As 47th anniversary of the death of pioneer Joe Meek nears, fans look back at the day the music died – for a second time
(First published: 31 January, 2014)
FANS of pioneering music producer Joe Meek are preparing to celebrate his legacy this Monday on the 47th anniversary of his death.
Meek produced the groundbreaking record Telstar by the Tornados in 1962 – the first British record to top the US singles charts.
Recognition of his creative genius has been overshadowed by the manner in which he died in 1967 – he committed suicide in his studio at 304 Holloway Road after shooting his landlady dead following a row about the rent.
But two groups have been championing Meek’s contributions to the music industry for decades. The Robert George Meek Appreciation Society (RGMAS) was formed on the very day he died.
Jim Blake remembers February 3, 1967, very well. It was the eighth anniversary of Buddy Holly’s death and he and three friends had planned to get together in his Highbury flat to commemorate the date by playing Holly records.
But on the way to the record shop to pick up a Holly album, he spotted the headline “Top of the Pops Composer and A Wife Shot Dead”.
“I immediately guessed it was Joe,” Jim said. “I carried on down Holloway Road and saw there was a crowd outside with policemen. It wasn’t really a surprise because Joe believed Buddy Holly’s spirit was talking to him. I feel sure he intended to kill himself that day.”
That evening he made sure the Meek hit Telstar was blaring. The friends made a pledge there and then to collect everything Meek had produced and to form RGMAS.
Joe Meek couldn’t play an instrument, couldn’t read music or sing in tune but he revolutionised the music industry from a self-built studio in a poky flat above a leather goods shop in Holloway Road.
When he set out on his own in 1960 four main record companies dominated the charts and radio. Meek shook the music world by achieving three No 1 hit records, including the first UK record to top the charts in the US. It is believed that George Martin became obsessed with discovering Meek’s unusual recording tricks and mimicked them on the Beatles’ Revolver and Sgt. Pepper’s Lonely Heart Club Band albums.
However, Meek became a forgotten figure in the years following his death. His songs weren’t played on the radio or mentioned in the music press and his records could be bought for 121/2 pence.
RGMAS’s rigorous dedication and DIY attitude are almost a legacy to Meek. In 1977 Jim and a friend decided to walk into major record label Decca’s head office after work. They didn’t have an appointment but managed to leave having secured the release of a double album made up of much of the material they had collected.
It was a success and spurred a number of reissues. A decade of trawling trade fairs, junk shops and car boot sales meant Jim and his friends had amassed an almost exhaustive collection of Meek records. And he was prolific.
Between 1960-1967 Meek released hundreds of records with thousands of tracks that were never released.
As a young man in the mid-60s, Jim had been one of the thousands of musicians to knock on number 304 Holloway Road hoping to be recorded by Meek. “When he played the tape back we didn’t recognise ourselves,” Jim says. “He couldn’t see us from the control room, it was all done by ear.”
The set-up was extraordinary. Musicians would play in the bathroom, on the staircase and in the living room with Meek twisting, cutting, slowing down, speeding up and subverting the tracks as they played.
Many anecdotes refer to Meek suddenly popping his head round the door to either shout with anger or excitement.
Now, thanks to the RGMAS and other fans, Meek’s legacy is recognised. Last year weekly music newspaper NME named him as the greatest producer of all time and many musicians including Aphex Twin, Muse, Chemical Brothers, Edwyn Collins, British Sea Power cite him as a direct influence.
Sadly it was grammatical, not musical, differences that splintered the RGMAS. Jim fell out with fellow member John Repsch, author of the 1989 biography The Legendary Joe Meek: The Telstar Man, over the content, style and regularity of the newsletter. The following year John formed The Joe Meek Society.
“There was a horrible period where these guys would slag off each other in print,” said Rob Bradford. “I decided to join both societies. It became very petty. I tried to stay in the middle and reason with both parties.”
It was a mutual “enemy” that eventually brought the pair together. Actor Nick Moran – best known for his role in Lock Stock and Two Smoking Barrels – co-wrote Telstar, a play tracing Meek’s life that received its West End debut in 2005. Moran then directed the feature film adaptation in 2009 featuring Kevin Spacey, James Corden and Ralph Little.
“There was a huge furore behind the scenes,” said Rob. “It was quite obvious he had based a lot on Repsch’s book but he went uncredited.”
At the opening night of the play in the Cambridge Theatre, John confronted Moran by jumping on stage just as the curtain rose. In the interval the famous actor was overheard to say ‘Shall we take this outside?’ with Repsch replying ‘anytime’.”
Happily it didn’t come to blows and they eventually settled out of court. And the two groups bonded over the situation and now exist happily alongside each other.
Members of RGMAS and The Joe Meek Society are happy to hear of the recent moves in Islington to honour Meek’s contribution to music. There is a good possibility the small park opposite his studio in Holloway Road will be renamed in reference to Meek. And just last week a plaque was been added to a bench directly outside number 304.
With a new star-studded documentary in the making it looks like there’s no chance of Meek being forgotten.
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