Representative Albums: "Signs of the Zodiac: Scorpio," "Signs of the Zodiac: Capricorn," "Signs of the Zodiac: Virgo"
Biography
Mort Garson boasts one of the most unique and outright bizarre resumés in popular music, spanning from easy listening to occult-influenced space-age electronic pop -- all in the same decade, no less. Born July 20, 1924, in the Canadian city of St. John, New Brunswick, Garson attended the Juilliard School of Music, briefly graduating to the ranks of professional pianist and arranger before he was drafted to serve in World War II. Upon returning from duty, Garson cemented a reputation as a top session hand, tackling arranging, conducting, or even composing duties if necessary; a small sampling of his credits includes sessions by Mel Tormé, Doris Day, Ed Ames, the Lettermen, and the Sandpipers. He also arranged and conducted a series of easy listening records in the mold of Les Baxter, among them the Continentals' Bossa Nova for All Ages, the Total Eclipse's Symphony for the Soul, and the Dusk 'Til Dawn Orchestra's Sea Drift. In 1963, Garson teamed with lyricist Bob Hilliard to write the lovely "Our Day Will Come," a number one pop hit for Ruby & the Romantics; with Perry Botkin Jr., he also arranged and conducted a number of easy listening records inspired by the era's biggest pop hits, among them two volumes in the Hollyridge Strings' Play the Beatles Songbook series and also their Play the Hits of Simon & Garfunkel. And in 1968, Garson experienced his crowning moment of commercial glory as the string arranger behind the Glen Campbell blockbuster "By the Time I Get to Phoenix."
But the aforementioned accomplishments are all mere prelude to the most fascinating work of Garson's career -- specifically, the series of electronic LPs he made with spoken-word artist Jacques Wilson. 1967's Zodiac: Cosmic Sounds, which also featured contributions from electronic pioneer Paul Beaver, was the first record cut on the West Coast to feature Robert Moog's namesake synthesizer, and a year later the principals reunited for the Bernie Krause-produced The Wozard of Iz -- An Electronic Odyssey, a hallucinatory psychedelic satire of the L. Frank Baum children's classic featuring Nancy Sinatra (credited as "Suzy Jane Hokum") as Dorothy. For A&M, Garson next recorded Electronic Hair Pieces -- electronic renditions of songs from the hit musical Hair -- as well as the 12-volume Signs of the Zodiac series, with one record for each astrological sign. His masterpiece, however, is undoubtedly 1971's Black Mass/Lucifer, a seriously freaky and intense concept record drawing upon themes and images central to Satanist mythos. That same year, Garson teamed with performance artist Z for the aural aphrodisiac Music for Sensuous Lovers. He then spent the next several years composing film and television scores, returning to record stores in 1975 with another occult-themed effort, The Unexplained -- Ataxaria; a year later, Garson issued Plantasia, a collection of Moog pieces designed to boost the growth of indoor plants. From that point forward, Garson basically disappeared from sight. ~ Jason Ankeny, All Music Guide
Mort Garson studied music at Juilliard and worked as a pianist and arranger before getting pulled into the Army near the end of World War Two. He could carry out any or all of the musical chores on any given session: composer, arranger, orchestrator, conductor, and even pianist if that was required. He conducted the "Love Strings" on Liberty Records, arranged for the Lettermen on Capitol Records, provided background to Laurence Harvey reading poetry on Atlantic Records, accompanied Doris Day on Columbia and experimented with the Moog synthesizer on A&M Records, and that's just the tip of the iceberg. With lyricist Bob Hilliard, he wrote one of the great lounge hits of the 1960s, "Our Day Will Come", a hit for Ruby & The Romantics and more recently covered by K. D. Lang and Take 6 for the soundtrack of the movie Shag.
Early career
Garson spent the mid-1960s on a rapid succession of accompaniment jobs: two Doris Day albums (Sentimental Journey and Songs for Latin Lovers), Mel Tormé's great Right Now! album of contemporary covers like "Secret Agent Man," Glenn Yarborough's highly successful cover of Rod McKuen songs, The Lonely Things, and Glen Campbell's even more successful "By the Time I Get to Phoenix." He also appears to have been a favorite of producers when the job involved soft pop vocal groups and string ensembles, since his handiwork appears on albums and singles by the Lettermen, the Sandpipers, the Sugar Shoppe, the Hollyridge Strings, the Sunset Strings, and the Love Strings.
Highly prized albums among collectors and exotica fans are Garson's electronic albums from the mid to late 1960s. The Zodiac : Cosmic Sounds - Celestial Counterpoint with Words and Music, a suite of Garson originals released on Elektra Records includes tracks for each of the 12 signs of the zodiac, and features Paul Beaver on a variety of electronic instruments with voice-overs by Cyrus Faryar. Zodiac was the first album recorded on the West Coast to make use of Robert Moog's new Moog synthesizer. Another moog album, Electronic Hair Pieces, covered songs from the hippie-influenced musical, Hair. The mod album cover art for Electronic Hair Pieces featured a model with a wired-up skull; liner notes were provided by Tom Smothers of the Smothers Brothers. Another album, The Wozard of Iz, a psychedelic satire based on The Wizard of Oz featured Bernie Krause providing a rich array of environmental sound effects and Suzy Jane Hokum voicing Dorothy. (The widely repeated claim 'Suzy Jane Hokum' is a pseudonym for Nancy Sinatra is untrue.)
With the success of the original Zodiac LP, Garson went on to compose and arrange a 12 album series of zodiac albums for A&M Records, one album for each sign. Like Zodiac, each album contained original tunes with heavy use of electronics. In 1974, Mort Garson composed the electronic music score for the 18th Annual Grammy Award winning Best Children's Recording of The Little Prince narrated by Richard Burton. He released an album in 1976 called Plantasia that you were supposed to play to make your indoor plants grow better. Garson also released a record of music-and-moans to capitalize on the best-seller at the time, The Sensuous Woman by "Z". He wrote an electronic Black Mass album under the pseudonym Lucifer that again featured the Moog. Garson followed Black Mass with an album titled Ataraxia designed to accompany meditations to the mantra of the listener's choice.
Film composer
Garson also worked in television and film, scoring a wide variety of music for many different movies and TV shows, from Beware! The Blob! to Kentucky Fried Movie to National Geographic specials, although it is Elmer Bernstein who is credited with composing the well-known National Geographic orchestral theme that first appeared in on the magazine's TV specials in 1966.
Garson was very closely associated with Heatter-Quigley Productions, creating the theme songs for the following TV game shows:
The music for the first five featured Garson playing synthesizers, but the "Battlestars" used more conventional marching band orchestration.
Musical Theatre composer
Garson composed the score for the 1983 West End musical Marilyn! The Musical which opened at the Adelphi theatre on 17 March 1983. Jaques Wilson wrote the lyrics for the show which starred Stephanie Lawrence as Marilyn Monroe.
Cultural references
A sample from Garson's "Planetary Motivations (Cancer)" was incorporated into DJ Shadow's 1996 song "Building Steam with a Grain of Salt," from the album Endtroducing.....'