- Paperback: 263 pages
- Publisher: BOOKS FOR WATERSTONES ONLY; Pap/Com edition (1 July 2001)
- Language English
- ISBN-10: 1931140081
- ISBN-13: 978-1931140089
- Product Dimensions: 27.4 x 21.6 x 2.5 cm
- Amazon Bestsellers Rank: 1,081,228 in Books (See Top 100 in Books)
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More About the Author
Product Description
Product Description
Legendary British producer and technical innovator Meek--the man behind the hits "Telstar" and "Have I the Right?"--has become a cult figure since his death in 1967, with fan clubs, CD collections, and retrospectives growing in popularity every day. Although much attention has been paid to his unusual life story and tragic passing, "Creative Music Production: Joe Meek's Bold Techniques" is the first book that gives the details on the methods that led to Meek's influential hits. Also included is a CD containing Meek's "I Hear a New World" album, not available in its original form since 1960! Written by veteran music journalist Barry Cleveland, this book takes an industry perspective on Meek's life. It explores his 12-year professional career in great depth, with special attention paid to the equipment he used and the effect that his work had on the people around him.
About the Author
Barry Cleveland's guitar playing combines psychedelic, progressive rock, ambient, electronic, jazz, funk, and a host of "world" music styles with unusual sounds created using unorthodox playing techniques and electronic processing.
Cleveland released his first commercial album on Larry Fast's Audion Recording Company label in 1986. Mythos combined layers of guitar with Bob Stohl and Kat Epple's woodwinds, synthesizers, and light percussion; and Michael Masley's otherworldly bowhammer cymbalom. The CD received glowing reviews in Option, Jazziz, Stereo Review and CD Review, and was chosen as one of the 25 Best New Age CDs in the 1987 Stereo Review Compact Disc Buyer's Guide (in the company of such other "new age" recordings as Pink Floyd's Dark Side of the Moon).
Voluntary Dreaming, released on Scarlet Records in 1989, also met with critical acclaim. The music had an electronic edge-Cleveland played samplers and synths in addition to electric and acoustic guitars-but also encroached upon "world music" territory with the addition of Michael Pluznick's African and Middle Eastern percussion. Michael Masley's bowhammer cymbalom, and Robert Powell's pedal steel guitar, added exotic harmonic and melodic touches.
During the '90s Cleveland began a parallel career in journalism. Between 1996 and 2002 he worked in various editorial capacities and wrote dozens of articles and product reviews for Mix, Electronic Musician, and Onstage magazines. In mid-2002 he joined the staff of Guitar Player magazine, where he continues to serve as an associate editor. Cleveland's first book, Creative Music Production: Joe Meek's Bold Techniques, was published by MixBooks in the Fall of 2001.
The '90s were a busy time musically as well. Cleveland performed with the improvisational quintet Cloud Chamber, a group which included multi-instrumentalist Michael Masley, bassist Michael Manring, cellist Dan Reiter, and percussionist Joe Venegoni. Cloud Chamber perform
Cleveland released his first commercial album on Larry Fast's Audion Recording Company label in 1986. Mythos combined layers of guitar with Bob Stohl and Kat Epple's woodwinds, synthesizers, and light percussion; and Michael Masley's otherworldly bowhammer cymbalom. The CD received glowing reviews in Option, Jazziz, Stereo Review and CD Review, and was chosen as one of the 25 Best New Age CDs in the 1987 Stereo Review Compact Disc Buyer's Guide (in the company of such other "new age" recordings as Pink Floyd's Dark Side of the Moon).
Voluntary Dreaming, released on Scarlet Records in 1989, also met with critical acclaim. The music had an electronic edge-Cleveland played samplers and synths in addition to electric and acoustic guitars-but also encroached upon "world music" territory with the addition of Michael Pluznick's African and Middle Eastern percussion. Michael Masley's bowhammer cymbalom, and Robert Powell's pedal steel guitar, added exotic harmonic and melodic touches.
During the '90s Cleveland began a parallel career in journalism. Between 1996 and 2002 he worked in various editorial capacities and wrote dozens of articles and product reviews for Mix, Electronic Musician, and Onstage magazines. In mid-2002 he joined the staff of Guitar Player magazine, where he continues to serve as an associate editor. Cleveland's first book, Creative Music Production: Joe Meek's Bold Techniques, was published by MixBooks in the Fall of 2001.
The '90s were a busy time musically as well. Cleveland performed with the improvisational quintet Cloud Chamber, a group which included multi-instrumentalist Michael Masley, bassist Michael Manring, cellist Dan Reiter, and percussionist Joe Venegoni. Cloud Chamber perform
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7 reviews
8 of 8 people found the following review helpful
An inspiration for all home recordists...
7 Mar 2002
Format:Paperback
The British record producer Joe Meek has attained posthumous cult status and rightly so: his innovative work broke the highly conservative mould of studios where engineers sported white coats as though they were in a science laboratory and everything was done "by the book".
In Meek's case the circumstances of his life - and more to the point his death - have created a lot of urban myth. After all, Spector may have discharged revolvers at ceilings, but Meek ended his own life - and that of his landlady - with a large shotgun and all on the anniversary of Buddy Holly's death!
With those factors in mind, it's refreshing to discover a book which traces Joe Meek's life, not for the sake of cheap scandal, but through the music he made through his innovative recordings and equipment creations/modifications. Barry Cleveland has achieved the near impossible by delivering a book which is both an enjoyable work for the non-technical reader and highly satisfying for the studio "anorak" who wants to know the fine details of Meek's home studio in London's Holloway Road. Cleveland has tracked down the closest surviving sources who bring to life a picture of the cluttered apartment where Joe Meek took on the mighty forces of EMI, Decca and the like and won - for a while at least - with hits like Telstar, Johnny Remember Me and Have I The Right.
If the words are top class, the layout is every bit the match for them, with many photos I've never seen before (and believe me, I've seen a lot of Meek-related photos!) and a full discography. I can't reccomend this book enough... how about 6 stars out of 5?!
In Meek's case the circumstances of his life - and more to the point his death - have created a lot of urban myth. After all, Spector may have discharged revolvers at ceilings, but Meek ended his own life - and that of his landlady - with a large shotgun and all on the anniversary of Buddy Holly's death!
With those factors in mind, it's refreshing to discover a book which traces Joe Meek's life, not for the sake of cheap scandal, but through the music he made through his innovative recordings and equipment creations/modifications. Barry Cleveland has achieved the near impossible by delivering a book which is both an enjoyable work for the non-technical reader and highly satisfying for the studio "anorak" who wants to know the fine details of Meek's home studio in London's Holloway Road. Cleveland has tracked down the closest surviving sources who bring to life a picture of the cluttered apartment where Joe Meek took on the mighty forces of EMI, Decca and the like and won - for a while at least - with hits like Telstar, Johnny Remember Me and Have I The Right.
If the words are top class, the layout is every bit the match for them, with many photos I've never seen before (and believe me, I've seen a lot of Meek-related photos!) and a full discography. I can't reccomend this book enough... how about 6 stars out of 5?!
3 of 3 people found the following review helpful
Well Done
13 Nov 2005
Format:Paperback
Extremely interesting book about Joe Meek, the innovative English recording engineer and producer who made hit records in his flat. Has lots of detail and pictures of Joe's recording gear and recording techniques. Discusses how Joe Meek pushed the recording gear to it's limits while creating new sounds. Highly recommended.
3 of 3 people found the following review helpful
A Great Read for Anybody Interested in Sixties Pop & Rock
5 Jun 2002
Format:Paperback
I am very impressed by Barry Cleveland's book. He provides a great deal of specific information about Joe Meek's recording techniques and equipment. However, be not afraid, this is not done in a pedantic technical manner; it's very readable for the non-technical.
Being well familiar with most of Meek's recorded output, I especially enjoyed Cleveland's detailed commentaries on certain of Meek's recordings. For my taste, Cleveland could have gone on for many more pages on the same subject with different tracks.
I perceive Cleveland to be outside of the intense (mostly English) Meek cult which brings some fresh perspective on his work.
What more can I say? This was a good read that I raced through and will no doubt revisit frequently. The CD of "I Hear a New World" is a great bonus. It's surprisingly different from the RPM release. It makes me appreciate the work Roger Dopson and his associates did to bring out the RPM version.
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