The following is an excerpt from a
telephone interview by Elizabeth Drake McDonald on March 3, 2004, with
Bob was.... “Strange” isn’t the word. He was different. He did it his way and he
didn’t really give a damn. There were no consequences to him under any kind of
pressure or anything else.
I’ve been friends of members of the Weyerhauser family, so every year I would
take me and eleven presidents of record companies, Clint Eastwood, Roy Rogers,
people like that, to Stewart Island in British Columbia once a year for a week.
I had the whole island. I’d rent a plane, take steaks. In fact, I talked to Bob
about it but it was a little late in life for him. Roy Rogers, Clint Eastwood.
John Wayne one time. Really looked forward to it every year so I knew that Bob
would enjoy it. Roy and Bob had been close to each other for many, many years.
I went to Double R, who was like a dad to me. I wanted to meet Bob Nolan. I’d
never met him; I’d never even seen him. Nudie had told me where he lived and I
was going around just asking guys that I knew who would have known him well –
Roy, Gene Autry, and I asked them all about Bob. The consensus pretty much was –
Roy put it the best words I knew of - “Snuff, I’ve known you about 15 years.
I’ve known Bob Nolan for close to 50 years and I know you a hell of a lot better
than I’ll ever know Bob Nolan.”
I told Roy I thought he [Bob] should get out to record again and Roy said, “That
would be great. Getting him to do it is another thing. I know that people have
tried for years - RCA, everybody’s tried to get him to record. He will not do
So I got the address from Nudie and I went over to Bob’s house about 2 blocks
from the CBS Center which was Republic Studios, originally. I went over to his
house and rang the doorbell. He was watching Wagon Train in the afternoon. I
went in and introduced myself, sat down and we watched Wagon Train. He had the
volume up pretty good. When it was over, I said, “Well, thanks. Good to meet
you, Mr. Nolan. Bye.” And I did that for 9 months. Every time I had a chance I’d
go over and ring the bell and I’d watch Wagon Train. I saw more Wagon Train than
any TV show I ever saw!
One day he went over and turned the sound down on the commercial and he said,
“You want me to record, don’t you?”
“What the hell do you think I’ve been coming here for nine months for – the
great lunches we’re having?” We’d been eating bread and meat.
“How do you want to do it?”
“I’ll pick 12 songs, you pick 12 songs and we’ll argue down on them until we
both like them all. Do you have any songs you haven’t recorded?”
So we went out into the garage and he had stacks of stuff. Stacked against the
wall in the garage. I don’t know whether it was all songs or not but he had a
ton of sheet music out there. He took me over to the area where I had picked out
Relative Man [earlier for Jim Nabors]. I went through and I found 2 songs that I
liked, Old Home Town and Wandering. I guess I could have picked out a hundred
but I didn’t.
(There’s one song [on the album] that I take great pride in and he really liked.
He really liked the song a lot. It’s called That Old Outlaw – Time. And he
picked one [other] song that he wanted to do - Ride Me Down Easy, the one song
that he wanted to do. He said, “That typifies all the new songs of the cowboy.
Whoever wrote it”, he said, “knew the jargon and the cowboy.”)
Well, we recorded and one of the guys I used hadn’t seen Bob in years – Thurl
Ravenscroft. I’ve done a zillion sessions with him – Walter Brennan, Bobby Vee –
all the things I’ve produced, Thurl was on 95% of them, I guess. Thurl got 3
other young professional singers and we were recording Cool Water. I wanted to
do some of the effects they [the Sons of the Pioneers] had done. Thurl and I
were totally amazed that none of the three had ever heard the song, or heard of
the Sons of the Pioneers, or heard of Bob Nolan. Isn’t that frightening?
I knew Marty Robbins very well. I first met him when I was a disc jockey as a
kid in Texas. He used to come do my show in Wichita Falls. Then, when I started
making it good, I’d go to Nashville. Marty’d always call the hotel and we’d go
have dinner. At that time we had a little Mexican restaurant in Nashville and
we’d close that place some. Marty was a great guy. I called him and asked him to
come out and sing with Bob. He said, “Snuff, it would be the thrill of my life.”
I told him when it was and he came up. Someone took pictures that day, which
were in the album, on the sleeve. Marty came out and they just walked up to the
mike and did that good. Just like that.
The water cassette from Bob Wagoner’s stream:
I was hysterical when it happened. I thought, hell, we had a leak in the roof. I
didn’t know what was going on. Whoever had been in there before, there was a
chorus riser, a 3 or 4 step riser for them to stand on and sing. Bob was out
there lying on the riser with that machine on. I didn’t know the tape was on. I
was working on one of the tapes, deciding what to do next and thought, “What in
the hell is that?” So, finally, I walked out. The studio door was open. There
was nobody else there and I realized it was Bob playing that cassette. My God!
When we went to do the album cover, I took Mr. Nolan over to Uncle Nudie’s.
Before we went I said, “I need you to get on one of your shirts. Hold your
breath, put one of those shirts you used to wear on. Can you get into one of
“I can try.”
“OK, good. If not, we’ll get you a shirt.”
I took him over to Nudie’s to pick out some black western pants. He had a broke
leg at the time. He had busted his leg so he couldn’t put boots on. I wanted to
do shots, full-length shots, but he had this real bad ankle so we just got a
pair of black western slacks. He had the shirt.
“Oh, yeah, I have a couple of neckerchiefs around somewhere.”
I said, “Fine. What about a hat?”
“Oh, hell’s bells. I got rid of all that stuff 25 years ago, most of it. I don’t
even have my hat.”
“Well, you do now.
“Nudie,” I said, “I want you to do it just like you always do.” He said, “OK.”
So Bob took a brand new black hat, stuffed the sides in on it, had Nudie steam
it – he did all that himself - and we got down to shoot the pictures – We were
there the usual time, about 4 hours or so. Makeup man there and so forth.
We got ready to leave. He’s in the rest room at the photographer’s and he comes
out with the pants all folded up in his hands with the hat on top. He said,
“Here, Snuff. Here’s these clothes back.”
“Mr. Nolan, I don’t really need them. Thank you. You enjoy them.”
“Oh, hell, I just wear the same few pair of pants and I’m used to them.”
“Please, Mr. Nolan, take the stuff.”
“I’ll tell you what. I’ll split it with you. I’ll give you the hat and I’ll take
“You’ve got a damn deal! Here, sign the inside of the hat.”
“Sure.” And I’m sitting here looking at it right now.
I have the photo of Bob from the cover. It’s on my wall. Bob autographed it. He
said, “Snuff. Thanks. It was easy.” He’d been recording in the 50s and we’re a
hell of a lot more advanced since then.
I got him in the studio to record and the deal that we made was, “I’ll go in and
record with you but never ask me to do anything after that. Never ask me to
promote it or work it or anything but I’ll go in and do it with you.” And it’s
one of the proudest achievements of my life.
When I told Rex I was doing that he said, “You’re kidding. He said he’d never
record again.” I said, “Yeah, but he’s agreed to do it with me.” The second day
we’re in the studio, I looked down the hall and here comes Uncle Rex. He said,
“I wanted to see it myself because everybody else will say it didn’t happen but,
by God, I’m seeing it.” And Bob said, “Yeah. We’re surprising everybody down
here.” I have a picture of me and Uncle Rex and Bob.
I was doing overdubs on Bob’s thing, putting voice on, just cleaning up. While
we were there, I was doing another project down the hall. Olaf Wieghorst wanted
me to do the music for an hour documentary on his life so I was doing that.
There was a place that needed comments from people who were very knowledgeable
in art and talk about great artists. So I asked Bob to come down the hall. They
had a problem. They didn’t have enough so I had Bob do the voice over on one of
the art critics. John Wayne is in it and Bob is doing the voice over.
The party and the Mynah bird:
Was it a party for King? I think it was. Olaf Wieghorst was like another father
to me – a very, very close friend. I talked to Olaf practically every day. He
lived down past San Diego. I told Olaf about Bob and he said he remembered him
when Roy was doing Madison Square Garden every other year. Olaf was a New York
City mounted policeman from 1924 and retired in 1944.
One day I was at Roy’s museum and I saw this painting. I knew exactly what it
was. I said, “Where in hell did you get that?” He said, “Some fan did it for
me.” So I called Olaf and I said, “I just saw a painting you did of Trigger.” He
said, “I know. I was a cop in NY and I was down at Madison before the rodeo
started and I painted it and gave it to Roy.” So I told Roy who it was and he
had already met him with me. They got to know each other around me and we were
together a lot on fishing trips and so forth.
Roy said, “Are you kidding?” I said, “No. It’s worth a ton.” It was hanging in
the entrance of the first museum in Apple Valley. He was glad to know who the
“fan” was – the finest American western painter. He left it hanging there in
I asked Bob in the middle of all this [recording], “We’re going to have a party
two Saturdays from now. Out at the house at Bel Air. Would you come?” He said,
“I’d love to come.”
So a couple of days later, I’m with Nudie. I told him, “Are you and Bobbie going
to be at the house Saturday week?”
“Yeah, we’ll be there.”
“Guess who’s coming? Bob Nolan!”
And he started laughing and he said, “Do you know how many parties I’ve been to
where Bob Nolan said he was going to be there? And I’ve never seen the son show
“He’ll be there.”
“No he won’t. He’ll tell you he’ll be there right up to the last minute but he
won’t be there.” “Good God, you’re kidding.”
So I told Double R, “Bob’s going to be at the party.” “No, he’s not.”
Nudie said, “Do you want to bet? I’ll make some money.” So we bet a hundred
I drove by, saw Bob and watched another edition of Wagon Train. Sat there with
the sound up. I said, "You know the party’s next Saturday.”
“I know. You said you were going to pick me up.”
“That’s right. You asked me to pick you up. I’m gonna pick you up at 6:00.”
“I’ll be out in front ready to go.”
I worried all that week. Nudie laughed, told everybody, “Snuff thinks Bob’s
coming to the party.” I was a nervous goddam wreck.
I drove over to pick him up at 6
o’clock. He was sitting in front of his house, outside the vines. You couldn’t
hardly know where the gate opening was; it was completely covered in vines.
So I get out and open the door. He stops, turns to me and says, “Snuff, listens
to me. P-Nuts is gone so I have to be in my house – not on the way to my house –
but in my house by 9 o’clock.”
“OK. Fine. No problem.”
“See, I’ve got this damn bird and if I don’t feed the bird before nine o’clock
he’ll go insane and he’ll make me crazy for the next couple of days because I
was late in feeding him.”
“It’s no problem. I’ll have you back here before 9 o’clock.”
“All right. So we have to leave your house….”
“You time it on the way over and then you tell me.”
So it was about 20 minutes. He lived just over the canyon and you just cut up to
Beverly Hills to Bel Air so 20 minutes did it. No traffic Saturday.
We go to my house and get the final preparations. He’s downstairs talking – I
got him and Olaf together and they’re bullin’. When Nudie came in, he never said
a word, just gave me a hundred dollar bill.
So now, the whole damn party, I’m watching my watch every second. I have a guy
that worked for me and he’s gonna drive him home because there’s a lot of people
at the party and I had to stay there. There were 100-125 people there.
So I went over to Bob, “Mr. Nolan. It’s eight o’clock, just to make you aware.”
“Thank you, Snuff.”
In a little while I go over and, “Excuse me, Mr. Nolan. It’s 8:15.”
“All right, Snuff. Thank you very much.”
I was going to have the car leave my house at 8:30. By then I had the car pulled
around in front; the door was open. I went over to Bob. He looked at me.
“Mr. Nolan. It’s 8:30. You have to go.”
“Snuff, to hell with that goddam bird. I don’t give a goddam if he eats tonight
I took him home at 3 or 4 o’clock. We had a wonderful time. Everyone sat around
laughing and telling stories.
Left: 1979 Garrett, Nolan and Wieghorst.
Right: Wieghorst Art
Taken at the Sheraton Universal Hotel (in Los
Angeles). Luncheon for great stuntman, Dave Sharpe. That's me, Bob Nolan and the
real Lash LaRue.
(Snuff Garrett to Larry Hopper, August 15,
Jim Nabors is a very good friend of mine. I did a lot of albums with Jim. Bob
had a song that he had mentioned to me so I gave it to Jim to do. Relative Man.
Jim Nabors looked at me…. He worked his ears off learning that one! He did. He
worked his ears off on it. But we got it done. It was a pretty nice record. Jim
lived right above me at Bel Air.
Bob Nolan, Jim Nabors and Dawn Garrett
I had the same secretary for over 20 years and she never made mistakes.
Marianne. Bob liked her very much. He’d come up to the office. I remember one
time, after the album came out, she started getting letters for autographs and
so forth for Bob. She’d send things out to him. One day Sammy Jackson, a disc
jockey - he was also on TV – a comedy and then he became a country disc jockey….
Bob liked Sammy very much. Sammy had called and wanted to reach Bob and of
course Marianne never gave out numbers or anything unless they wanted it. Bob
didn’t want it. So he wrote her a lovely note that I found in the file. It was
something like, “Marianne, of course I like Sammy and I love hearing from him
but I really am not interested in renewing my career….”
Bob was one of a kind. They didn’t make no more. They came close to making a
voice like his. I’ve never met Tommy Doss but I know he thought the world of
Bob. And so did I. When I was a kid, if one of the kids was bigger than me, he’d
be Roy Rogers and I’d always be Bob Nolan. I was the littlest one around.
“I had Bob come up; I had them all come up and sign a
Republic logo – real big.”
1979 Republic Production
Garrett died on December 17, 2015 about 5:30pm. As you know he produced
Bob's last album. He was also known for the series "Fifty Guitars of Tommy
Garrett" and produced many recording artists and theme albums, notably
Rhapsodies for Young Lovers. On the first of the Rhapsody albums the girl model
went on to become Mrs Kenny Rogers. -Lawrence Hopper
(the following obituaries are courtesy of Mr. Hopper)
Thomas L. "Snuff" Garrett
"Snuff" Garrett (born July 5, 1939, in Dallas, Texas, died December 17, 2015, in
Arizona) was an American record producer whose most famous work was during the
1960s and 1970s. His nickname is a play on Levi Garrett's Snuff, a brand of
snuff. Garrett passed away December 17, 2015, at his Idle Spurs Ranch near
Sonoita, Arizona.
At seventeen, he was a disc jockey in Lubbock, Texas, where
he met Buddy Holly. He is often still mentioned on the Lubbock oldies station
KDAV on a program hosted by his friend Jerry "Bo" Coleman. Garrett also worked
in radio in Wichita Falls, Texas, where he performed on-air stunts. On February
3, 1959, Garrett broadcast his own tribute show to Holly after he was killed
(along with Ritchie Valens and the Big Bopper) in a plane crash in Iowa.
In 1959, Garrett became a producer at Liberty Records in
Hollywood. His first job as producer for the label was on Johnny Burnette's "Settin
the Woods on Fire" on July 9, 1959. Among Garrett's roster of artists were Bobby
Vee, Johnny Burnette, Gene McDaniels, Buddy Knox, Walter Brennan, Ralph
Williams/The Marauders, Gary Lewis & the Playboys, Del Shannon and later (after
leaving Liberty) Cher and Sonny & Cher. He was also responsible for hiring Phil
Spector for a short period as an assistant producer for Liberty. Later Garrett
had his own record labels, Snuff Garrett Records and Viva Records.
Between 1961 and 1969 he released a series of instrumental
albums, featuring solo guitar work by Tommy Tedesco, on Liberty Records by "The
50 Guitars of Tommy Garrett", six of which appeared on Billboard Top LPs chart.
In 1966 Garrett produced an album by singer/songwriter Sonny
Curtis on the Viva label, The 1st Of Sonny Curtis, which contains some of
Curtis' most popular tunes including "Walk Right Back" (an Everly Brothers hit).
Other tracks that came out of this session are "My Way of Life", "Hung up in
your Eyes", and "I Fought the Law and the Law Won".
In 1966-67 Garrett and JJ Cale co-produced A trip down the
Sunset Strip, attributed to the Leathercoated Minds, a compilation of
psychedelic covers together with four instrumentals of Cale's own composition.
Many of Garrett's hit singles came from songs by the Brill
Building songwriters in New York City. One of his assistants was future
recording star Leon Russell. Garrett was invited early on to produce the Monkees,
but a test session did not go well, with the Monkees preferring to work with
Boyce and Hart, writers of "Last Train to Clarksville" and the Monkees's theme
In addition to his string of hits with Cher and Sonny & Cher
for Kapp Records and MCA Records in the 1970s, Garrett also produced Vicki
Lawrence's "The Night the Lights Went Out in Georgia" for Bell Records (a song
written by Lawrence's then-husband Bobby Russell), and Tanya Tucker's "Lizzie
and the Rainman" for MCA. Both of these songs had been intended for Cher; but
her husband and manager at the time, Sonny Bono thought it might offend Cher's
Southern fans. Other artists produced by Garrett in the '70s included Brenda
Lee and "singing cowboy" Roy Rogers. These recordings and others marked a shift
by Garrett away from pop-rock toward the easy-listening "countrypolitan" sound.
Garrett worked regularly with the Johnny Mann Singers and the
Ron Hicklin Singers on many projects, and was responsible for the new sound of
The Ray Conniff Singers in the early 1970s (which employed the Hicklin Singers),
producing two albums with Conniff. Garrett also produced several tracks by Nancy
Sinatra in the mid-1970s that were issued by Private Stock Records. In 1976,
Garrett set up a sublabel of Casablanca Records, Casablanca West. The label
released just one album and two singles before folding. In 1978, Garrett
produced the country-oriented soundtrack of Clint Eastwood's Every Which Way but
Loose, which appeared on Garrett's latter-day label, Viva Records.
In 1976, when home video was in its infancy, Garrett bought
cassette rights to the old RKO and Republic films for what United Press
International termed "a pittance." By 1980, the 800-title library of his company
The Nostalgia Merchant was earning $2.3 million a year. "Nobody wanted cassettes
four years ago," Garrett told UPI. "It wasn't the first time people called me
crazy. It was a hobby with me which became big business."
Garrett retired to his ranch in Arizona during the 1980s. Among his other
interests were American Western art, and he shared his collection with the
public through prints.
He died at his ranch on December 17, 2015, at the age of 76.
Wichita Falls disc jockey who rose to music world fame has died.
(by Lynn Walker of the Times Record News)
A man who began his rise to fame in the music industry in
Wichita Falls has died. Industry websites report Thomas Lesslie Garret died at
his home near Sonora, Arizona on Thursday. Garrett was more widely known by his
career-long nickname, Snuff.
Snuff Garrett came to Wichita Falls as a young disc jockey in
1957, providing antics to his broadcasts that later became standard fare on rock
& roll radio stations across the country. His trademark slogan was, "Come a-foggin,
During a visit to Wichita Falls in 2004, Garrett recalled in
a Times Record News article how he spun records in a storefront window of KSYD
Radio on Indiana Street. He said the bobby-socked teens would gather and watch
him. His most famous feat in that era was sitting in a car atop a flagpole for a
week as a promotion stunt for an automobile dealership. Garrett said years
later, cowboy star and entrepreneur Gene Autry asked him about the stunt. He
said Autry asked, "What did you do for food?"
"They sent a bucket up," Garrett said.
"What did you do when nature called?"
"They sent a bucket up."
"Well," Autry laughed, "I hope you didn't get your buckets
When Garrett was called on to do a marathon broadcast to see
how long he could stay awake, he got moral support from a bespectacled friend
who came to Wichita Falls — Buddy Holly — whose skyrocketing career would be cut
short in a plane crash only months later. Others who came to visit him here were
singer Marty Robbins and actor Dennis Hopper, who would break into stardom in
the movie, "Easy Rider" a few years later.
After his disc jockey days, Garrett moved to California and
built a successful record producer. He produced records for 1960s stars such as
Bobby Vee and Gary Lewis and the Playboys. He produced the solo hits of Cher,
including "Gypsies, Tramps and Thieves," "Half Breed" and "Dark Lady." He also
found success in producing movie scores for actors like Clint Eastwood and Bert
Reynolds. Among them were "Smokey and the Bandit II" and "Cannonball Run."
During his return visit to Wichita Falls, he recalled encountering a man who
told him he had succeeded Garrett on the air here when he left. The man was
comedian George Carlin.
A heavy smoker, Garrett suffered a stroke in the early 2000s
and retired to his Arizona ranch. He kept his hand in the music business by
purchasing copyrights to early day rock and roll songs and was an avid collector
of western movie memorabilia.
The producer Snuff Garrett, right, in Los Angeles in the late 1960s with the
musician Leon Russell, who arranged many of Mr. Garrett's productions. Credit
Michael Ochs Archives/Getty Images
Garrett, a former Texas disc jockey who was forsaken by his own music teachers
but became a millionaire by the time he was 30 producing records for Bobby Vee,
Del Shannon, Gary Lewis & the Playboys and other artists, died on Dec. 16 in
Tucson. He was 76.
The cause was cancer, his wife, Nettie, said.
Mr. Garrett began producing records in 1959, working for
Liberty Records in Los Angeles. At the time, Liberty was best known for novelty
records by the Chipmunks, but with Mr. Garrett recruiting artists and finding
material for them, the label became a major force in pop music. His first
significant signing was Bobby Vee, a singer from Fargo, N.D. Mr. Vee’s recording
of “Take Good Care of My Baby,” which Carole King and Gerry Goffin wrote, was
his only No. 1 record and Mr. Garrett’s first. (Mr. Garrett collaborated with
Ms. King on a new opening for the song.) Of all his productions, it was his
favorite, Mr. Garrett said, because “you only get one first No. 1 song.”
Mr. Garrett signed Gary Lewis & the Playboys in 1964 after
discovering them performing at Disneyland. (Mr. Lewis is the son of the comedian
and actor Jerry Lewis.) The group’s recording of “This Diamond Ring” reached the
top of the Billboard singles chart in 1965 and sold more than a million copies.
It was the first of seven Top 10 singles the group would have in less than two
years. The arranger of “This Diamond Ring,” and many other Garrett productions,
was Leon Russell, later a successful recording artist in his own right. Another
studio associate of Mr. Garrett’s was Phil Spector, the flamboyant and
influential producer who was later convicted of murder.
Mr. Garrett left Liberty after seven years and formed his own
company. He went on to work with, among many other artists, Vicki Lawrence,
whose “The Night the Lights Went Out in Georgia” was another No. 1 single, and
Cher, whose Garrett-produced solo records in the 1970s included the No. 1 hits
“Gypsys, Tramps and Thieves,” “Half-Breed” and “Dark Lady.” He also produced a
series of instrumental albums under the name “The 50 Guitars of Tommy Garrett”
and scores for Clint Eastwood and Burt Reynolds movies.
Mr. Garrett found success outside the music industry by
presciently buying the rights to hundreds of Republic and RKO films in 1976 and
releasing them for home viewing as the videotape revolution was beginning. He
retired in the early 1980s to a ranch in Sonoita, Ariz.
Thomas Lesslie Garrett was born in Dallas on July 5, 1939.
His father, also named Thomas, was a lawyer and bail bondsman. His mother was
the former Lila Ables. He got his nickname, derived from Levi Garrett, a popular
brand of snuff, in junior high school. His first two marriages ended in divorce.
In addition to his third wife, the former Nettie Sanford, he is survived by four
daughters, Gwen Garrett Godfrey, Gretchen Garrett, Dawn Garrett Harris and
Lesslie Garrett Gunderson. He quit high school in the ninth grade, was hired as
an errand boy at a local radio station and then left for Hollywood with the hope
of getting into the music business, but the closest he got was selling records
in a store on Sunset Boulevard. Returning to Texas, he talked his way into disc
jockey jobs in Dallas, Wichita Falls and Lubbock.
After tiring of stunts like broadcasting for a week from a
car atop a flagpole to promote an automobile dealership (he was credited with
the sale of some 50 Renaults), Mr. Garrett persuaded a former co-worker from the
Hollywood record store to help get him hired at Liberty, where he was promotion
director before becoming a prolific producer. In 1968, he sold the several
independent companies he had created to Warner Bros. for more than $2.2 million.
Despite his instinct for identifying successful singers and
songs, Mr. Garrett was not much of a musician himself. In an interview with Tape
Op magazine in 2009, he recalled taking guitar lessons in Dallas for three years
as a youngster. “Finally they told my mother, ‘Mrs. Garrett, we know you’re a
single mother and we don’t want to take your money,’ ” he recalled. “ ‘We want
to tell you that Tommy has no musical talent whatsoever. None.’ Years later I
got a call from them saying, ‘Sorry. We were wrong.’ I didn’t know one piano
note from another,” he continued. “When I had my first four hits I hired a piano
player to come over and teach me piano. Three weeks later he said, ‘While I’ve
been trying to teach you to play “Blue Hawaii” — which you haven’t learned yet —
you’ve made a fortune. You don’t need to know music.’ ”
sampling of records produced by Snuff Garrett:
Across Shorty -
Eddie Cochran (1960)
Johnny Burnette (1960 / #11)
You're Sixteen -
Johnny Burnette (1960 / #8)
Hundred Pounds of Clay -
Gene McDaniels (1961 / #11)
Good Care of My Baby -
Bobby Vee (1961 / #1)
Rubber Ball -
Bobby Vee (1961 / #6)
to Him -
Bobby Vee (1961 / #2)
of Strength -
Gene McDaniels (1961 / #5)
Walter Brennan (1962 / #5 Pop / #3 Country)
Gene McDaniels (1962 / #10)
Night Has a Thousand Eyes -
Bobby Vee (1962 / #3)
Bobby Vee (1963 / #13 Pop / #5 AC)
Me In -
Gary Lewis and the Playboys (1965 / #2)
Everybody Loves a Clown -
Gary Lewis and the Playboys (1965 / #4)
Your Heart For Me -
Gary Lewis and the Playboys (1965 / #2)
Diamond Ring -
Gary Lewis and the Playboys (1965 / #1)
Heart's Symphony - Gary
Lewis and the Playboys (1966 / #13)
Gypsies, Tramps & Thieves -
Cher (1971 / #1)
Cowboy's Work is Never Done -
Sonny & Cher (1972 / #8)
Way of Love -
Cher (1972 / #7)
Living in a House Divided -
Cher (1972 / #22)
Night the Lights Went Out in Georgia -
Vicki Lawrence (1972 / #1)
Cher (1973 / #1)
Cher (1974 / #1)
Lizzie and the Rainman -
Tanya Tucker (1975 / #37 Pop / #1 Country)
Antonio Stroll -
Tanya Tucker (1975 / #1 Country)
Which Way But Loose -
Eddie Rabbitt (1978 / #30 Pop / #1 Country)
Room Buddies -
Merle Haggard & Clint Eastwood (1980 / #1 Country)
Cowboys and Clowns -
Ronnie Milsap (1980 / #1 Country)
Texas State of Mind - David
Frizzell & Shelly West (1981 / #9 Country)
You're the Reason God Made Oklahoma - David
Frizzell & Shelly West (1981 / #1 Country)
Another Honky Tonk Night on Broadway -
David Frizzell & Shelly West (1982 / #8 Country)
Just Came Here to Dance - David
Frizzell & Shelly West (1982 / #4 Country)
Gonna Hire a Wino to Decorate Our Home -
David Frizzell (1982 / #1 Country)
My Baby Blues - David
Frizzell (1982 / #5 Country)
Flight 309 to Tennessee -
Shelly West (1983 / #4 Country)
Shelly West (1983 / #1 Country)