Joe Meek ‎– Intergalactic Instro's (1960-65)

AQUI:

Joe Meek ‎– Intergalactic Instro's (1960-65).

Produtor – Joe Meek.

Género: Rock, Pop, Instrumental.

Joe Meek

Robert George "Joe" Meek (5 de abril de 1929, Newent, Gloucestershire - 3 de fevereiro de 1967, Londres), mais conhecido como Joe Meek, foi um produtor e compositor britânico, um dos pioneiros como engenheiro de som independente.

Joe Meek transformou o seu apartamento num estúdio de som e gravação, repleto de aparelhos com botões, mostradores, válvulas e um sem número de acessórios. Em Londres, Joe montou o seu próprio estúdio, cheio de traquitanas que ele mesmo inventava. A sua especialidade era comprimir diversos instrumentos num mesmo canal. Assim, era possível ouvir diversas misturas numa só faixa, um coral (gravado no W.C.), violinos (gravados na escada de incêndio) e diversos efeitos “espaciais”. O que parecia ser uma “guerra das estrelas” era, na verdade, apenas barulhos distorcidos várias vezes.

Joe conseguiu juntar uma enorme quantidade de músicas pop/rock obscuras e até bizarras dos anos sessenta. Ele foi o primeiro artista / produtor britânico a conseguir um êxito número um nos EUA.

Nesta compilação que compreende o período entre 1960 e 1965, são apresentados temas instrumentais, alguns demos e algumas faixas inéditas. Mas talvez o mais delicioso do álbum, são três gravações ao vivo dos Tornados.

The Tornados

Faixas/Tracklist:

01.The Moontrekkers - Night Of The Vampire (1961)

02.The Ramblers - Just For Chicks (1963)

03.Jay, Peter and Jaywalkers - Oo La La (1963)

04. Roger LaVern and The Microns - Red Rocket

05.The Moontrekkers - Hatashiai (Japanese Sword Fight) (1962)

06.The Fabulous Flee-Rekkers - Green Jeans (1960)

07.The Checkmates - West Point (1963)

08.Sounds Incorporated - Keep Moving (1963)

09.The Spooks - The Spook Walks

10.The Tornados - Lawrence Of Arabia (1962)

11.The Stonehenge Men - Pinto (1962)

12.The Moontrekkers - Return Of The Vampire (1963)

13.Jay, Peter and Jaywalkers - Totem Pole (1963)

14.The Saxons - Saxon War Cry (1965)

15.The Original Checkmates - Union Pacific (1963)

16.The Flee-Rekkers – Cerveza (1963)

17.The Moontrekkers - Melodie D'Amour (1961)

18.The Ramblers - Take It Away

19.The Stonehenge Men - Big Feet (1962)

20.The Moontrekkers - There's Something At The Bottom Of The Well (1962)

21.The Ramblers - Dodge City (1963)

22.Sounds Incorporated - Order Of The Keys (1963)

23.The Original Checkmates - The Spy (1963)

24.The Moontrekkers - Sunday Sunset

25.Jay, Peter and Jaywalkers - Jaywalker (1963)

26.The Fabulous Flee-Rekkers - You Are My Sunshine (1960)

27.The Moontrekkers - John Brown's Body

28.Jay, Peter and Jaywalkers - Poet And Peasant (1963)

29.The Tornados-Telstar (live) (1964) 

30.The Tornados - Exodus (live) (1964) 

31.The Tornados - Czardas (live) (1964) 

32. Joe Meek Hums - Telstar (Demo) 

As Faixas/Tracks: 9,10,12,16,18,24,29-31: Não editadas anteriormente (previously unreleased).

Álbum gentilmente cedido pelo nosso amigo Luís Futre, a quem agradecemos.

Joe Meek - Freak Beat (V/A)

DOWNLOAD LINK:   http://www.megaupload.com/?d=F69AA839

Joe Meek Freakbeat - You're Holding Me Down

Here's a new compilation of obscure freakbeat and rhythm-n-blues 45s recorded by the one-and-only sonic innovator Joe Meek in 1965 and 66 in his home-made studio famously located high above the traffic roar of London's Holloway Road. I think most of these singles are collected together here for the first time. Admittedly some of the material and playing, by largely unknown UK bands, is less than stellar on occasion, but most of the productions are nothing short of magical and on a Joe Meek comp thats what matters. Vocals weave in and out of the mix; drums are compressed within an inch of their lives; strange sound effects are layered on top of each other; guitars have more fuzz than ever before (check the rabid solos on "Crawdaddy Simone") and there's enough echo and reverb on everything to cause a world shortage. And all this was done on a pair of two-track machines. Nobody else was making records like this at the time, and nobody can do it now either. Jaw-dropping!

Álbum gentilmente cedido por Luís Futre.

Joe Meek - I Hear a New World - Part II (EP 1960)

AQUI:

Joe Meek - I Hear a New World - Part II (EP CMXBX1461/2, 1960)

This EP is included in “JOE MEEK – The EP Collection”.

E.P. gentilmente cedido por Luis Futre, a quem agradecemos.

Joe Meek - I Hear a New World - Part I (EP 1960)

AQUI:

Joe Meek - I Hear a New World - Part I (EP CMXBX1461/1, 1960)

This EP is included in “JOE MEEK – The EP Collection”.

E.P. gentilmente cedido por Luís Futre, a quem agradecemos.

Joe Meek – Portrait Of a Genius (In Search Of a New Sound, 1964 / 1966)

AQUI:

Joe Meek – Portrait Of a Genius (CD 4 - In Search Of a New Sound, 1964-66).

Álbum gentilmente cedido por Luís Futre, a quem agradecemos.

Joe Meek – Portrait Of a Genius (Telstar and Beyond, 1962-63).

AQUI:

 

Joe Meek – Portrait of a Genius (CD 3 - Telstar and Beyond, 1962-63).

Álbum gentilmente cedido por Luís Futre, a quem agradecemos.

Joe Meek – Portrait of a Genius (1960 / 1962)

AQUI:

Joe Meek – Portrait Of a Genius (CD 2 - The classic RGM sound, 1960/62)

Álbum gentilmente cedido por Luís Futre, a quem agradecemos.

Joe Meek – Portrait of a Genius (Engineering the hits, 1955-59)

AQUI:

Joe Meek – Portrait Of a Genius (CD 1 - Engineering The Hits, 1955-1959).

A treasure trove for collectors, but an excellent introduction, too, for anybody captivated by the Joe Meek legend, but uncertain where to start among the myriad compilations and collections that already litter the shelves, Portrait of a Genius is the unequivocally titled box set that Meek's reputation has always demanded. Even longtime connoisseurs will stumble upon sufficient oddities to render this a worthwhile purchase, as the hitherto uncollected likes of Kenny Hollywood's "Magic Star" (a vocal version of "Telstar") rubs shoulders with the so familiar hit, a previously unreleased Gene Vincent recording meets a German-language rendition of the Honeycombs' "Have I the Right," and so on. Also notable is the attention lavished on Meek's apprenticeship -- one entire disc is given over to his work as an engineer in the late '50s, and serves up its own fair share of gems; thereafter, the discs proceed through "the classic RGM sound" (1960-1962), "Telstar" and beyond (1962-1963), and, finally, "in search of a new sound" (1964-1966), and it's impossible to play favorites among them. Meek's reputation as one of '60s pop's most innovative, if unstable, personalities has never been questioned. But still Portrait of a Genius manages to throw new light on the reasons why he deserves those epithets and, no matter what other treasures might still be exhumed from the Meek vault, it will have to be a very special collection that upstages this one.

By Dave Thompson

Info:
Disc 1: Presents Many of the Hits He Engineered for the Major UK Labels During the Mid/Late 50s.
Disc 2: Joe goes it alone, and Tops the UK Charts with ‘Johnny Remember Me’.
Disc 3: ‘Telstar’ Propels Meek to International Success.
Disc 4: ‘have I the Right’ Introduces a Whole New Rgm Sound.

Disc two, three and four Include Copious Collectors’ Rarities, Demos, Interviews, Previously Unissued Sides, etc.

Álbum gentilmente cedido por Luís Futre, a quem agradecemos.

Vampires Cowboys Spacemen And Spooks, V/A (The Very Best Of Joe Meek's Instrumentals)

AQUI D1:

AQUI D2:

Vampires Cowboys Spacemen And Spooks, V/A (The Very Best Of Joe Meek's Instrumentals).

Robert George "Joe" Meek (5 April 1929 Newent, Gloucestershire–3 February 1967 in London) was a pioneering English record producer and songwriter. His work and popular success in the music field is more remarkable since it is known he was tone deaf and could not recognize pitches properly.

It might be subtitled "The Very Best of Joe Meek's Instrumentals," but this isn't the most selective compilation of instrumentals overseen by the British semi-genius producer, the two discs including a whopping 60 tracks. That's not to say, however, that's it's not selective at all, considering just how many instrumentals the prolific Joe Meek cut in the early to mid-'60s. For those who like Meek a lot, but don't want to go to the insane extent of trying to track down everything he did in the studio, this is a very good-value distillation of his work in the instrumental rock realm. Also, Meek's instrumentals weren't as prone to sappy pop as his efforts with vocal artists from the era, and more likely to delve into purer rock. That hardly means that everything here is brilliant, and it might try the patience of those for whom a little Meek goes a long way. If you do like Meek to a significant degree, however, you'll find much to enjoy, as all the tracks -- even the ones of more marginal quality -- are stuffed with his sonic trademarks, including eerie out-of-this-world (if cheesy) electronic keyboards, crunchy compression, heavenly orchestration, twangy surf-country guitars, and numerous shades of weird and unclassifiable sounds, percussion, and miscellaneous tinkles. True, if you collect Meek to any extent, you're likely to already have some of these cuts, particularly those by the Tornados, though at least this includes several uncommon variations of Tornados tracks (a stereo version of "Telstar," a previously unissued "undubbed" version of "Exodus," the U.K. version of "Ridin' the Wind," the German version of "Life on Venus," etc.). It's also true that the best Tornados tracks tend to also be among the very best items on the anthology, as the production generally outpaces the tunes. Nevertheless, there are a few cuts that are both excellent and relatively unknown, like the Packabeats' "Theme from the Traitors" (which recalls the Shadows at their best), the Original Checkmates' creepy "The Spy" (with some great organ work), the Moontrekkers' devastating, lurching horror-rock classic "Night of the Vampire," and the same group's peculiar "Hatashiai (Japanese Sword Fight)." David Wells' liner notes are typically excellent and thorough.

Fonte: Richie Unterberger, All Music Guide

Álbum gentilmente cedido por Luís Futre, a quem agradecemos.