{"id":1234,"date":"2016-02-10T09:54:15","date_gmt":"2016-02-10T09:54:15","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/snuff-garrett-and-the-cher-brand\/"},"modified":"2023-02-20T08:20:15","modified_gmt":"2023-02-20T15:20:15","slug":"snuff-garrett-and-the-cher-brand","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2016\/02\/snuff-garrett-and-the-cher-brand\/","title":{"rendered":"Snuff Garrett and the Cher Brand"},"content":{"rendered":"

\"Guitars\"<\/a>My parents had this album in their 70s record collection! It's one of his "50 Guitars" series that features Wrecking Crew guitarist Tommy Todesco.<\/p>\n

Tommy Garrett (known as Snuff) died in Tucson December 16 or 17 at the age of 77. Some sites erroneously list his age as 76 but he was born July 5, 1938 according to The New York Times<\/em>. Another one down in the last few months from cancer.<\/p>\n

Garrett gained prominence as a radio DJ in Lubbock, TX, where he was the first to play a new artist local named Buddy Holly. Eventually he made his way to Liberty Records in Los Angeles and became a \u201cpivotal producer.\u201d His obit accolades include Gary Lewis & The Playboys, Del Shannon and Cher, although he had left Liberty Records by the time he started working with Sonny & Cher on Kapp Records.<\/p>\n

Best Classic Bands website also claimed he was responsible for hiring Phil Spector to work at Liberty and first employing Leon Russell. He also produced the movie scores to Smokey and the Bandit II<\/em> and Cannonball Run<\/em>.<\/p>\n

Cher has often said she doesn\u2019t much like these Snuff\u2013era songs. Bob Dylan didn\u2019t like them either according to the story about the \u201cDark Lady\u201d listening party of 1974. And Snuff Garrett himself didn\u2019t sound too proud of anything he ever made. Or take much effort to defend it anyway. But luckily for me I am not Snuff Garrett or Cher or Bob Dylan and am perfectly free to like this music. In fact I would argue here is some of the most creative Cher music of all time, some of the most articulately original in tone, production and flourishes of instrumental inspiration. There is plenty of filler around as well. I can\u2019t defend it all but the best is right up there with anything Cher has done.<\/p>\n

\"Alli\"<\/a>Consider the first guitar strums of All I Ever Need is You<\/em>, the heartbeat of the muffled drum. This is the inaugural moment of Sonny & Cher in the 1970s. Consider that Garrett managed to get Sonny to sing better than he\u2019d ever sung before. Garrett unveiled a comparatively pristine sound for Sonny & Cher with violins and horns. They cleaned up good those two. Garrett could have taken them down a completely dull, adult contemporary path; but the songs here are infused with western elements and Cher\u2019s beautiful honey-flavored voice is pulled forward. There are some unforgettably well-crafted songs on this album including "A Cowboy\u2019s Work is Never Done" (who else could invoke comparisons to Enni Morricone?) and "Somebody." More on the album<\/a>.<\/p>\n

According to Garrett he worked fast and kept his eye on the dollar. Allegedly, nothing else mattered much . And all while dealing with Cher\u2019s broken manicures. Are we to believe he stumbled his way into some of Cher's most iconic songs? Was he being disingenuous or subtly self-abusing? This from an obsessive hit-maker who, like everybody else, could never deconstruct or predict the elusive formula of a hit single. Most of his songs for \"Gyp\"<\/a>Cher were hit-less, all told. How then can we explain how "Gypsys Tramps and Thieves" has become the timeless, enduring track it has? You don\u2019t need to add a symlin in there to get a hit record. Ask anybody, "Gypsys Tramps and Thieves" doesn\u2019t stand the test of time because it has a hook or was a gimmick record. Who\u2019s still delighting over "Monster Mash" or the "Surfin Bird" besides Elvira or Peter Griffin?<\/p>\n

Not only is hit prediction practically impossible but cynical hits drop away from public consciousness pretty fast. We could argue this was the fate of maybe "Half Breed." But not "Gypsies." I would argue not for "Dark Lady" either. Garrett\u2019s version of \u201cHe Aint Heavy (He\u2019s My Brother)\u201d is also a lovely and subtle rendition.<\/p>\n

But it was \u201cThe Way of Love\u201d that took Cher to a whole other level and has become her definitive example of torch. What\u2019s so hit-sure about that big to-do of a song? Those heartbreaking strings and the soft-build execution? But what an opening to an album!<\/p>\n

\"Foxy\"<\/a>The Foxy Lady<\/em> album sounds like it was a drama-filled experience behind the scenes. This seems reflected in the mishmash of its song lineup. But "Living in a House Divided" is another breathtaking opening to any album. The first cascading note unlike anything you\u2019ve heard on a single anywhere. Shakers, horns, Cher\u2019s anger at the end. What is formulaic here?<\/p>\n

\"Hb\"<\/a>Of all Garrett\u2019s albums for Cher, \u201cHalf Breed\u201d has the most inexplicably subdued entrance with a Paul McCartney ballad (\u201cMy Love\u201d). This strikes me as her most feminine album. \u201cCarousel Man\u201d is a thrill of texture. Garrett could have overplayed the carnival sound but he made the song more adult, more sinister than cotton candy and tilt-a-whirl music. Cher\u2019s voice does the hard work of expressing life on the carnival grounds.<\/p>\n

And I\u2019ve always found \u201cChastity\u2019s Song\u201d better and more sincere than the original. Decide for yourself<\/a>.<\/p>\n

The "Dark Lady" tracks, like much of Cher\u2019s work with Garrett, are not perfect but they are always ambitious and flavorful, much more so than either have ever admitted.<\/p>\n

We\u2019re back to a creative opening track here with that train whistle of the blues-pop sounds of \u201cTrain of Thought,\u201d Cher singing through cigarette drags. The song is a suicide by gun, manic desperation, the keyboard sound evoking train travel, the backups doing the train\u2019s horn. Truly delightful! And then the spiraling end. Who does all that work for a quick-off single?<\/p>\n

\"Darklady\"<\/a>\u201cI Saw A Man Who Danced With His Wife\u201d is the movie Casablanca on big band night. Then comes \u201cDark Lady\u201d where Cher sings the word \u201claugh" like a cackle. This song is a perfect depiction of French folk\/gypsy. And let\u2019s be honest: a song like this would have created a sink hole on the charts if it hadn\u2019t been perfect. The concept is too heavy, too near-cartoonish to bear any misstep. Only a master could have stepped so gingerly over this thing. It\u2019s impressively un-embarrassing. It\u2019s not one of my go-to songs, I admit, but I come back to it from time to time and I respect it. Some critic called it \u201cgrimly comedic\u201d but considering its popularity with children in the mid-70s, it\u2019s more like a Grimm\u2019s lost fairy tale.<\/p>\n

And THEN we get \u201cMiss Subway\u201d and Cher\u2019s vaudevillian Mae West. And THEN we get the southern ballad Dixie and THEN the R&B cover \u201cRescue Me\u201d and THEN the Great Gatsby\u2019s Irving Berlin ballad \u201cWhat\u2019ll I Do\u201d with Cher sounding full-bodied and contemporary compared to the tinny and sad original.<\/p>\n

All this variety and no song feeling like it doesn\u2019t belong together in the overall atmospheric and glamorous album set.<\/p>\n

For all its faults Cherished even begins evocatively with violins and the sounds of seagulls. An accordion means sailors are about. Nothing feels as sharp on this album as other Garrett albums but there are lovely ballads here (\u201cHe Was Beautiful,\u201d \u201cAgain\u201d) and that cotton-gal song \u201cDixie\u201d which always entertains me. This \"Cherished\"<\/a>is the only Cher album from the 70s that truly devolves into kitsch.<\/p>\n

Like Cher, Garrett wasn\u2019t perfect but there are more creative elements in these songs than you\u2019ll find in earlier and later hits. And despite all claims to the contrary, they all feel less<\/em> formulaic.<\/p>\n

Cher\u2019s career is nothing if not ironic on many levels. And the fact that Snuff Garrett gets no cred for his work on Cher music in the 1970s is most problematically ironic. These songs built Cher\u2019s reputation as a gypsy. Garrett played no small part in her success during that decade and in solidifying her eternal image as an icon evermore. It takes more than a Bob Mackie to get there.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

My parents had this album in their 70s record collection! It's one of his "50 Guitars" series that features Wrecking Crew guitarist Tommy Todesco. Tommy Garrett (known as Snuff) died in Tucson December 16 or 17 at the age of 77. 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