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| {{about|the American record producer/musician/composer/executive/entrepreneur|the British musician|Scott Matthews|the Australian musician|Scott Matthew}} | {{about|the American record producer/musician/composer/executive/entrepreneur|the British musician|Scott Matthews|the Australian musician|Scott Matthew}} | ||
| ] | |||
| {{Multiple issues|tone = March 2011|COI = March 2011|no footnotes = April 2010}} | |||
| '''Scott Mathews''' (born July 25, 1955 in ]) is a ], ], multi-instrumentalist, ], ] and ]. | |||
| {{Infobox person | |||
| | name = Scott Mathews | |||
| | image = AtTikiTown.jpg | |||
| | image size = | |||
| | caption = Scott Mathews Inside TikiTown | |||
| | birth_date = {{Birth date|1955|7|25}} | |||
| | birth_place = ], United States | |||
| | death_date = | |||
| | death_place = | |||
| | occupation = ], ], Multi-Instrumentalist, ], ], ] and ] | |||
| | Current Projects = ], ] | |||
| | networth = | |||
| | spouse = Kolleen Mathews | |||
| | children = son, Wilson and daughter, Ava | |||
| | Influences = | |||
| | website = | |||
| | footnotes = | |||
| }} | |||
| ] | |||
| '''Scott Mathews''' (born July 25, 1955 in ]) is a multi-platinum selling ], ], multi-instrumentalist, ], ] and ]. | |||
| ==Career== | |||
| Throughout his career, he has produced, composed, arranged, performed as a multi-instrumentalist / vocalist, engineered and mixed recordings with a wide range of musical artists, including (A-Z): ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ].<ref>www.scottmathews.com</ref> | |||
| ==Early Days== | |||
| 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 ] (his second home) and ] (top 40) as his inspiration and teachers.<ref>www.scottmathews.com</ref> | |||
| 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, ] 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 ] 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.<ref>www.scottmathews.com</ref> | |||
| His reputation growing, Mathews was asked to perform at the ] in ] with ] and other San Francisco luminaries. Following the show, phone calls came in from Bishop and ] inquiring about Mathews' availability but his mother had to inform them he was still in High School.<ref>www.realgonemusic.com/news/2012/4/17/durocs.html</ref> | |||
| In 1972, when Mathews was seventeen, he took a leave from high school to record at the ] studio in Los Angeles with his band, Ice, which included ], (who went on to become the lead singer of ] after following Mathews to the Bay Area years later). Mathews found the world of professional recording to be life-changing but Perry never finished his vocals and the project was subsequently abandoned.<ref>en.wikipedia.org/Steve_Perry_(musician)</ref> A masterpiece LP did get made in the same room when at night, ] heard some Ice recordings, liked the way the drums sounded and subsequently played Mathews' drums to record tracks for his opus "]" LP. After being inspired by this experience and the encouragement of ], ], ], ], 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 ] as soon as possible.<ref>www.scottmathews.com</ref> | |||
| ==The 1970s== | |||
| Still in his teens, Mathews first gained entry into the music business by meeting San Francisco based songwriter ] in 1973. Nagle had been a recording artist on ] 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 ] 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.<ref>www.realgonemusic.com/news/2012/4/17/durocs.html</ref> | |||
| These recordings caught the ear of ] and Mathews played many different instruments on the multiple ] winning film '']''.<ref>www.realgonemusic.com/news/2012/4/17/durocs.html</ref>Nitzsche introduced Mathews to prominent artists in ] and as a result, in 1976, Mathews wrote songs, performed several instruments and sang on the five times platinum ] record, '']''. 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'.<ref>www.hitquarters.com/index.php3?page+interview_Scott_Mathews.html</ref> | |||
| On more than one occasion, ] 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 ] and ], when he was the arranger (and according to Stones manager/producer, ], 'the glue' on all ] recordings from the '60s and into the '70s. Once, a tipsy ] 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 a late night jam.<ref>century67.com/untitled-jack-nitzsche-documentary</ref> | |||
| During this period, most major projects Mathews worked on were based in Los Angeles, but ] remained home even though he thought only three people had proven they knew how to make a timeless classics in the Bay Area, ], ] and Producer ]. Rubinson produced ] a band that inspired Mathews tremendously and in 1976 Rubinson contacted Mathews, thus beginning a collaboration that went on to make hits for a long list of artists including; ], ] and (one of Mathews' favorites), ]. 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, ] because he was drawn to the music and band members but also because touring was not part of the deal. | |||
| Still, Mathews was being called upon to produce more and more artists and at age 21, after pointing out to advertising executives at ] that the singers they used on their jingles could be of 'listenable' quality, he contacted his hero ], then at an ebb in his career, and produced a lucrative national television commercial, which helped revitalized Orbison's career, eventually leading to the comeback ], ] and Orbison's own posthumous #1 release, ]. Shortly following the success of this achievement earned Mathews the stripes to work with Orbison's ] label mate, another hero, ], on an even bigger television and radio campaign.<ref>www.scottmathews.com</ref> | |||
| 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 '']'' prior to meeting Mathews and in 1977, ''Exorcist'' director, ] signed the duo to do work on his next film, '']'', which Friedkin considers his finest film but was overshadowed by the box office success of '']''<ref>www.scottmathews.com</ref>. Another recording artist seeking Mathews that year was ] to whom Scott and ] recommended an obscure ] song called, Southern Nights. Mathews ended up playing drums and dobro on Campbell's final # 1 the '']'' album. ] was the most-played jukebox song of 1977.<ref>www.artistdirect.com/nad/store/artist/album/0,,60647,00.html</ref> | |||
| Following Campbell's ] sessions, Mathews flew to ] and recorded a ] record called ''Red'', also released on ]. 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 ] convinced ] to perform his only solo in the very same room a few years previous and ] record, '']'', seemed to work out fine.<ref>www.redrocker.com/discography/sammy-hagar</ref> | |||
| Mathews and Nagle continued to write songs that sold in the millions for other artists and were encouraged by ] with a generous sum of money to turn their partnership into a 'band' project. As a result, ] (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 ] in 1978 and released an album in 1979 that was considered by many critics 'a masterpiece' and received five stars in '']'' magazine and spawned some European hits including a cover of the ] 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 ] 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 ] national sales meeting in ] being held by the president of the company and disrupted the proceedings with midgets blasting fanfare trumpets with ] banners and squealing pigs running lose through the legs of the executives.<ref>en.wikipedia.org/Ron_Nagle</ref> | |||
| ] had been paying close attention to Mathews after hearing the Dūrocs record and connecting to his aesthetic. He shared the record with ] and other members of ] 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 ].<ref>www.Stebbins, Jon-"Dennis Wilson, The Real Beach Boy", ECW Press, 2000</ref> Carl Wilson and Mathews remained very close personal friends and wrote and recorded songs together outside of The Beach Boys. | |||
| Later in the year, Mathews and Nagle set up camp in London at ] (owned by ]) to produce a project for ] featuring ], a longtime songwriter and vocalist with ]. In addition to producing, Mathews played all the instruments and sang the background vocals on the recordings.<ref>www.psychedelicjams.com/music/thedurocs/durocs</ref> | |||
| ==The 1980s== | |||
| 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 ]'s 1983 breakthrough, '']'' (the title song of which was based on a dream Mathews had while producing Hiatt and sold three million units in 2001 when ] and ] covered it). Around this time, Mathews recorded a project with ] called '']'' collaborating with ], ] and ].<ref>www.allmusic.com/artist/scott-mathews-mn0000311596/credits</ref> | |||
| Mathews and Nagle worked on the film '']'' in 1982. Their sound design for the film ended up being used on the soundtrack recording featuring ] and ] that spawned a surprise hit single.<ref>www.cduniverse.com/search/xx/music/pid/1103089/1/Cat+People</ref> | |||
| In 1983, Nagle and Mathews aided in production of ]'s '']''. The project featured ] and many members of ] and ]. According to RCA Records, Paul Kantner threw his drink at the President of the label for not agreeing to a promotion plan involving giving away Kantners' car (and RCA buying Kantner a new one). The record was not promoted and remains a relatively unheard production piece by Mathews and Nagle with vocals by ], otherwise known as ].<ref>www.deaddisc.com/disc/Perro.htm</ref> | |||
| 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 ] gem called ''Sweetwater'' featuring ], ], ], ] and members of ]'s ].<ref>https:www.allmusic.com/album/sweetwater-mw0000954210/credits</ref> | |||
| Mathews was still sporadically recording with ] but was frustrated to see them becoming a 'human jukebox' of hits when one of the all-time greatest accomplishments in recorded music, '']'', 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.<ref>www.spokeo.com/Scott+Mathews+1</ref> | |||
| 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. ] eventually formed with his own band and performed the world tour of ''Pet Sounds'' that Mathews had proposed.<ref>www.spokeo.com/Scott+Mathews+1</ref> | |||
| Finishing out the 1980s, Mathews began working closely with ] (a mutual friend through ] - a band that had recorded Mathews' songs)<ref>www.studioexpresso.com/profiles/scottmathews.htm</ref> 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 ]' due to Rundgren's ballads from his early days.<ref>www.allmusic.com/album/2nd-wind-mw0000314414/credits</ref> During this time Scott was asked by ] to join Rundgren, ], ], and other rockers as a guest in his ] and began the first of many opportunities to play drums while Ringo was up front singing.<ref>www.recordproduction.com/artist/scott-mathews-mn0000311596</ref> | |||
| Being a friend and sometimes musical collaborator, ] also had Mathews sit in as a 'special guest' on percussion and vocals with ] on sporadic occasions including on a tour of Japan. | |||
| ==The 1990s== | |||
| The 1990s began with another hit record -- ] recorded a song Mathews co-wrote, "]" and it became the title song to a huge seller around the world.<ref>en.wikipedia.org/Closer_to_the_Flame_(Dave _Edmunds_album)</ref> In 1990, Mathews introduced alt-country fave ] as Mathews produced, engineered and performed on the first release called ]. <ref>chuckprophet.com/press/interview_with_chuck-for_the-release_of_brother_aldo/</ref> | |||
| In 1991, Mathews produced, engineered and performed with ] on {{Why We Fight]]<ref>www.allmusic.com/album/why-we-fight-mn0000082540</ref> | |||
| ] and ], <ref>cduniverse.com/search/xx/music/pid/4163061/a?Pett+Levels+-+The Summer+EP.htm</ref> | |||
| they also contributed to '']'', a pro-choice recording project with ], ] and many others.<ref>en.wikipedia.org/Just_Say_Roe_(album)</ref> | |||
| Throughout the whirlwind of studio activities in the 1990s, Scott recorded sessions with many iconic artists including ], ], ], ], ] and even ]. He also found his way out of the studio to play more live gigs with pal, ] during Bay Area and Los Angeles performances in 1993 and 1999 with ].<ref>www.recordproduction.com/artist/scott-mathews-mn0000311596</ref> | |||
| In 1993 Mathews, along with friend and San Francisco Chronicle senior rock critic, ] discovered the ], ] 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 ], 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, ] used ] in the 1994 film '']'' and Mathews went on to produce more LPs with Dale, 'Unknown Territory' (1994) and 'Calling Up Spirits' (1996).<ref>www.allmusic.com/album/tribal-thunder-mw0000098501/credits</ref> | |||
| In 1995, Mathews joined a small group of producers and engineers brought together by ] to mix surround sound versions of the ] record by ] originally produced by ]. Mathews worked on the single ] with directions from ] to "make the sound feel like you are on a roller coaster". These experimental mixes have thus far remained unreleased.<ref>www.expression.edu/DigitalArts</ref> | |||
| While writing and recording with ] in 1996 at the ] in ], 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.<ref>www.scottmathews.com</ref> | |||
| In 1997, Scott collaborated with ] on songs for the film '']'' and produced the project in Mathews' recording studio in ] thus adding to the ] composed mini-soundtrack. Lewis introduced Mathews to ] winning film director ] as "one of those rare, genuinely prodigious musicians who is too talented to limit himself to actually being a member of one group or recording project." The film was nominated for two ]. | |||
| In 1998, Mathews' corporation ] purchased a split-level house on the edge of San Francisco Bay with views from every room and established a new private recording studio, ]. 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. ] 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 ] when they were in their heyday.<ref>www.scottmathews.com</ref> | |||
| In 1999, the Durocs contributed to the tribute album for ] co-founder, ], who was terminally ill with cancer. The album, ] Album (Birdman, 1999), contained cover versions of the songs from Spence's only solo album, ] (Columbia, 1969).<ref>www.amazon.com/More-Oar/dp/B000050HTL</ref> | |||
| ==The 2000s== | |||
| 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.<ref>www.marinij.com/entertainment/ci_21276954/press-play-durocs-1979-masterpiece-gets-re-issused</ref> | |||
| In 2005, Mathews began producing a series of Operettas for contemporary Opera composer, Mark Northcross using a select group of performers from the ] and ]. The first piece was recorded at TikiTown but the subsequent selections were recorded at ] because the size of the orchestra and number of vocalists needed outgrew the size of the studio. The latest piece was recorded in 2011. | |||
| In 2007, at the ] in Oakland, California, ] performed the final live presentation of '']''. On this historical occasion, Wilson invited Mathews and ] onstage to sing the all-time classic.<ref>www.www.youtube.com/watch?v=13Oa3zWwoRg</ref> | |||
| In addition, Mathews's musical and personal involvement with ] and Brian Wilson made Mathews instrumental (along with ]) in bringing together the two forces in order to finish the final masterpiece originally scheduled as ']' to fruition (after it had been left undone for nearly four decades). | |||
| Mathews accompanied ] 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 ']' from the U.K.<ref>www.spokeo.com/Scott+Mathews+1</ref> | |||
| ==The 2010s== | |||
| As of 2011, Mathews is still writing songs with ] and working on recording projects due for future release, featuring Nagle as the artist and Mathews as the producer.<ref>en.wikipedia.org/Ron_Nagle</ref> | |||
| On April 16, 2011, ] released a 7" vinyl with the A side being "Don’t Fight The Sea" (co-produced by Mathews) and the B side being "Friends" (a cappella), with 100% of the proceeds going to benefit the Red Cross and the Japanese disaster relief effort. The single will be packaged in a white sleeve and the first 1,000 pressed will be on white vinyl with a red label to replicate the Japanese flag.<ref>en.wikipedia.org/Al_Jardine</ref> | |||
| In December of 1211, Mathews signed on as Executive Producer with Hong Kong based, ], a ] like company with departments for music, television and film. In less than two months following the signing, ], a Pan Asian girl group Mathews produced went to #1 on the '']'' dance tracks for two weeks. This unprecedented feat marks the first time in history an Asian band has hit even the top 40, let alone #1 on the ]. As a result of this early stage success, ] has joined Far West as another Executive Producer and ] is involved with co-producing on the television side.<ref>marinscope.com/articles/2012/.../doc4f4543f18964a683487504.txt</ref> | |||
| On May 22, 2012, after nearly a year in negotiations with Capitol Records, Real Gone Music released the original Durocs record on CD and downloads. Along with the original LP are eight previously unheard Durocs 'bone-us' tracks, all recorded shortly after the Capitol release. The reviews have been incredible and it seems the world is finally ready for the Durocs albeit thirty-three years later.<ref>www.marinij.com/entertainment/ci_21276954/press-play-durocs-1979-masterpiece-gets-re-issused</ref> | |||
| While still working with established, iconic artists, these days Mathews is dedicated to producing primarily emerging artists his A&R wing at Hit or Myth Productions discover from all over the world. He feels talent discovery and development is the most broken component to today's music industry and spends much of his time working on a better model. | |||
| Mathews' recent projects at TikiTown include new artists from England, Australia, Ukraine, France, Austria, New Zealand, Canada, Iceland, Japan, Hong Kong and America. | |||
| Equally as passionate about the possibilities tech plays in music as the music itself, if Mathews isn't in the recording studio, he is likely to be found in the Silicone Valley working with other entrepreneurs and companies to help shape the future of the music industry. He is involved in early stage start up think tanks as well as an expert consultant to high tech music/media companies and venture capitalists.<ref>marinscope.com/articles/2012/.../doc4f4543f18964a683487504.txt</ref> | |||
| ==Recording Awards and honors== | |||
| Scott Mathews has earned awards including gold and platinum albums with artists such as; ], ], ], ], ], ], ], ], ] and others. ] projects include, 'Riding with the King' (], ]), 'Twenty' ], 'I'm in the Mood for Love' ], 'The Healer' (]), 'Mr. Lucky' (]) and others. | |||
| The Durocs LP on Capitol Records won the 'Best New Artist' award at the ] (aka the California Music Awards). | |||
| Mathews has been profiled in '']'', '']'', '']'', '']'', '']'', '']'' magazine and the '']''. In '']'' magazine, ] referred to Mathews as a 'wunderkind,' and '']'' Senior Music Critic, ] is on record stating, "Scott Mathews is the funniest, smartest, hippest, most talented musician I know."<ref>Selvin, Joel - "Smartass: The Music Journalism of Joel Selvin: California Rock and Roll", SLG Books, 2010</ref> | |||
| ==Teaching, speaking and writing== | |||
| Mathews has taught classes at ] on songwriting, the music industry and music production and has lectured and or given commencement speeches at ], ], ] in Hollywood, ], ], and ]. | |||
| Mathews is a frequent guest speaker at ], the ], and the ] among others.<ref>sfmusictech.com/panelistpage/smathews.html</ref> | |||
| ==Film projects== | |||
| In 1976 Mathews performed many different musical instruments on the ] score for the multiple Academy Award winning film, ].<ref>www.scottmathews.com</ref> | |||
| As an actor, Mathews starred as ] in the ''Star Wars'' parody '']'' from 1977.<ref>www.imdb.com/title/tt0077658/</ref> | |||
| In 1977, Mathews and ] produced sound design and effects with Exorcist director, William Friedkin for the movie, ].<ref>www.imdb.com/title/tt0076740/</ref> | |||
| In 1982, Mathews and ] produced sound design, effects and source music for the film, ].<ref>www.cduniverse.com/search/xx/music/pid/1103089/1/Cat+People.htm</ref> | |||
| In 1998, Mathews produced and wrote songs with Huey Lewis for the film, ] for director ].<ref>www.scottmathews.com</ref> | |||
| In 2010, Mathews served as co-musical supervisor and music producer on a documentary film with called ] with two-time Academy Award-nominated director ] on the subject of surfing and ] as seen through the lens of Hollywood. ], ], ], ], and others join a cast of A-list participants.<ref>imdb.com/title/tt1372711/</ref> | |||
| ==Personal life== | |||
| 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 ] in ], ], California. | |||
| In September 2011, Mathews joined the President's Council of the ], the world's foremost stem cell research center.<ref>www.gladstoneinstitutes.org/connect/supporting-gladstone/presidents-council</ref> In October, 2012 the ] in Physiology or Medicine was awarded to ], a senior investigator at the ]. | |||
| For several years, Mathews was the Musical Director for benefit concerts for ], a youth-oriented alcohol and drug rehabilitation center. | |||
| Mathews is a supporter of ], an organization dedicated to educating and protecting musicians' hearing.<ref>www.hear.com/</ref> | |||
| Off and on, Mathews serves as Musical Director for the ] where projects have involved bringing together, ] for their final live performance ever as well as directing a gospel show featuring ] and ]. | |||
| In October, 2012, Mathews served as musical director, MC, drummer and vocalist for a celebration for the Mill Valley Film Festival featuring an all-star line up including ] in tribute to ], a documentary that Mathews appears in along with ], ], ], ], ], ] | |||
| and a host of other major artists.<ref>www.sfgate.com/movies/article/Gillian-Grisman-s-film-Village-Music-3922377.php</ref> | |||
| ==References== | |||
| {{reflist}} | |||
| *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 | |||
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Revision as of 05:17, 19 October 2012
This article is about the American record producer/musician/composer/executive/entrepreneur. For the British musician, see Scott Matthews. For the Australian musician, see Scott Matthew.
Scott Mathews (born July 25, 1955 in Sacramento, California) is a music producer, composer, multi-instrumentalist, vocalist, executive and entrepreneur.
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