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.
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@angr3819
Space. Another banksters business model to extract public taxes to launder for themselves.
They are even more brainwashed than in Europe about space travel there. Well, it was their tax dollars the banksters first target from a holly wood basement.
See a funny thing happened on the way to the moon.
Also level earth observer.
Matt H FE, especially his memes video.
Too many others to list.
All shadow banned. Mind, real fairies, 30 mile high giants remains, 300 mile dragons remains, that we are all clones a greater humanity from 200 years ago? Nonsense isn't shadow banned.
I love this music though.
@angr3819
Space. Another banksters business model to extract public taxes to launder for themselves.
They are even more brainwashed than in Europe about space travel there. Well, it was their tax dollars the banksters first target from a holly wood basement.
See a funny thing happened on the way to the moon.
Also level earth observer.
Matt H FE, especially his memes video.
Too many others to list.
All shadow banned. Mind, real fairies, 30 mile high giants remains, 300 mile dragons remains, that we are all clones a greater humanity from 200 years ago? Nonsense isn't shadow banned.
I love this music though.
@angr3819
Space. Another banksters business model to extract public taxes to launder for themselves.
They are even more brainwashed than in Europe about space travel there. Well, it was their tax dollars the banksters first target from a holly wood basement.
See a funny thing happened on the way to the moon.
Also level earth observer.
Matt H FE, especially his memes video.
Too many others to list.
All shadow banned. Mind, real fairies, 30 mile high giants remains, 300 mile dragons remains, that we are all clones a greater humanity from 200 years ago? Nonsense isn't shadow banned.
I love this music though.
@TheCymbalProject
At the same time... this song sounds like the beginning of something amazing and the end of something bitterly sad. Just an amazing work of art.
@martindoman7315
You have hit the nail on the head. Such a beautiful song and yet so melancholy.
@stevenmcghee6649
My very first working day, so many years ago now, I entered the office and this was playing. Was a great ice-breaker as everybody was impressed I knew the title and the band! Every time I hear it, I'm taken back to that day. I wish today's music was as memorable.
@augustjschroeder
God this is a perfect melody. Just tugs at my heartstrings. Feels both hopeful and melancholic.
@carmeneckmann8681
Well said!
@NormAppleton
once upon a time
@joeyleverton6800
I thought the same thing.
@bobwhammer4237
Launched on July 10, 1962, Telstar 1, developed by the American Telephone and Telegraph Company (AT&T), was the world's first active communications satellite. AT&T used the satellite to test basic features of communications via space.
Soon after launch, Telstar enabled the first transatlantic television transmission, linking the United States and France. In November 1962, Telstar's electronics became compromised through exposure to Van Allen Belt radiation, resulting in the satellite's deactivation in February 1963.
Telstar was one of the most significant communications satellites of the early space age. It raised an important policy question: Should communications satellites be operated and controlled by private corporations or under government auspices? The United States chose government direction and created two new institutions, COMSAT and INTELSAT, to develop satellite communcations, an arrangement that lasted for more than two decades.
This Telstar is a backup spacecraft to Telstar 1 and 2 (launched respectively in 1962 and 1963), transferred from the National Museum of American History to the Museum in 2006.
@70tezskin
Groundbreaking music from a bygone day.
This was truly incredible for 1962.........
@thurayya8905
I love this instrumental better than any other. It broke my heart when I lost the 45 for it in an earlier nondigital world. Now I can, not just hear it, but share the experience with others who feel the same way.