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Snuff Garrett

Thomas Lesslie "Snuff" Garrett (July 5, 1938 – December 16, 2015) was an record producer, arranger, and composer renowned for his prolific output of pop and rock hits during the and . Born in , , Garrett began his career as a in Lubbock and Wichita Falls at age 17 after dropping out of high school, earning his nickname "Snuff" during those early radio days. By 1959, he had joined in as a promotion staffer, quickly rising to head of A&R and producer, where he shaped the sound of the era's and emerging stars. Garrett's production credits include chart-topping singles such as Bobby Vee's "Take Good Care of My Baby" (1961), Johnny Burnette's "You're Sixteen" (1960), ' "" (1965), and Cher's "Gypsies, Tramps & " (1971), often collaborating with top songwriters like and to craft polished, radio-ready tracks. He also worked with artists including , , , , , , and , transforming raw talents into commercial successes through his keen ear for hits and innovative arrangements. In the , Garrett founded his own labels, Viva Records and Snuff Garrett Records, expanding into and film soundtracks, composing scores for films like (1978) and (1980), as well as Burt Reynolds vehicles such as (1980) and (1981). Beyond music production, Garrett was an avid collector of Western art and memorabilia, maintaining close friendships with icons like , , and ; he even revived the historic Bohlin saddlery company after its founder's death in 1980. Inducted into the Texas Radio Hall of Fame for his early broadcasting contributions, Garrett retired to his ranch in , where he passed away from cancer at age 77. His legacy endures as a pivotal figure in shaping mid-20th-century American pop music, with numerous gold and platinum records to his name.

Early Life

Childhood in Texas

Thomas Lesslie Garrett was born on July 5, 1938, in the suburb of , . Growing up in this historically working-class neighborhood, he was raised primarily by his single mother after his father died during his early years, and he often spent time with his grandparents outside the city. He attended . The family faced financial challenges, with young Garrett contributing by working door-to-door sales for a mercantile company, collecting payments on items like bedspreads and Bibles to earn small commissions. During his childhood, Garrett acquired the nickname "Snuff" in junior high school, derived from his habit of using , a popular brand of at the time. His early environment in working-class fostered a budding fascination with music and radio, as he immersed himself in the sounds of local broadcasts and records, dreaming of figures like . This interest was shaped by the vibrant local radio scene in , where stations played a mix of , and emerging rock 'n' roll that captured his imagination. Garrett's formal attempts at music education were met with discouragement; after three years of guitar lessons at a Dallas school, his teachers informed his mother that he possessed "no musical talent whatsoever" and advised against continuing. Undeterred, he became self-taught, honing his ear for music by obsessively listening to thousands of records as a teenager while hanging around radio stations like KLIF, where he took on odd jobs and served as a music librarian. This hands-on exposure laid the groundwork for his intuitive understanding of arrangement and production, turning early rejection into a pathway for independent skill-building.

Entry into Radio

At the age of 15½, Thomas Lesslie Garrett, known as Snuff, dropped out of high school in , to pursue a career in radio, leaving home to follow his passion for music . His nickname "Snuff," derived from the brand of popular in his upbringing, would later become integral to his on-air persona. By age 17, Garrett had secured his first position at a pop station in , where he honed his skills in music selection and audience engagement while working at local radio outlets. In this role, he engaged in early promotional efforts, discovering and supporting emerging local talent, including befriending and playing his initial recordings to build buzz in the music scene. He also connected with other up-and-coming artists like , who hosted a show on a rival station, fostering a network that introduced him to the promotional side of the industry. Garrett's radio experience expanded when he relocated to Wichita Falls, Texas, taking a DJ gig at station KSYD, where he not only spun but also managed a record shop called Snuff’s Hop Stop and hosted a thrice-weekly television program, further developing his promotional acumen through on-air performances and talent scouting. These early ventures in Texas radio stations provided hands-on training in music promotion, emphasizing the importance of regional talent discovery and audience connection in the burgeoning rock 'n' roll era. In the late 1950s, seeking greater opportunities in the expanding music business, Garrett moved to Los Angeles at age 19, transitioning from local radio work to broader promotional roles that would propel his career forward.

Career

Promotion and A&R at Liberty Records

In 1959, at the age of 21, Snuff Garrett joined Liberty Records in Los Angeles as a promotion man, leveraging his instincts honed from his days as a disc jockey in Texas to push the label's releases to radio stations and retailers. His rapid ascent was evident when label founder Simon Waronker recognized his potential and promoted him to staff producer within a year, eventually elevating him to head of A&R by 1961. In this role, Garrett focused on scouting and nurturing talent, transforming Liberty from a novelty-driven label into a powerhouse for pop and rock acts. Garrett's responsibilities in artist development centered on identifying promising performers and matching them with suitable material and arrangements to maximize commercial appeal. He notably signed in 1959 after hearing his demo, grooming the young singer by modeling his style after and layering vocals for a fuller sound on recordings like "Devil or Angel" and "Rubber Ball." This approach helped Vee achieve multiple Top 10 hits, establishing him as a quintessential of the early 1960s. Garrett's early production decisions, such as helming Johnny Burnette's "Settin' the Woods on Fire" in 1959, demonstrated his knack for blending energy with polished production to suit Liberty's growing roster. To streamline sessions and ensure high-quality output, Garrett cultivated strong ties with top session musicians in , including members of the Wrecking Crew such as arranger and violinist Felix Slatkin. These relationships allowed for efficient, innovative recordings that contributed to Liberty's string of successes, with Garrett overseeing up to six chart entries in a single week during his tenure. His emphasis on collaborative, professional workflows in A&R not only boosted artist careers but also solidified Liberty's reputation in the competitive of the late 1950s and early 1960s.

Record Production Hits

Garrett's tenure as a producer at in the early marked the beginning of his commercial success, starting with Bobby Vee's "Take Good Care of My Baby," which topped the in September 1961 and became one of the year's biggest sellers. He followed this with Vee's "Devil or Angel," a cover that reached number six on the same chart later that year, showcasing Garrett's knack for selecting material that highlighted Vee's smooth vocal style. These productions established a formula for teen-oriented pop with clean arrangements and catchy hooks, contributing to Vee's rise as a chart mainstay. By mid-decade, Garrett shifted focus to , producing their breakout single "" in 1965, which sold over 1.2 million copies and held the number-one spot for two weeks. The track, featuring innovative techniques and upbeat rhythms, propelled the band to seven top-ten hits within two years, including "She's Just My Style" and "Count Me In," solidifying Garrett's reputation for crafting accessible, radio-friendly pop. His work emphasized strong song choices over raw talent, often transforming garage-rock acts into polished hitmakers. In the 1970s, after leaving to form his own , including the labels Viva Records and Snuff Garrett Records, Garrett orchestrated Cher's solo resurgence with "" in 1971, a that returned her to number one after a seven-year drought and earned a Grammy nomination. This was followed by the equally successful "Half-Breed" and "Dark Lady" in 1973 and 1974, both reaching the top of the charts and certified gold by the RIAA. He also collaborated with on their comeback recordings, producing tracks like "A Cowboy's Work Is Never Done" for their 1972 album and contributing to their 1974 greatest hits collection, which revived the duo's appeal. Garrett capped the decade with Vicki Lawrence's "The Night the Lights Went Out in Georgia" in 1972, a suspenseful country-pop crossover that Garrett arranged with tense strings and hit , outperforming a competing version. Throughout his peak era, Garrett's productions were defined by pop-centric arrangements featuring lush orchestral elements, often penned by arrangers like and , and executed by elite session players including members of the Wrecking Crew for a polished, hit-oriented sound.

Television and Film Contributions

In the 1970s, Snuff Garrett expanded his production work beyond standalone records into music tailored for television and film, leveraging his pop expertise to create soundtracks and featured songs that enhanced visual storytelling. His prior success producing hits for , such as the 1972 album All I Ever Need Is You, served as a natural bridge to their variety series The Sonny and Cher Comedy Hour (1971–1974), where Garrett's tracks like "Gypsys, Tramps & Thieves" and "Half-Breed" were prominently performed and promoted, integrating pop narratives with the show's comedic sketches. Garrett's television contributions extended to incidental music and themes, adapting his signature blend of orchestral pop and storytelling elements to fit episodic formats. His work during this era emphasized versatile arrangements that supported character-driven humor and variety programming, often drawing from his Liberty Records experience in crafting accessible, hit-oriented sounds. In film, Garrett made notable impacts with soundtrack production, beginning with the 1978 Clint Eastwood comedy Every Which Way But Loose. Commissioned directly by Eastwood to overhaul the initial score, Garrett co-wrote and produced the title track "Every Which Way But Loose," performed by Eddie Rabbitt, which became a No. 1 country hit and captured the film's laid-back, road-trip vibe through country-pop fusion. The full soundtrack, completed in just two weeks, featured additional tracks blending rock and folk elements to underscore the movie's action and romance. Garrett continued this trajectory with the 1981 Burt Reynolds ensemble comedy , where he composed and produced several original cues, including "Beauty's Theme" and "Here Come Da Sheik," alongside arranger Al Capps. These instrumental pieces incorporated upbeat, comedic brass and percussion to match the film's high-energy race sequences, while maintaining Garrett's pop sensibility for broader appeal. His film work highlighted an ability to adapt hit-making formulas—lush strings, rhythmic drive, and melodic hooks—to cinematic pacing, influencing subsequent soundtracks in the action-comedy genre. Throughout these projects, Garrett collaborated with established composers and performers to infuse television and film scores with contemporary pop styles, prioritizing emotional resonance and commercial viability over traditional orchestral scores. This approach, evident in his efficient production timelines and focus on narrative-driven music, solidified his role as a versatile media during the decade.

Retirement and Business Ventures

After achieving substantial success in music production during the 1960s and 1970s, which provided the financial foundation for his later pursuits, Snuff Garrett withdrew from major label record production in the early . He relocated from to in the mid-, initially settling in Paradise Valley before moving to his 6.5-acre Idle Spurs near Sonoita in 1992, where he embraced a quieter lifestyle. In retirement, Garrett focused on entrepreneurial ventures tied to Western heritage. In the 1980s, following the death of founder Edward H. Bohlin, he acquired the struggling Bohlin Company, a renowned maker of silver saddles and Western gear, and played a key role in its revival, earning recognition among collectors for preserving its craftsmanship. Earlier, in 1976, he had founded the Nostalgia Merchant home video company, acquiring cassette rights to approximately 800 classic films from studios including and RKO Radio Pictures—many of them Westerns, such as 88 titles—for a nominal sum, which by 1980 generated $2.3 million annually through video sales and related merchandise. Garrett's post-retirement life at Idle Spurs revolved around ranch activities and his passion for memorabilia, with the property filled with cowboy artifacts including saddles, rifles, posters, and over 250 pairs of custom boots. He occasionally engaged in music-related work in the , such as scoring films for the network starring and producing a duet album with Don Edwards and . His extensive collection of items, amassed through trading and acquisitions, was later auctioned from his estate, highlighting his deep involvement in preserving .

Personal Life

Family and Marriages

Snuff Garrett's first marriage ended in , with limited public details available about the union or its duration. His second marriage was to Yolanda Salas in the mid-1960s, a partnership that lasted approximately 30 years before ending in in 1992 shortly after Garrett relocated to . Together, they raised four daughters: Gwen Garrett Godfrey, Gretchen Garrett, Dawn Garrett, and Gay Garrett. Garrett later married Nettie Sanford as his third wife, with the union continuing until his death in 2015.

Interests Outside Music

Beyond his storied career in music production, Snuff Garrett harbored a profound passion for cowboy culture and Western Americana, amassing an extensive personal collection that reflected his lifelong fascination with the American West. This enthusiasm, rooted in his Texas upbringing, manifested in acquisitions of finely crafted saddles, such as a Holtz Saddle Company sterling silver parade ensemble and pieces by renowned saddlemaker Edward H. Bohlin, which he displayed prominently in his home. In the early 1980s, following the death of Bohlin's founder, Garrett acquired and revived the historic Bohlin saddlery company, preserving its legacy of custom Western gear. His collection also included ornate firearms, including a cattle brand-engraved Colt Single Action Army revolver with Bohlin sterling silver and 14-karat gold grips, as well as custom gun belts adorned with silver bullets and paired with early Colt revolvers. Additionally, Garrett cherished Hollywood props tied to Western icons, such as Roy Rogers' personal eagle boots, a gift from the cowboy star whom Garrett regarded as a father figure. Garrett's home brimmed with artifacts evoking the golden age of Western cinema, including framed original lithograph movie posters of stars like , , and , alongside Tom Mix circus posters that captured the era's promotional flair. He immersed himself in this world as a member of the Charlie Russell Riders, a group dedicated to perpetuating cowboy traditions, and surrounded himself with artwork by Western painters such as . In the early , following his relocation from , Garrett established the Idle Spurs Ranch near , as a personal retreat that echoed his heritage and allowed him to live out his cowboy ideals amid the landscapes of . Garrett's commitment to Western heritage extended to efforts in preserving classic films, particularly those featuring ; in 1976, he acquired cassette rights to vintage RKO and Studios productions, pioneering their distribution through to safeguard these cultural touchstones for future generations. These pursuits provided Garrett with a deeply personal outlet, distinct from his professional endeavors, to honor the traditions and artistry of the .

Death and Legacy

Final Years and Death

In his final years, Snuff Garrett resided at his Idle Spurs Ranch near , where he had retired in the early 1980s following a in 1983 to pursue a quieter life focused on his interests in Western memorabilia and ranching. This peaceful setting provided a contrast to his earlier high-energy career, though his activities became increasingly limited as he battled cancer in his later life. Garrett passed away on December 16, 2015, at the age of 77, at his ranch from complications of cancer, as confirmed by his wife, Nettie Sanford. A public memorial service to celebrate his life was held on , 2016, at Pioneer Hall in . His wife described the cause of death succinctly in statements to , noting his long-standing impact without delving into extended tributes. Following his death, Garrett's estate was handled through auctions that dispersed his extensive collection of Western artifacts, including saddles, firearms, and art pieces amassed over decades. A notable sale in December 2016 by Old West Events featured many of these items, with additional pieces offered in subsequent auctions, allowing collectors to acquire portions of his personal legacy.

Awards and Industry Impact

Snuff Garrett received a Grammy Award nomination in 1980 for Best Country Song for his co-writing contribution to "Every Which Way But Loose," recorded by , which became a major hit from the of the same name. His production work earned numerous gold record certifications, with key successes including Gary Lewis and the Playboys' "This Diamond Ring," which sold over one million copies and topped the in 1965, and Cher's "Half-Breed," which achieved gold status for sales exceeding 500,000 units in . Garrett was inducted into the West Texas Walk of Fame in 1991 and the Texas Radio Hall of Fame in 2015, recognizing his early career as a and his broader contributions to music and . Garrett's influence on pop music production was profound, particularly in pioneering the teen idol sound during the 1960s through his work with artists like and Gary Lewis, emphasizing catchy melodies and polished arrangements that dominated radio airplay. He optimized studio efficiency by leveraging top session musicians, including members of the Wrecking Crew, to create high-quality recordings quickly and cost-effectively, a technique that set standards for hit-making in the era. His productions also facilitated crossovers into television and film, such as soundtracks for projects featuring and , blending pop accessibility with multimedia appeal. In his posthumous legacy, Garrett's methods have been highlighted in the 2015 documentary The Wrecking Crew, where he was interviewed about his collaborative approach with Los Angeles studio players, underscoring his role in shaping the sound of 1960s hits. Modern producers continue to emulate his formula of intuitive artist development and streamlined session work, influencing contemporary pop and country production techniques that prioritize commercial viability and vocal-centric arrangements.

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