ron nagle Archive

Hundred Word Reviews for March 2015, Part 5

For the final entry in this run of hundred-word reviews, I take quick looks at some rare and/or reissued music. I think it’s all worth your time. TV Eyes – TV Eyes TV Eyes was a 90s alternapop supergroup. Jason Falkner has a stunningly high quality catalog of his own. Roger Manning was a prime

Interview: Dūrocs’ Scott Mathews and Ron Nagle, Part Five

Bill Kopp: How did you come to have Elliot Mazer co-produce? Did you pick him or did Capitol say, “Here’s the guy.” And how do you think his presence affected the nature of the final product? Scott Mathews: He was in San Francisco, and he had a studio. He let us come in and do

Interview: Dūrocs’ Scott Mathews and Ron Nagle, Part Four

Bill Kopp: There was no Dūrocs II. Was your deal with Capitol a one-off or were you dropped? Ron Nagle: I don’t even remember how we were informed. I think it was some sort of Dear John letter. Scott Mathews: Clearly, it was a two-way street. After we had that meeting with Bobby Colomby, there

Interview: Dūrocs’ Scott Mathews and Ron Nagle, Part Three

Bill Kopp: So you guys were originally signed by A&M, but – as I understand it – that was around the time that A&M figured out it didn’t know what to do with rock bands, especially unusual, hard-to-pigeonhole ones. The Tubes got dropped after doing arguably their best albums for the label – Remote Control

Interview: Dūrocs’ Scott Mathews and Ron Nagle, Part Two

Scott Mathews: [The music on Dūrocs] does run the gamut. You’ve got songs like “No Fool No Fun,” and other songs we wrote from the deepest of our hearts, in a melancholy sort of way. Like “One Day at a Time”… Ron Nagle: And “Don’t Let the Dream Die.” Another thing, to give you some

Interview: Dūrocs’ Scott Mathews and Ron Nagle, Part One

File Dūrocs under Records You Probably Never Heard. Released in 1979 to critical plaudits but commercial indifference, the sole album from the “group” of the same name quickly went the way of the cutout bin. But the music therein was more deeply-layered than one might expect. While the music – the instrumentation and arrangement –