Joe Meek (1929-1967) was an incredibly imaginative and progressive independ… Read Full Bio ↴Joe Meek (1929-1967) was an incredibly imaginative and progressive independent record producer and songwriter. 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 recordings. In writing songs he was reliant on musicians such as Dave Adams, Geoff Goddard or Charles Blackwell to transcribe melodies and chord-progressions from his "demos". He worked on 245 singles, of which 45 were major hits (top fifty or better).
He pioneered studio tools such as multiple over-dubbing on one- and two-track machines, close miking, direct input of bass-guitars, the compressor, and effects like echo and reverb, as well as sampling. 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.
At a time when many studio engineers were still wearing white coats and assiduously trying to maintain clarity and fidelity, Meek, the maverick, 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. For the song "Johnny Remember Me" he placed the violins on the stairs, the drummer almost in the bathroom, and the brass section on a different floor entirely.
Meek was one of the first producers to grasp and fully exploit the possibilities of the modern recording studio. His innovative techniques -- physically separating instruments, treating instruments and voices with echo and reverb, processing the sound through his fabled home-made electronic devices, the combining of separately-recorded performances and segments into a painstakingly constructed composite recording -- comprised a major breakthrough in sound production. Up to that time, the standard technique for recordings, regardless of musical genre, was to record all the performers in one studio playing together in real time as the music was cut live to tape all at once. Joe Meek's recording techniques (as well as the recording techniques of Les Paul) did much to further the art of record production as we know it today.
Besides his idiosyncratic music production, many of Meek's character eccentricities continue to capture the imagination of people today. Although never properly diagnosed, it is believed today by many that Meek suffered from bipolar disorder type one (some even suggest further that he was paranoid-schizophrenic). Meek was obsessed with outer space, the occult and the idea of "the other side". He would set up tape machines in graveyards in a vain attempt to record voices from beyond the grave, in one instance capturing the meows of a cat he claimed was speaking in human tones, asking for help. In particular, he had an obsession with Buddy Holly (claiming the late American rocker had communicated with him in dreams). His professional efforts were often hindered by his paranoia (Meek was known to tear up his walls as he was convinced that Decca Records would put hidden microphones behind his wallpaper in order to steal his ideas), drug use, and attacks of sudden rage and depression.
Meek's homosexuality (illegal in the UK at the time) also put him under pressure during his career. He had been charged with "importuning for immoral purposes" in 1963 and was consequently subjected to blackmail. In January of 1967, police in Tattingstone, Suffolk, discovered a suitcase containing the mutilated body of Bernard Oliver, an alleged rent boy who had previously associated with Meek. According to some accounts, Meek became concerned that he would be involved in the murder investigation when the Metropolitan police stated that they would be interviewing all known homosexuals in the city. On February 3rd, 1967, the eighth anniversary of Buddy Holly's death, Meek killed his landlady Violet Shenton and then himself with a single barreled shotgun that he had confiscated from his protegé, former The Tornados' bassist and solo star Heinz Burt. Joe Meek was 37 at the time of his death.
He pioneered studio tools such as multiple over-dubbing on one- and two-track machines, close miking, direct input of bass-guitars, the compressor, and effects like echo and reverb, as well as sampling. 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.
At a time when many studio engineers were still wearing white coats and assiduously trying to maintain clarity and fidelity, Meek, the maverick, 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. For the song "Johnny Remember Me" he placed the violins on the stairs, the drummer almost in the bathroom, and the brass section on a different floor entirely.
Meek was one of the first producers to grasp and fully exploit the possibilities of the modern recording studio. His innovative techniques -- physically separating instruments, treating instruments and voices with echo and reverb, processing the sound through his fabled home-made electronic devices, the combining of separately-recorded performances and segments into a painstakingly constructed composite recording -- comprised a major breakthrough in sound production. Up to that time, the standard technique for recordings, regardless of musical genre, was to record all the performers in one studio playing together in real time as the music was cut live to tape all at once. Joe Meek's recording techniques (as well as the recording techniques of Les Paul) did much to further the art of record production as we know it today.
Besides his idiosyncratic music production, many of Meek's character eccentricities continue to capture the imagination of people today. Although never properly diagnosed, it is believed today by many that Meek suffered from bipolar disorder type one (some even suggest further that he was paranoid-schizophrenic). Meek was obsessed with outer space, the occult and the idea of "the other side". He would set up tape machines in graveyards in a vain attempt to record voices from beyond the grave, in one instance capturing the meows of a cat he claimed was speaking in human tones, asking for help. In particular, he had an obsession with Buddy Holly (claiming the late American rocker had communicated with him in dreams). His professional efforts were often hindered by his paranoia (Meek was known to tear up his walls as he was convinced that Decca Records would put hidden microphones behind his wallpaper in order to steal his ideas), drug use, and attacks of sudden rage and depression.
Meek's homosexuality (illegal in the UK at the time) also put him under pressure during his career. He had been charged with "importuning for immoral purposes" in 1963 and was consequently subjected to blackmail. In January of 1967, police in Tattingstone, Suffolk, discovered a suitcase containing the mutilated body of Bernard Oliver, an alleged rent boy who had previously associated with Meek. According to some accounts, Meek became concerned that he would be involved in the murder investigation when the Metropolitan police stated that they would be interviewing all known homosexuals in the city. On February 3rd, 1967, the eighth anniversary of Buddy Holly's death, Meek killed his landlady Violet Shenton and then himself with a single barreled shotgun that he had confiscated from his protegé, former The Tornados' bassist and solo star Heinz Burt. Joe Meek was 37 at the time of his death.
Can't You Hear My Heart
Joe Meek Lyrics
We have lyrics for 'Can't You Hear My Heart' by these artists:
A.B. Skhy It's easy to say you love me It's easy to just…
Danny Rivers Can't you my heart Beating just for you? Listen to its lonel…
Danny Rivers & The Alexander Combo Can't you my heart Beating just for you? Listen to its lonel…
V.A. Can you hear the silence Can you see the dark Can you…
We have lyrics for these tracks by Joe Meek:
All My Loving Close your eyes and I'll kiss you Tomorrow I'll miss you Rem…
Blue Blue Heartache Our guardian star lost all his glow The day that…
Cumberland Gap Cumberland gap, Cumberland gap Fifteen miles on the Cumberl…
Don't You Rock Me Daddy-O Me and my daddy was coming into town (Sail away lady…
Don't you think it's time Hey, hey, baby Where'd you think you're runnin' to Hey, he…
Garden of Eden When you walk in the garden In the garden of Eden With…
I I hear a new world I hear a new world…
I Hear a New World I hear a new world I hear a new world…
I Hear a New World Excerpt I hear a new world I hear a new world…
Johnny Remember Me When the mist's a-rising And the rain is falling And…
Magic Star "Telstar Telstar Listen to me..." Magic star above Sen…
Mr. Blue Our guardian star lost all his glow The day that…
My Oh My! Close your eyes and I'll kiss you Tomorrow I'll miss you Rem…
Please Stay If I got on my knees and I pleaded with…
Sugaree I got a letter from my baby She said she's comin'…
The Garden of Eden When you walk in the garden In the garden of Eden With…
Walkin' With My Angel Ain't no guy in town Who would ever try to put…
What do you want to make those eyes at me for What do ya wanna make those eyes at me for…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Andy Pandy
This is an amazing tune - so many hooks and production details that it’s mind-blowing - one of the rare pop singles that gets better and better and you notice more about the more you hear it.
Surely one of the best three or four British pop singles of the early 60s
fenellablue
I had this record when I was young and it was one of my favourites. The B Side Waiting for Tomorrow was also good.I could never understand why it wasn't a hit - probably to do with lack of airplay. Great to hear it again Thankyou
garethbramley1
Great backing track from Charles Blackwell. Pity it never charted.
steve hewitt
Classic beyond belief !!!!!!!
maria parla
Should be up there with elvis and cliff. Fabulous. Effortless. Wonderful. Still sounds as brill even at 70 xxxxxx rock on xxx
steve hewitt
Immense.
old65rocker
Underrated.
colin tapp
Just got my vinal back from my daughter and found this forgotten gem ,Joe Morreti on guitar perhaps?
Sids60sSounds
Cheers. B-side coming very soon!
FP51DPO
Clear thing is as hard as Joe worked, the powers to be did what they could to keep him down, he must have worked 10x's harder than anyone to get a breakthrough single. And all that Cowell needs to do today is fart and he mints a million... Unfortunatley the world was not ready for him... Pop Idol, Pop Stars... he would have been on them all, if not fronted them. How a few decades make a difference