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'''Scott Mathews''' (born July 25, 1955 in [[Sacramento, California]]) is a multi-platinum selling [[music producer]], [[composer]], multi-instrumentalist, [[vocalist]], [[Music executive|executive]] and [[entrepreneur]]. |
'''Scott Mathews''' (born July 25, 1955 in [[Sacramento, California]]) is a multi-platinum selling [[music producer]], [[composer]], multi-instrumentalist, [[vocalist]], [[Music executive|executive]] and [[entrepreneur]]. |
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==Early life== |
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At the age of seven, Mathews began buying and studying records and by nine, he began writing songs, singing and playing a variety of different instruments and spent several years playing in various bands. Being self-taught, he credits [[Tower Records]] (his second home) and [[Contemporary hit radio]] (top 40) as his inspiration and teachers. |
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By fifteen, Mathews (aided by older bandmates who had driver's licenses) made a pilgrimage to Hollywood and knocked on doors of any company remotely involved with the music business. Not many doors opened to hear a live cassette tape of an unknown band from Sacramento, but one very unexpected door did, [[Barry White]] invited them in. Upon listening to about one minute of the tape, White shut off the machine and looked at the boys, asking; "Who's the drummer?" Mathews, more or less squeaked, "Me, Mr. White". At that point [[Barry White]] looked at Mathews, nodded his head with a broad smile and said; "Right on!". Mathews regarded that comment as a blessing and though he headed back home without a record contract he received an unforgettable vote of confidence from a pro hit maker who knew what a real groove was. |
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His reputation growing, Mathews was asked to perform at the [[The Fillmore|Fillmore]] in [[San Francisco]] with [[Elvin Bishop]] and other San Francisco luminaries. Following the show, phone calls came in from Bishop and [[Boz Scaggs]] inquiring about Mathews' availability but his mother had to inform them he was still in High School. |
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When Mathews was sixteen, he took a leave from school to record at the [[Record Plant]] studio in Los Angeles with his band, Ice, which included [[Steve Perry (musician)|Steve Perry]], (who went on to become the lead singer of [[Journey (band)|Journey]]). Mathews found the world of professional recording to be life-changing but Perry never finished his vocals and the project was subsequently abandoned. A major recording did get made during this time when, [[Stevie Wonder]] used Mathews' drums to write and record his song "[[Superstition (song)|Superstition]]". After being inspired by this experience and the encouragement of [[Barry Gibb]], [[Robin Gibb]], [[Barry White]], [[Stephen Stills]], and some legendary studio musicians, Mathews realized being a member of a band was not his calling and turned his attention to studio work which meant getting out of [[Sacramento]] as soon as possible. |
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==1970s== |
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Still in his teens, Mathews first gained entry into the music business by meeting San Francisco based songwriter [[Ron Nagle]] in 1973. Nagle had been a recording artist on [[Warner Bros. Records]] and had a cult following of mostly musicians and music critics. The two of them built a small basement demo studio and began writing songs and recording demos that were 'blueprints' for how the actual records were to sound. Mathews moved to [[Sausalito, California]] on his 18th birthday to be able to devote more time to writing and producing with Nagle and appreciating the free spirited Bay Area feel compared to the Los Angeles factory approach. |
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These recordings caught the ear of [[Jack Nitzsche]] and Mathews played many different instruments on the multiple [[Academy Award]] winning film ''[[One Flew Over the Cuckoo's Nest (film)|One Flew Over the Cuckoo's Nest]]''. Nitzsche introduced Mathews to prominent artists in [[Los Angeles]] and as a result, in 1976, Mathews wrote songs, performed several instruments and sang on the five times platinum [[Barbra Streisand]] record, ''[[Streisand Superman]]''. Streisand even asked Mathews and Ron Nagle if she could co-write with them and the result was the song, 'Don't Believe What You Read'. |
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On more than one occasion, [[Jack Nitzsche]] would rent a whole studio full of different instruments for Mathews to play for a film or record project. Other times, he would book Mathews and Ry Cooder as the two guitarists on a project naming them his new 'Keith and Brian' - a reference to [[Keith Richards]] and [[Brian Jones]], when he was the arranger (and according to Stones manager, [[Andrew Loog Oldham]], 'the glue' on all [[The Rolling Stones]] recordings from the '60s and into the '70s. Once, a tipsy [[Mick Jagger]] called the studio during a Nitzsche produced session and Mathews answered the phone, thus convincing Jagger to come over and join the session. Mathews didn't tell Nitszche about the call and all of the sudden Mick walked in and the session turned into an all night jam. |
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Producer [[David Rubinson]] was responsible for making many of the records that Mathews was inspired by and in 1976 Rubinson contacted Mathews, thus beginning a collaboration that went on to make hits for a long list of artists including; [[Labelle]], [[The Pointer Sisters]] and (one of Mathews' all-time favorites), [[Bobby Womack]]. Rubinson took Mathews under his wing, paid him a salary with royalties and kept him busy performing on many of the best San Francisco based projects of the era. Mathews joined a band Rubinson produced and managed, [[The Hoodoo Rhythm Devils]] because he was drawn to the music and band members but also because touring was not part of the deal. Mathews was being called upon to produce more and more artists and at age 21, he found his hero [[Roy Orbison]] at his lowest commercial point, and produced a lucrative national television commercial, which helped revitalized Orbison's career, eventually leading to the comeback [[Roy Orbison and Friends, A Black and White Night]] and [[Traveling Wilburys]] projects. The success of this achievement earned Mathews the stripes to work with Orbison's [[Sun Records]] label mate, another hero, [[Johnny Cash]], on an even bigger television and radio campaign. |
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Fresh from their success on ''Cuckoo's Nest'', Mathews and Nagle worked on several more films providing music and sound design. Nagle had worked on ''[[The Exorcist (film)|The Exorcist]]'' prior to meeting Mathews and in 1977, ''Exorcist'' director, [[William Friedkin]] signed the duo to do work on his next film, ''[[Sorcerer (film)|Sorcerer]]'', which Friedkin considers his finest film but was overshadowed by the box office success of ''[[Star Wars]]''. Another recording artist Mathews met that year was [[Glen Campbell]] to whom he and [[Jimmy Webb]] recommended an obscure [[Allen Toussaint]] song called, Southern Nights and Mathews ended up playing drums and dobro on [[Glen Campbell]]'s final # 1 release, the ''[[Southern Nights (Allen Toussaint album)|Southern Nights]]'' album. [[Southern Nights (song)|Southern Nights]] was the most-played jukebox number of 1977. |
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Following Campbell's [[Capitol Records]] sessions, Mathews flew to [[Abbey Road Studios]] and recorded a [[Sammy Hagar]] record called ''Red'', also released on [[Capitol Records|Capitol]]. Hagar wanted Mathews to perform a drum solo on the title song but Mathews initially refused claiming the public had already suffered enough self-indulgent drum solos. Mathews eventually agreed because Hagar's producer mentioned [[Paul McCartney]] convinced [[Ringo Starr]] to perform his only solo in the very same room a few years previous and [[The Beatles]] record, ''[[Abbey Road]]'', seemed to work out fine. |
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Mathews and Nagle continued to write songs that sold in the millions for other artists and were encouraged by [[A&M Records]] with a generous sum of money to turn their partnership into a 'band' project. As a result, [[The Dūrocs]] (named after a breed of pig with extremely large ears and testicles) were formed - but in reality it was still just another name for the duo. The Dūrocs ended up signing with [[Capitol Records]] in 1978 and released an album in 1979 that was considered by many critics 'a masterpiece' and received five stars in ''[[Rolling Stone]]'' magazine and spawned some European hits including a cover of the [[Gene Pitney]] classic "It Hurts To Be In Love". They helped form a video department at the label and made two videos that were released for promotion of the record. Sadly, the videos predated [[MTV]] by several months coining the duo's motto of being 'ahead of the times, always on budget, and behind the beat.' After their A&R director left the label, Capitol's new director of A&R told Mathews and Nagle the 'band' should tour and then return to the studio for 'more of a jazz sound.' Sensing the party was over, Mathews and Nagle headed back to San Francisco and parted with Capitol but not before they staged a prank and broke into a [[Capitol Records]] national sales meeting in [[Hollywood]] being held by the president of the company and disrupted the proceedings with midgets blasting fanfare trumpets with [[Durocs]] banners and squealing pigs running lose through the legs of the executives. |
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[[Carl Wilson]] had been paying close attention to Mathews after hearing the Dūrocs record and connecting to his aesthetic. He shared the record with [[Brian Wilson]] and other members of [[The Beach Boys]] and soon Mathews found himself in the studio as a vocalist and multi-instrumentalist with one of his all-time favorite and inspirational bands. Mathews was honored with an offer to join the band, but turned it down because of his active career in production, his distaste for touring, and his stance that no one could ever replace [[Dennis Wilson]]. Carl Wilson and Mathews remained very close personal friends and wrote and recorded songs together outside of The Beach Boys. |
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Later in the year, Mathews and Nagle set up camp in London at [[AIR Studios]] (owned by [[George Martin]]) to produce a project for [[EMI Records]] featuring [[Warren Peace]], a longtime songwriter and vocalist with [[David Bowie]]. In addition to producing, Mathews played all the instruments and sang the background vocals on the recordings. |
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==1980s== |
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In 1980, Nagle and Mathews built their studio (The Pig Pen) on the top of a hill in San Francisco with a panoramic view of the city and continued producing music for films and other artists, including [[John Hiatt]]'s 1983 breakthrough, ''[[Riding With the King]]'' (the title song of which was based on a dream Mathews had while producing Hiatt and sold three million units in 2001 when [[B. B. King]] and [[Eric Clapton]] covered it). Around this time, Mathews recorded a project with [[Gary Brooker]] called ''[[Lead Me to Water]]'' collaborating with [[Eric Clapton]], [[George Harrison]] and [[Phil Collins]]. |
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Mathews and Nagle worked on the film ''[[Cat People (Putting Out Fire)|Cat People]]'' in 1982. Their sound design for the film ended up being used on the soundtrack recording featuring [[David Bowie]] and [[Stevie Ray Vaughan]] that spawned a surprise hit single. |
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In 1983, Nagle and Mathews aided in production of [[Paul Kantner]]'s ''[[Planet Earth Rock and Roll Orchestra (album)|Planet Earth Rock and Roll Orchestra]]''. The project featured [[Grace Slick]] and many members of [[Jefferson Airplane]] and [[Jefferson Starship]]. Legend has it, Paul Kantner threw his drink at the President of RCA for not agreeing to a promotion plan involving giving away Kantners' car (and RCA buying Kantner a new one).{{citation needed|date=March 2011}} The record was not promoted and remains a relatively unheard production piece by Mathews and Nagle with vocals by [[The Turtles]], otherwise known as [[Flo & Eddie]]. |
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During the mid 1980s Nagle (also a ceramic artist) began to turn more of his attention to his career in art while Mathews was in demand as a producer, writer, singer, and instrumentalist. One of Scott's production highlights of this period was an [[Elvis Costello]] gem called ''Sweetwater'' featuring [[Jerry Garcia]], [[Nick Lowe]], [[Sammy Hagar]], [[Bob Weir]] and members of [[Elvis Presley]]'s [[TCB Band]]. |
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Mathews was still sporadically recording with [[The Beach Boys]] but was frustrated to see them becoming a 'human jukebox' of hits when one of the all-time greatest accomplishments in recorded music, ''[[Pet Sounds]]'', was made by them but had never been performed live in its entirety. Mathews wanted to bring new credibility and well-deserved worldwide acclaim to the band by presenting a live version of ''Pet Sounds'''. Mathews put together a comprehensive outline as musical director and drafted an agreement for the principals involved. All but one member agreed immediately to the plan but without the remaining vote in, the project went gone but not forgotten. |
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Mathews received a platinum record for the original ''Pet Sounds'' record when the band resolved some lawsuits with their label - a kind gift given to principals and management. [[Brian Wilson]] eventually formed with his own band and performed the world tour of ''Pet Sounds'' that Mathews had proposed. |
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Finishing out the 1980s, Mathews began working with [[Todd Rundgren]] (a mutual friend through [[The Tubes]] - a band that had recorded Mathews' songs) on a series of recordings that led to two albums and a world tour. Mathews enjoyed the chance to record and then get out of the studio and tour with Rundgren whom he greatly admired and called 'the male [[Carole King]]' due to Rundgren's ballads from his early days. During this time Scott was asked by [[Ringo Starr]] to join Rundgren, [[Joe Walsh]], [[Jack Bruce]], and other rockers as a guest in his [[Ringo Starr & His All-Starr Band|All-Starr Band]]. |
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==1990s== |
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The 1990s began with another hit record -- [[Dave Edmunds]] recorded a song Mathews co-wrote, "[[Closer to the Flame (Dave Edmunds album)|Closer to the Flame]]" and it became a huge seller around the world. In 1990, Mathews produced, engineered and performed on the first release by [[Chuck Prophet]] called [[Brother Aldo]]. In 1991, Mathews produced, engineered and performed with [[John Wesley Harding (singer)|John Wesley Harding]] for [[Sire Records]], they also contributed to ''[[Just Say Roe]]'', a pro-choice recording project with [[Madonna (entertainer)|Madonna]], [[David Byrne]] and many others. |
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Throughout the whirlwind of studio activities in the 1990s, Scott recorded with many iconic artists including [[Keith Richards]], [[Van Morrison]], [[John Lee Hooker]], [[Bonnie Raitt]], [[Robert Cray]] and even [[Tiny Tim (musician)|Tiny Tim]]. He also found his way out of the studio to play live with pal, [[Ringo Starr]] during Bay Area and Los Angeles performances in 1993 and 1999 with the [[All-Starr Band]]. |
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In 1993 Mathews, along with friend and San Francisco Chronicle senior rock critic, [[Joel Selvin]] discovered the [[King of the Surf Guitar]], [[Dick Dale]] was living on a remote ranch in 29 Palms, California and rarely picked up his guitar. The two coaxed the reluctant guitarist to come to San Francisco and try some recording and the result was [[Tribal Thunder]], a record that earned its way to #1 on the College Radio charts and ''Rolling Stone'' awarded it an excellent '4 Star' review. With Dale's major comeback underway, [[Quentin Tarantino]] used [[Misirlou]] in the 1994 film ''[[Pulp Fiction]]'' and Mathews went on to produce more LPs with Dale, 'Unknown Territory' (1994) and 'Calling Up Spirits' (1996). |
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In 1995, Mathews joined a small group of producers and engineers brought together by [[Jermaine Jackson]] to mix surround sound versions of the [[Thriller (album)|Thriller]] record by [[Michael Jackson]] originally produced by [[Quincy Jones]]. Mathews worked on the single [[Thriller (song)|Thriller]] with directions from [[Michael Jackson]] to "make the sound feel like you are on a roller coaster". These experimental mixes have thus far remained unreleased. |
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While writing and recording with [[Booker T. Jones]] in 1996 at the [[Record Plant Studios]] in [[Sausalito]], Mathews met engineer Tom Luekens who was working full-time for Jones. When the project was done, Luekens contacted Mathews and let him know he was a free agent and from that moment on Luekens has been Mathews' chief engineer. |
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In 1997, Scott collaborated with [[Huey Lewis]] on songs for the film ''[[Wag the Dog]]'' in Scott's new studio in [[Marin County]]. Many other projects were recorded at this location but it was short lived, as Mathews felt it lacked the comfort, natural light, 'vibe' and sonic value of the original Pig Pen studio that Mathews had been striving for. |
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In 1998, Mathews' corporation [[Hit or Myth Productions]] purchased a split-level house on the edge of San Francisco Bay with views from every room and established a new private recording studio, [[TikiTown]]. Stocked with many musical instruments and the creature comforts of a nice home, it soon became a destination for artists from all over the world. [[Van Morrison]] immediately became a familiar face and even installed a gym for his use while working at TikiTown. Well after purchasing the house, Mathews found out that the future TikiTown was the home of a member or two of [[Journey (band)|Journey]] when they were in their heyday. |
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In 1999, the Durocs contributed to the tribute album for [[Moby Grape]] co-founder, [[Skip Spence]], who was terminally ill with cancer. The album, [[More Oar: A Tribute to the Skip Spence]] Album (Birdman, 1999), contained cover versions of the songs from Spence's only solo album, [[Oar]] (Columbia, 1969). |
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==2000s== |
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In 2000, Mathews began dedicating himself almost exclusively to new, emerging artists at Hit or Myth Productions while devoting a lot of time to family and travel. TikiTown was the site of roughly ten different production projects per year - ranging from singles to double albums. |
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In 2005, Mathews began producing a series of Operettas for contemporary Opera composer, Mark Northcross using a select group of performers from the [[San Francisco Symphony]] and [[San Francisco Opera]]. The first piece was recorded at TikiTown but the subsequent selections were recorded at [[Skywalker Ranch]] because the size of the orchestra and number of vocalists needed outgrew the size of the studio. The latest piece was recorded in 2011. |
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In 2007, at the [[Paramount Theatre (Oakland, California)|Paramount Theatre]] in Oakland, California, [[Brian Wilson]] performed the final live presentation of ''[[Pet Sounds]]''. On this historical occasion, Wilson invited Mathews and [[Al Jardine]] onstage to sing the all-time classic. |
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In addition, Mathews's musical and personal involvement with [[Van Dyke Parks]] and Brian Wilson made Mathews instrumental (along with [[Bug Music]]) in bringing together the two forces in order to finish the final masterpiece originally scheduled as '[[Smile (The Beach Boys album)|Smile]]' to fruition (after it had been left undone for nearly four decades). |
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Mathews accompanied [[Van Dyke Parks]] for the first performance of Wilson's Smile in Los Angeles at the Disney Center, and received a Gold Record for the sales of the newly recorded '[[Smile (Brian Wilson album)]]' from the U.K. |
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==2010s== |
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As of 2011, Mathews is still writing songs with [[Ron Nagle]] and working on recording projects due for future release, featuring Nagle as the artist and Mathews as the producer. |
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On April 16, 2011, [[The Beach Boys]] released a 7" vinyl with the A side being "Don’t Fight The Sea" (co-produced by Mathews), with 100% of the proceeds going to benefit the Red Cross and the Japanese disaster relief effort. |
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In December of 1211, Mathews signed on as Executive Producer with Hong Kong based, [[Far West Entertainment]]. |
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While still working with established artists, Mathews also produces emerging artists through his A&R wing at Hit or Myth Productions. |
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==Awards and honors== |
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Scott Mathews has earned awards including gold and platinum albums with artists such as; [[Bonnie Raitt]], [[Brian Wilson]], [[Keith Richards]], [[Van Morrison]], [[Barbra Streisand]], [[John Lee Hooker]], [[Eric Clapton]], [[B.B. King]], [[The Beach Boys]] and others. [[Grammy Award]] projects include, 'Riding with the King' ([[B.B. King]], [[Eric Clapton]]), 'Twenty' [[Robert Cray]], 'I'm in the Mood for Love' [[Bonnie Raitt]], 'The Healer' ([[John Lee Hooker]]), 'Mr. Lucky' ([[John Lee Hooker]]) and others. |
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The Durocs LP on Capitol Records won the 'Best New Artist' award at the [[BAMMIES]] (aka the California Music Awards). |
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Mathews has been profiled in ''[[Rolling Stone]]'', ''[[Mojo (magazine)|Mojo]]'', ''[[Billboard (magazine)|Billboard]]'', ''[[Guitar Player]]'', ''[[Electronic Musician]]'', ''[[Time (magazine)|Time]]'' magazine and the ''[[New York Times]]''. In ''[[Rolling Stone]]'' magazine, [[Ben Fong-Torres]] referred to Mathews as a 'wunderkind,' and ''[[San Francisco Chronicle]]'' Senior Music Critic, [[Joel Selvin]] is on record stating, "Scott Mathews is the funniest, smartest, hippest, most talented musician I know." |
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==Teaching, speaking and writing== |
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Mathews has taught classes at [[San Francisco State University]] on songwriting, the music industry and music production and has lectured and or given commencement speeches at [[UCLA]], [[UC Berkeley]], [[The Musicians Institute]] in Hollywood, [[Mills College]], [[Ex’pression Center for New Media]], and [[Foothill College]].{[cn}} |
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Mathews is a frequent guest speaker at [[SXSW]], the [[SanFran MusicTech Summit]], and the [[West Coast Songwriters Association Conference]] among others.{{cn|date=September 2012}} |
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==Film projects== |
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In 1976 Mathews performed many different musical instruments on the [[Jack Nitzsche]] score for the multiple Academy Award winning film, [[One Flew Over the Cuckoo's Nest (film)|One Flew Over the Cuckoos Nest]].{{cn|date=September 2012}} |
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As an actor, Mathews starred as [[Fluke Starbucker]] in the ''Star Wars'' parody ''[[Hardware Wars]]'' from 1977. |
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In 1977, Mathews and [[Ron Nagle]] produced sound design and effects with Exorcist director, William Friedkin for the movie, [[Sorcerer (film)|Sorcerer]].{{cn|date=September 2012}} |
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In 1982, Mathews and [[Ron Nagle]] produced sound design, effects and source music for the film, [[Cat People (1982 film)|Cat People]].{{cn|date=September 2012}} |
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In 1998, Mathews produced and wrote songs with Huey Lewis for the film, [[Wag the Dog]] for director [[Barry Levinson]].{{cn|date=September 2012}} |
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In 2010, Mathews served as co-musical supervisor and music producer on a documentary film with called [[Hollywood Don't Surf!]] with two-time Academy Award-nominated director [[Greg MacGillivray]] on the subject of surfing and [[surf culture]] as seen through the lens of Hollywood. [[Steven Spielberg]], [[Francis Ford Coppola]], [[John Milius]], [[Quentin Tarantino]], and others join a cast of A-list participants. |
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==Personal life== |
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In 1991, Mathews married former model Mary Ezzell, children: Thomas Wilson, born in 1993, and Ava Grace, born in 1996. His primary residence is on [[Mt. Tamalpais]] in [[Mill Valley]], [[Marin County]], California. |
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In September 2011, Mathews joined the President's Council of the [[J. David Gladstone Institutes]], a stem cell research centers while also working with [[Partnerships for Change]] to organize charity benefit concerts to help impoverished nations around the world.{{cn|date=September 2012}} |
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For several years, Mathews was the Musical Director for benefit concerts for [[Thunder Road]], a youth-oriented alcohol and drug rehabilitation center. |
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Mathews is a supporter of [[H.E.A.R.]], an organization dedicated to educating and protecting musicians' hearing.{{cn|date=September 2012}} |
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Off and on, Mathews serves as Musical Director for the [[Mill Valley Film Festival]] where projects have involved bringing together, [[The Wrecking Crew (music)|The Wrecking Crew]] for their final live performance ever as well as directing a gospel show featuring [[The Blind Boys of Alabama]] and [[Taj Mahal (musician)|Taj Mahal]]. |
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==References== |
==References== |
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Revision as of 23:55, 20 September 2012
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Scott Mathews | |
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| Born | July 25, 1955 Sacramento, California, United States |
| Occupation(s) | Music Producer, Composer, Multi-Instrumentalist, Vocalist, Executive, Entrepreneur and Consultant |
| Spouse | Kolleen Mathews |
| Children | son, Thomas and daughter, Ava |
| Website | WWW.SCOTTMATHEWS.COM |
Scott Mathews (born July 25, 1955 in Sacramento, California) is a multi-platinum selling music producer, composer, multi-instrumentalist, vocalist, executive and entrepreneur.
References
- BAM Magazine, 1980
- Scullatti, Gene - The Catalog of COOL, Warner Books 1982
- Elliott, Brad - Surf's Up, The Beach Boys On Record 1961–1981, Pierian Press 1982
- Stebbins, Jon - The Real Beach Boy, ECW Press
- Rolling Stone (10/28/93, p. 81)
- Selvin, Joel - Various articles in the San Francisco Chronicle, 1975–2003.
- Bessler, Ian - Songwriter's Market, Writer's Digest Books, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008
- Bowie, David - Moonage Daydream, 2003
- Selvin, Joel - "Smartass: The Music Journalism of Joel Selvin: California Rock and Roll", SLG Books, 2010
- Hagar, Sammy - "Red", Harper Collins 2011
- Beard, David - www.examiner.com, April 7, 2011
- Billboard Magazine, February 23, 2012