As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance. Were there really account managers out there in the early ‘70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Music From Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. (To say nothing of the reams of sheet music that Garson also jotted down, but never got around to recording.) But between all of those studio projects, Garson also dabbled in an even wider array of sounds, recording days’ worth of material –almost 100 tape reels in all– that never saw the daylight outside of his home studio. Most famously, he journeyed through the secret life of plants with his 1976 magnum opus, Plantasia. He also mixed arpeggios and (purportedly) a porn starlet’s “ooohs” for Music For Sensuous Lovers. He then embodied the sonic mysteries of the occult as Ataraxia, and even dove deep into UFO phenomena. As the ‘70s dawned, he recorded –or perhaps conducted– a black mass as Lucifer. With the Manson murders and Altamount hanging over the American psyche, Garson also moved towards the darker side. There was no hippie trend that Garson didn’t scour for the chance to land his own countercultural ‘hit.’ To cap that decade, Garson even soundtracked the US broadcast of the Apollo 11 moon landing, which outside of a YouTube clip, has otherwise been lost to time.īut then the ‘60s dream soured and flower power wilted. He deployed it to make the proto-typical New Age soundscapes corresponding to every sign of the Zodiac, warped the Wizard of Oz (as the Wozard of Iz), wigged out on Hair with the follicle-frizzing Electronic Hair Pieces. In the span of ten years, Garson’s trusty Moog was the tool for every job. The further out he went, the further he got.” He went from super-commercial to waaay out there. “When he took off into electronic music –for my mom and I– we couldn’t figure out where he was going. “When he found the synthesizer, he realized he didn’t want to do pop music anymore,” Darmet told me. It was then that Garson’s prolificness cranked into overdrive. He encountered Robert Moog’s early prototype synthesizer at the Audio Engineering Society’s West Coast convention in 1967, purchasing one of the then-$15,000 devices. lang, Isaac Hayes, Tony Joe White, Max Romeo, Yasuaki Shimizu have all covered the song.Īt the point in life when a 40-year-old man might undergo a midlife crisis, Garson had a transformation of another sort. Garson’s penned hit “Our Day Will Come” moved from Ruby and the Romantics to elevate to the ranks of standard: James Brown, Amy Winehouse, k.d. His charts made Doris Day’s Sentimental Journey even more deliriously mawkish. He was constantly on it.” That meant putting those weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix,” making the Simon & Garfunkel catalog sound even more mellow, and making guitar duo Santo & Johnny cover a slew of Beatles’ hits. He would eat dinner, then take a 2-hour nap, then work all through the night again. As his daughter Day Darmet put it: “The joke about my dad is he would wake up and work all day until dinner. He cranked out lounge hits, scored plush arrangements, rendered jingles and TV themes and more, from the late 1940s into the swinging ‘60s. You could say he was an early adopter to the gig economy, taking any and every job that came his way. Juilliard-educated and active as a session player in the post-war era, Garson seemingly never said no in the decades ahead. Which is to say, Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (ie, your great-grandparents’ record collection) to arrive at Music From Patch Cord Productions, this set of queasy-listening you now hold. Or failing that, his sides for Patti Page, Mel Tormé, Rosemary Clooney, Percy Faith, and Mr. No doubt you know the name Mort Garson from his myriad writing, conducting, and arranging credits, topping a thousand in total: the Kim Sisters, Gi Sönne, Lola Novaković, Pfc.
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