The Real Deal: Joe Meek The film sticks to most of Meek’s life and death in meticulous detail enough to give you an idea what he was like (or so I’ve gathered from reading about him). It offers a few fictitious moments though. Such as, no one is really sure if Meek ever received a demo from Brian Epstein, though it’s possible but he’s seen on the phone with him while binning a Fab Four demo tape complaining to his assistant about „Brian and his Liverpool beat group“. The film avoids the „Suitcase Murder“ which figured prominently in Joe’s final months and also leaves out the time he hung up on (after cursing out) Phil Spector, which would’ve been interesting. It takes the liberty of giving Mitch Mitchell a perm when he was drumming for a session where Meek pointed a shotgun at him to „get the take right“(maybe it’s best he and Phil never met!), even though Mitchell had not adopted an Afro hairstyle well after joining Jimi Hendrix. Don’t expect lots of „air“ time for your faves, here’s just a glimpse of The Honeycombs and it glosses over all of Meeks act’s save The Tornados, John Leyton, Heinz, Screaming Lord Sutch and The Outlaws. No Syndicats, Tom Jones, Riot Squad or David John & the Mood I’m afraid. The film is riveting and as it draws to a close with it’s inevitable violent conclusion the tension is chilling numb.
11.10.2013
alfredpacino
HARD ECCENTRIC 
1 responses to “Sexadelic Groovy Moments”
Issac Cross
20.11.2013 в 18:52
The Real Deal: Joe Meek The film sticks to most of Meek’s life and death in meticulous detail enough to give you an idea what he was like (or so I’ve gathered from reading about him). It offers a few fictitious moments though. Such as, no one is really sure if Meek ever received a demo from Brian Epstein, though it’s possible but he’s seen on the phone with him while binning a Fab Four demo tape complaining to his assistant about „Brian and his Liverpool beat group“. The film avoids the „Suitcase Murder“ which figured prominently in Joe’s final months and also leaves out the time he hung up on (after cursing out) Phil Spector, which would’ve been interesting. It takes the liberty of giving Mitch Mitchell a perm when he was drumming for a session where Meek pointed a shotgun at him to „get the take right“(maybe it’s best he and Phil never met!), even though Mitchell had not adopted an Afro hairstyle well after joining Jimi Hendrix. Don’t expect lots of „air“ time for your faves, here’s just a glimpse of The Honeycombs and it glosses over all of Meeks act’s save The Tornados, John Leyton, Heinz, Screaming Lord Sutch and The Outlaws. No Syndicats, Tom Jones, Riot Squad or David John & the Mood I’m afraid. The film is riveting and as it draws to a close with it’s inevitable violent conclusion the tension is chilling numb.