By late January, Meek had three singles in the Top 20. The difference is stunning. His first hit from Holloway Road reached No.1 in the UK: John Leyton's "Johnny Remember Me" (1961) written by Geoff Goddard. In 1963 Meek worked with a then little-known singer Tom Jones, then the lead vocalist of Tommy Scott & the Senators. Producer of the recording was indeed Terry Kennedy, Joe Meek attended as balance engineer. Despite being tone-deaf and not being able to play a musical instrument or write notation, Meek displayed a remarkable facility for writing and producing successful commercial record…, Joe Meek (1929-1967) was an incredibly imaginative and progressive independent record producer and songwriter. Son This Is She is a Leyton classic with mystical lyrics, an angels choir as sweet as sugar and a Bolero rhythm which strongly reminds to Roy Orbison's ballads of destiny. Play on TIDAL or open in our Desktop app Share. [44], At a time when many studio engineers were still wearing white coats and assiduously trying to maintain clarity and fidelity, Meek was producing everything on the three floors of his "home" studio and was never afraid to distort or manipulate the sound if it created the effect he was seeking. The album was shelved for decades, apart from the release of some EP tracks taken from it.[20]. Meek had given his rules for success in the same publication the previous October: “topical ideas, a good tune and a sound that isn’t borrowed from someone else are essentials”. The record failed to enter the German charts. “Hey, you’ve got to hide your love away,” John Lennon had sung in one of The Beatles’ most poignant songs, and for almost every adult gay man born before the mid-1940s, the strain of having to do so was psychologically disastrous. [Miscellaneous] [Links] [About] [Contact] [Sitemap]. [17] The record became a hit. In the supposedly Swinging Sixties, male homosexuality was still illegal in the UK, leaving any man who acted on his sexual and emotional orientation liable to conviction, exposure and blackmail. In the account of the heterosexual members of the group who voiced Meek’s lines, everyone concerned had a lot of fun during the recording, and Meek regarded the track as a triumph. The label very nearly had a No.1 hit with Meek's production of "Angela Jones" by Michael Cox. Joe Meek: Complete Independent Productions 1961-62. Questions like these may sound a little bit exaggerated, but please see: If a record can be definitely assigned to Joe Meek, its collector's value increases on the spot. Here he offers a fascinating insight into an early visit to 304 Holloway Road and his various meetings with Joe… The lawsuit meant that Meek did not receive royalties from the record during his lifetime, and the issue was not resolved in his favour until three weeks after his death in 1967. Quite apart from their individual childhood experiences, all three of these major cultural innovators — Meek, Orton and Epstein — were indelibly scarred by what they had gone through in adolescence and early adulthood. That year Meek conceived, wrote and produced an "Outer Space Music Fantasy"' an Album I Hear A New World with a band called Rod Freeman & the Blue Men. Empfange soeben Signale von der Venus, die sich wie Orgelmusik anhören. Up to that time, the standard technique for pop recording was to record all the performers in one studio, playing together in real time. As its predecessor, also this record failed to make it into the German charts, and it was John Leyton's last try to sing in German language. Both have been recorded during the same session in December 1961; conducted by Charles Blackwell, who already did the original arrangement. The tribute to Meek was due to his influence in the early stages of audio compression. [46] This was substantially different from that of his contemporary Phil Spector, who typically created his "Wall of Sound" productions by making live recordings of large ensembles that used multiples of major instruments like bass, guitar, and piano to create the complex sonic backgrounds for his singers. He also engineered many jazz and calypso records including vocalist and percussionist Frank Holder and band leader Kenny Graham.[18]. And, as ever in the music industry, success brought litigation: in this case, by a French music publisher who held that Telstar had a similar melody to one of his copyrights. A privately manufactured "black plaque" (designed to ape the official blue plaque) has since been placed at the location of the studio to commemorate Meek's life and work.[22]. On February 2, he burst into a friend’s house all dressed in black, claiming he was possessed. These words would come back to haunt him. Promotional copy in a neutral sleeve only for promotional use. On 19 June 2009, a film adaption of Moran's and Hick's play, The Bleeder Group, a Danish alternative rock group recorded a song on their second album, Pluto Monkey, British left field artist, released a three track CD single on Shifty Disco featuring the tracks "Joe Meek" and "Meeksville Sound Is Dead", Johnny Stage, Danish producer and guitarist released an album in tribute of Meek, entitled. Eine kann meine nur sein (The Great Escape March), Einmal ist keinmal (I'll Cut Your Tail Off), Du sollst nicht traurig sein (Please Don't Pretend Again). Actually, the German lyrics were written by Lawrence Montague (= Lawrence "Larry" Yaskiel, at that time managing director of Vogue Schallplatten in Königswinter, later he runned the German branch of Robert Stigwood Organisation (RSO) and an agency named Antenna in Hamburg); he also coached the singer doing the German vocals. [34] In January 1967, police in Tattingstone, Suffolk, discovered two suitcases containing mutilated body parts of Bernard Oliver. Connect your Spotify account to your Last.fm account and scrobble everything you listen to, from any Spotify app on any device or platform. Please enter your number below. [55], The following Meek productions appeared on the British charts.[56][57]. (Definetely Meek didn't have anything to do with side A, Darling.) Joe Meek: Complete Independent Productions 1960-61, Creative Commons Attribution-ShareAlike License. Unlike other producers, his search was for the 'right' sound rather than for a catchy musical tune, and throughout his brief career he single-mindedly followed his quest to create a unique "sonic signature" for every record he produced. The Damned, Wire, The Go-Go's, The Limiñanas, The Speedways, Draculina, The Fleshtones, Billy Childish, BMX Bandits and More...! (the Honeycombs, 1964), and "Tribute to Buddy Holly" (Mike Berry, 1961). It was part of a Gothic strain that permeated the Meek productions of this period. It was a compelling, compressed fusion of excitement, longing and innocence – but with a haunting and otherworldly undertow that reflected the tortured psyche of its creator. Robert George "Joe" Meek (5 April 1929 – 3 February 1967)[5] was an English record producer, musician, sound engineer and songwriter who pioneered space age and experimental pop music. Stigwood was able to gain Leyton a booking to perform the song several times in an episode of Harpers West One, a short-lived ITV soap opera[21] in which he was making a guest appearance. This was the final of three singles by … Joe Meek. It is unknown whether this was originally Meek's idea or has been made at the instigation of the German record company Teldec. While the matter was decided, all Meek’s royalties from his biggest hit were frozen. [16] His technical ingenuity was first shown on the Humphrey Lyttelton jazz single "Bad Penny Blues" (Parlophone Records, 1956) when, contrary to Lyttelton's wishes, Meek 'modified' the sound of the piano and compressed the sound to a greater than normal extent. Subsequent to his suicide in 1967, Cooper is said to have purchased all of Meek's recordings for £300 (equivalent to £5,485 in 2019)[33]. Meek’s tour de force, The Moontrekkers’ Night of A Vampire, was banned by the BBC because it “was unsuitable for people of a nervous disposition”. – a UKnumber one in August 1964 at the time of The Beatles, The Rolling Stones, The Animals and The Kinks – and an oblique comment on his own blocked right to sexual and emotional fulfilment. How much of the story of King Arthur is true? We don’t have any upcoming events for this artist right now. Popping amphetamine pills, he becameobsessed with the possibility that he was being bugged, that people were stealing his ideas by electronic listening devices. 2. In the original version we hear - besides John Carter and Ken Lewis - Albert Lee on guitar, Chas Hodges on bass, Bobby Graham on drums and Geoff Goddard on piano. Watch Queue Queue The effect was shattering. In the 1950s and early ’60s, being homosexual was, in terms of social attitudes, like being a paedophile is today. The official website for BBC History Magazine, BBC History Revealed and BBC World Histories Magazine, The UK’s most successful independent record producer of the 1960s, Joe Meek was also a gay man whose troubles ran deep. You have successfully linked your account! In particular, he had an obsession with Buddy Holly (saying the late American rocker had communicated with him in dreams). Rodeo The Outlaws. He believed he was possessed, but had another side that was very polite with a good sense of humour.”. What is still unclear is whether Two Timing Baby has been recorded at Meek's studio or elsewhere. He operated from his home studio which he constructed at 304 Holloway Road, Islington, a three-floor flat above a leather-goods store.

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