Ever walked into a vintage shop or a thrift store and seen those striking album covers with dozens of guitars stacked like cordwood? Usually, they’ve got a title like 50 Guitars Go South of the Border or 50 Guitars in Love. Honestly, if you grew up in a house with a hi-fi system in the sixties, your parents probably owned at least one.
The man behind them wasn't actually a guitar player. Not really.
Thomas Lesslie Garrett, better known as Snuff Garrett, was a Texas-born promotion man turned legendary producer. He was the guy who helped launch Phil Spector’s career and produced hits for Bobby Vee and Cher. But his personal passion project, the 50 Guitars of Tommy Garrett, became a massive instrumental phenomenon that bridged the gap between elevator music and genuine musicianship. It wasn't a gimmick. It was an orchestra.
The Secret Sauce of the 50 Guitars of Tommy Garrett
People often think these records were just cheap cash-ins. They weren't. Snuff Garrett was the head of A&R at Liberty Records by the time he was 22. He knew exactly what he was doing. He wanted to create a "guitar orchestra" that felt as lush as a string section but as rhythmic as a rock band.
Basically, he gathered the absolute "A-List" of Los Angeles session players. We’re talking about the Wrecking Crew before they even had that name.
The core of the sound relied on guys like Tommy Tedesco, who handled the bulk of the solo work. If you’ve heard the theme to Bonanza or The Munchsters, you’ve heard Tedesco. For the first couple of albums, Garrett even snagged Laurindo Almeida, a Brazilian classical and jazz legend. When Almeida’s management started asking for too much money, Snuff simply moved Tedesco into the lead chair.
👉 See also: Ted Nugent State of Shock: Why This 1979 Album Divides Fans Today
Who was actually in the room?
Imagine a single studio filled with twenty or thirty of the best hands in the business. The rosters for these sessions read like a Hall of Fame:
- Barney Kessel (The jazz titan who played with Billie Holiday)
- Howard Roberts (The guy who played the Twilight Zone riff)
- Bill Pitman (A mainstay of Phil Spector’s "Wall of Sound")
- Al Viola (Frank Sinatra's favorite guitarist)
They didn't actually have 50 guys playing at once. That would have been a logistical nightmare and a sonic mess. Usually, it was about 20 to 25 guitarists recorded in a massive room at United Western Recorders, then doubled or tripled through overdubbing to get that thick, shimmering "50 Guitars" texture.
Why the Sound Still Holds Up
The arrangements were the real hero. Ernie Freeman and Leon Russell did a lot of the heavy lifting here. They didn't just have everyone strumming the same chords. They layered the parts—some guys on high-strung acoustic guitars for sparkle, others on gut-string Spanish guitars for warmth, and a few on electrics for bite.
It was "Easy Listening," sure. But it was sophisticated.
The first album, 50 Guitars Go South of the Border (1961), was a smash. It hit the Billboard Top LPs chart and stayed there for ages. Why? Because it sounded expensive. It was the era of the "Bachelor Pad" lifestyle, and these records were the perfect soundtrack for a martini-soaked evening.
✨ Don't miss: Mike Judge Presents: Tales from the Tour Bus Explained (Simply)
Garrett was obsessed with clarity. He once said he didn't know a piano note from another, but he knew what a hit sounded like. He made sure every pluck of the string was audible. He hated "muddy" mixes.
The Evolution of the 50 Guitars Brand
As the sixties progressed, the series moved beyond just Latin tunes. They did everything. They did "50 Guitars Visit Hawaii." They did "50 Guitars Go Country." They even tackled the hits of the day.
The Chart Success
It’s easy to dismiss instrumental music now, but look at the numbers:
- Over 25 albums released between 1961 and 1969.
- Six of those albums landed on the Billboard Top LPs chart.
- Millions of copies sold worldwide.
By the mid-sixties, the "50 Guitars of Tommy Garrett" wasn't just a band; it was a brand. Snuff Garrett was making a fortune. He eventually left Liberty Records to start his own label, Viva, and later Snuff Garrett Records. He was the king of the "Middle of the Road" (MOR) market.
He knew his audience. It was the people who weren't quite ready for the Beatles' Revolver but found Lawrence Welk a bit too stiff. It was the sweet spot of American pop culture.
🔗 Read more: Big Brother 27 Morgan: What Really Happened Behind the Scenes
What Most People Get Wrong
The biggest misconception is that "Tommy Garrett" was a virtuoso guitarist. He was a producer. He was the visionary. He saw the guitar as an orchestral instrument, not just a solo tool.
Another mistake? Thinking it was all "elevator music." If you actually sit down and listen to the tracks—really listen—the technique is staggering. The way Tedesco navigates a melody like "Maria Elena" or "Perfidia" is a masterclass in touch and phrasing. These weren't hacks; they were the guys who built the sound of the 20th century.
Honestly, the 50 Guitars of Tommy Garrett series is like a time capsule. It represents a moment when high-fidelity audio was the new toy, and producers were pushing the limits of what a "stereo" experience could be.
How to start your collection
If you want to dive in, don't just grab a random compilation. Look for the original Liberty Records pressings.
- Go South of the Border (Vol 1 & 2): This is the definitive sound. Pure Mexican-influenced bliss.
- España: Possibly the most technically impressive of the bunch, with heavy flamenco vibes.
- 50 Guitars in Love: The peak of the "romantic" period. Great for seeing how they handled pop standards.
You can usually find these in the "Miscellaneous" or "Easy Listening" bins at record stores for about five dollars. It’s the best five dollars you’ll ever spend on vinyl.
Actionable Next Steps
To truly appreciate this era of music history, your next step is to listen to the 1961 album 50 Guitars Go South of the Border on a decent pair of headphones. Pay close attention to the panning of the guitars between the left and right channels—this was cutting-edge "ping-pong" stereo tech at the time. Once you've heard the layering, try to spot Tommy Tedesco’s distinctive lead lines compared to the rhythmic "wall" of the other 49 guitars.