannie Flowers is a great choice for Girlfriend's jangle pop classic "I've Been Waiting", while Phil Ajjarupu has a breezy take on "Thought I Knew You" and the man with the plan, Klingensmith, handles the ultimate "feeling sorry for yourself" song "You Don't Love Me" with class. But as beloved as Girlfriend is, my favorite Sweet album is 1995's 100% Fun* and it too is well-represented here, with Greg Pope's vintage low-fi power pop making "Not When I Need It" sound like one of his own, Gretchen's Wheel's "Walk Out" sounding like a lost Aimee Mann track, and in the most radical re-imagining of the collection Simple Friend delivers an acoustic boy-girl folk-pop version of "Sick of Myself", one of Sweet's more heavier rocking tracks, proving its melody works well in either genre. 1997's Blue Sky on Mars is represented by Andy Reed's faithful reading of "Where You Get Love" complete with synths, while fellow Michiganer Nick Piunti tackles "Behind the Smile" with the guitars front and center and The Well Wishers rawk on "All Over My Head". And 1999's In Reverse (Sweet's most underrated album in my opinion) finds Paranoid Lovesick giving us a punchy version of "What Matters" and Donny Brown coming through with an excellent cover of my favorite Sweet ballad, "Hide".

Interestingly Altered Beast, the album from which the tribute derives its title, only has three covers here - Elvyn puts their jangly roots-pop stamp on "Time Capsule", Nick Bertling has a heavy version of "Falling" and Chris Richards & The Subtractions does Sweet proud with "Someone to Pull the Trigger". Also by my count, only 4 of the 27 covers come from outside those 90s albums: Trolley reaches back to 1986's "Inside" with "Quiet Her", The Hangabouts un-Earth "When I Feel Again" from 1989's Earth, Fireking offers "Dead Smile" from 2003's (originally Japan-only) Kimi Ga Suki, and Arvidson & Butterflies mines 2008's Sunshine Lies for "Byrdgirl", which is more rocking and less jangly than the title implies.

Futureman has hit another home run here, and I can only look forward to whatever artist Klingensmith turns his attention to next. (I helpfully suggested Marshall Crenshaw to him on Twitter, but we'll just have to see).

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*I may have mentioned this elsewhere, but the title "100% Fun" was Sweet's response to those who criticized Altered Beast for being "too dark" (it certainly wasn't the followup to Girlfriend many were expecting). And after Blue Sky on Mars wasn't well-received by the critics, Sweet responded on In Reverse with the none-too-subtle "Write Your Own Song", giving him the title of thinnest-skinned popster since 1970s Billy Joel.

Stream the new Matthew Sweet!

Here it is, in all its glory. Haven't had a chance to listen yet myself, but note how meta Track 7 appears to be.

The election is upon us!

No, I'm not talking Obama vs. McCain (not much suspense there any more). I'm talking about the "Shake Some Action" Revisited site, where your vote for the top 5 power pop albums of all time is being solicited for the rest of this month in order to come up with a fans' list to go with the Top 200 list John Borack compiled in his excellent Shake Some Action book.

Of course being the opinionated sort that I am, I have my own top 5 picks, which consist of one unsurprising pick, one not-too-unsurprising pick, two unsurprising artists but surprising discs, and one out of left field. Here I go:

1. Big Star-#1 Record/Radio City. The Rosetta Stone of power pop. I don't have any grand new insights on this legendary disc, but I will state that "September Gurls" might just be the perfect song.

2. Cotton Mather-Kon Tiki. I've waxed poetic on this one before, but I will simply state it comes closest to approximating a Beatles album than anything else out there, and I don't mean it simply in the sense of aping the Beatles sound, which a lot of bands are quite capable of. And if Kon Tiki was the best album the Beatles never released, "My Before and After" was the best song they never released.

3. Matthew Sweet-100% Fun. I've taken some heat for picking Clint Sutton as the #1 disc of 2008 in my spring list, and although I'm not sure it'll stay at the spot at year's end, the reason I love it so much is that reminds me of what I consider Sweet's best album and a stone classic. Although Girlfriend gets all the praise and the list mentions, I always thought 100% Fun was the more focused, tighter, melodic and rocking of the two. The first couple of seconds of "Sick of Myself" might be best way to open an album I've ever heard, and the wonderful "Get Older" is probably the most overlooked great song on this disc. (Side note on Sweet: The title is the notoriously thin-skinned Sweet's response to complaints that the Girlfriend followup, Altered Beast, was too "dark". Later, after the 100% Fun followup Blue Sky on Mars took some critical heat, Sweet responded with the bitter "Write Your Own Song" on 1999's In Reverse. So I sure hope he isn't reading this when I mention that his new disc, Sunshine Lies, didn't do much for me.)

4. Marshall Crenshaw-Field Day. Like the pick above, this isn't the disc people have in mind when they think of the artist, and while his self-titled debut would find a spot in my all-time top 20, this one to me is his true best. Maligned at the time as a result of Steve Lillywhite's reverb-heavy production, the controversy about the sound obscured the fact that this was Crenshaw's strongest set of songs, from the perfect power pop of the album's lone hit, "Whenever You're on My Mind", to gems like "For Her Love" and "Monday Morning Rock". My only knock on the debut was that it was a bit too retro-conscious, and what makes Field Day so great is that it marries Crenshaw's brilliant songcraft (which shows a greater depth and maturity here) to a more up-to-date vibe, even without considering Lillywhite's production.

5. Valley Lodge-Valley Lodge. Wha??? Alert and/or longtime readers might recall that this wasn't even my #1 disc of 2005, so what's it doing at #5 of all-freaking-time? Well, first of all if I had to re-do my 2005 list, this one probably would be at the top, and secondly, I've been listening to it a lot lately. But the more I listen, the more I'm convinced this might be the purest, most fun, power pop album I've ever heard, and here I mean power pop in the narrowest sense: rocking guitars, sugary melodies, etc - not the broad parameters I use in the choice of discs I review on this site. This disc has it all - aside from songs that deliver one hook after another, there's an intelligence and sense of humor that prevails here, unsurprising since frontman Dave Hill (ex-Uptown Sinclair) is an adept a professional comedian as he is a rocker. And what seals the deal for me is Hill's penchant for slipping into falsetto in the middle of verses and choruses, which makes these songs so much damn fun to sing along to. If you've been somehow immune to this disc's charms these past three years, do yourself a favor and check it out.