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.
Cumberland Gap
Joe Meek Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap ain't nowhere
Fifteen miles from middlesborough
Cumberland gap ain't nowhere
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
I got a girl six feet tall
Sleeps in the kitchen with her feet in the hall
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Two old ladies sitting in the sand
Each one wishing that the other was a man
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Well a dollar is a dollar
And a dime is a dime
And I love you baby most all the time
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap
Cumberland gap, Cumberland gap
Cumberland gap, Cumberland gap
Cumberland gap, Cumberland gap
Cumberland gap, Cumberland gap
Fifteen miles on the Cumberland gap.
The lyrics to Joe Meek's song "Cumberland Gap" paint a vivid picture of life and relationships in a specific place and time. The repetition of the line "Cumberland gap, Cumberland gap, Fifteen miles on the Cumberland gap" creates a sense of rhythm and sets the tone for the rest of the song. The Cumberland Gap is a famous mountain pass in the Appalachian Mountains that historically served as a gateway for settlers moving westward. In the context of these lyrics, the Cumberland Gap symbolizes a journey or a significant distance that must be traversed.
The line "Cumberland gap ain't nowhere, Fifteen miles from middlesborough" suggests a sense of isolation or remoteness. The mention of a girl who is six feet tall and sleeps in the kitchen with her feet in the hall adds a touch of whimsy and eccentricity to the narrative. This imagery could be interpreted as a metaphor for unconventional or unconventional relationships, highlighting the quirkiness of human connection.
The lyrics continue to depict quirky and unconventional characters, such as "two old ladies sitting in the sand, Each one wishing that the other was a man." This line plays with gender roles and expectations, showcasing a longing for companionship or something different from the norm. The juxtaposition of the serious and the absurd in the lyrics adds depth and complexity to the song's themes of love, longing, and human connection.
The final lines of the song, "Well a dollar is a dollar, And a dime is a dime, And I love you baby most all the time," bring the focus back to the simplicity of love and relationships. Despite the eccentricities and quirks depicted throughout the song, at its core, "Cumberland Gap" is about the universal experience of love and connection. Through its vivid imagery and colorful characters, the song captures the complexities and nuances of human relationships, set against the backdrop of the Cumberland Gap and the journey it represents.
Line by Line Meaning
Cumberland gap, Cumberland gap
Reflecting on the presence of a geographic feature known as the Cumberland Gap
Fifteen miles on the Cumberland gap
Acknowledging the distance of fifteen miles across the Cumberland Gap
Cumberland gap ain't nowhere
Emphasizing that the Cumberland Gap does not lead to any significant destination
Fifteen miles from middlesborough
Specifying the distance of fifteen miles from Middlesborough through the gap
I got a girl six feet tall
Introducing a female character who is exceptionally tall
Sleeps in the kitchen with her feet in the hall
Describing the unusual sleeping arrangement of the tall girl
Two old ladies sitting in the sand
Depicting the scene of two elderly women seated on the beach
Each one wishing that the other was a man
Revealing the desire of each lady to have a male companion instead
Well a dollar is a dollar
Stating the value of currency as a universal truth
And a dime is a dime
Further emphasizing the distinction between different denominations of money
And I love you baby most all the time
Expressing ongoing affection towards a loved one
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Traditional
Lyrics Licensed & Provided by LyricFind
RockinRedRover
GREAT stuff !! Lonnie's band in this clip is Les Bennetts on lead Guitar, Peter Huggett on Bass and Pete Appleby thrashing the Drums. Les was one of the few British guitarists on the skiffle scene who could really play, he'd started out as a 17 year old in 1957 with Les Hobeaux Skiffle Group; so this clip must be from abt 1958 or 59 (the original single came out in 57).
Charlie
The master. The man who brought rock n roll energy to the U.K. An inspiration to all who immediately followed, including the John Lennon and the Beatles. The energy of the performances still resonate today. Introduced the American gospel / blues / folk idiom to the the British and added something special. Imo he still songs the best versions of some of yhos standards. And he transformed British pop. Bill Haley and Elvis are part of that picture, but the King of Skittle got everyone forming bands, creating music and blowing away the old music landscapre. All hail Lonnie and his band!
Syd Barrett
my dear Scottish Man <3