Glyn johns biography

Glyn Johns

English music producer (born )

Not to be confused with British actress Glynis Johns.

Glyn Johns
Johns,
Birth name	Glyn Thomas Johns
Born	() 15 February (age&#;83) Epsom, Surrey, England
Genres
Occupation(s)	Producer, engineer, musician
Instrument	Guitar
Years active	–present

Musical artist

Glyn Thomas Johns (born 15 February ) is an English recording engineer and record producer. He has worked with many of the most famous rock recording acts from both the UK and abroad, such as the Rolling Stones, the Beatles, the Who, Led Zeppelin, the Kinks, Eagles, Bob Dylan, the Band, Eric Clapton, the Clash, Steve Miller Band, Small Faces, the Ozark Mountain Daredevils and Joan Armatrading. Throughout his career, he has generally preferred a live, natural approach to recording in the studio, and developed a method of recording drums sometimes referred to as the "Glyn Johns method".

The years – marked Johns's peak era of activity in which he engineered or produced numerous hit records. In Johns became one of the first independent British recording engineers to operate freelance rather than under the hire of a particular record label or studio. He was involved in making some of the most influential albums of the rock era such as Beggars Banquet and Let It Bleed by the Rolling Stones, Who's Next by the Who, and Led Zeppelin's debut album. Johns was the chief engineer during the Beatles' Get Back sessions for what became the Let It Be album, as documented in the films Let It Be () and The Beatles: Get Back (). Since Johns has continued to be active in the industry.

Johns is the father of Ethan Johns, and the older brother of Andy Johns (–), all three of whom shared the same career. In addition to his work as an engineer and producer, Johns has recorded as a solo musical artist. In , Johns was inducted into the Rock and Roll Hall of Fame, receiving the Award for Musical Excellence.

Early life

Johns was

Glyn johns discography

Sound man

xvii, pages : 24 cm

Born just outside London in , Glyn Johns was 16 years old at the dawn of rock and roll. His big break as a producer came on the Steve Miller Band's debut album, Children of the Future, and he went on to engineer or produce iconic albums for the best in the business: Abbey Road with the Beatles, Led Zeppelin's and the Eagles' debuts, Who's Next by the Who, and many others. Even more impressive, Johns was perhaps the only person on a given day in the studio who was entirely sober, so he is one of the most reliable insiders to tell these stories today. In this entertaining and observant memoir, Johns takes us on a tour of his world during the heady years of the sixties, with beguiling stories that will delight music fans the world over. Johns's career has been long and prolific, and he's still at it--over the last two decades he has worked with Crosby, Stills & Nash; Emmylou Harris; Linda Ronstadt; Band of Horses; and, most recently, Ryan Adams. Sound Man provides a firsthand glimpse into the art of making music and reveals how the industry--like musicians themselves--has changed since those freewheeling first years of rock and rollFrom publisher description

"A life recording hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces "--Jacket

Includes discography (pages ) and index

Sound Man

January 2,

After watching director Peter Jackson’s eight-hour remake of the Beatles /70 Let It Be project, recently aired on the Disney Channel under the original title of Get Back, I was mesmerized by a figure in the background whose eye-catching fashion sense and cool demeanour made him stand out. This was the legendary sound engineer Glyn Johns, previously only known to me as a name on the back of record covers but here looming magnificently in the flesh in pop splendour clothes, grooving and getting along with the Beatles at a historic moment in pop culture. I just had to find out more about him. Luckily, the British-born Johns has written his memoirs, and I devoured it — not because it is well written (it is not— Johns is not a professional writer; he is a recording studio wunderkind and readers should bear that in mind when sifting through his cliche ridden and often frustratingly superficial prose). But because his book provides a window on to the world of pop music in the 60s, 70s, 80s and beyond. Name the recording artist and you are likely to find Johns’ name attached. Everyone from the Rolling Stones, Led Zeppelin, Procol Harum, the Eagles and Linda Ronstadt to Little Feat, Leon Russell, the Clash and Eric Clapton in his solo years clamoured to work with him. He was a hard task master but also a genial guy. He started out singing in church choirs and went on to have brief success as a recording artist in his own right. He even had a top single on the Spanish pop charts at one point. So he knew his harmonies, and he knew what would make a great song. He invented studio techniques that are still part of the industry today. In his own way he was a giant among the giants. He was there when the pop recording industry was in its infancy and he experienced the rapid changes that followed the British Invasion spearheaded by the Beatles in the mid 60s. I said he’s not a terrific writer. But Johns does succinctly and successfully summarize the changes

10 Things We Learned From Glyn Johns’ &#;Sound Man&#;

Legendary producer/engineer Glyn Johns’ autobiography Sound Man is filled with cool stories about creating classic albums with dozens of household names. The tales are fun, but there’s also a lot that audio pros can learn from the book.

Legendary producer/engineer Glyn Johns’ autobiography Sound Man is filled with cool stories about creating classic albums with The Beatles, The Rolling Stones, Led Zeppelin, The Who, Jimi Hendrix, Bob Dylan, The Clash, Rod Stewart, Eric Clapton, The Eagles, Neil Young, The Steve Miller Band and many, many more. The tales are fun, but there’s also a lot that audio professionals can learn from Johns’ book. Here are just 10 lessons we took away from Sound Man:

• Keep An Open Mind: Time and again, Johns tells how he went to see acts with the prospect of working with them, was unimpressed and turned them down. A few of those artists had persistent managers who kept putting them in front of Johns until he finally realized what they had to offer. Invariably, they went on to record some wonderful music together—and who were those initially rejected artists? The Eagles, Joan Armatrading and Eric Clapton, for starters. If he hadn&#;t been able to see past his first impressions, the artists might have recorded those classic albums with other producers—or perhaps not at all.

• Keep Your Mouth Shut: While the book shares a number of wild stories—like when The Who’s drummer Keith Moon tackled two gardeners and dragged them fully clothed into Johns’ pool during a disastrous kiddie play date—you can see discretion pop up time and again. When notorious band manager Allen Klein came to the studio to bully Paul McCartney into signing with him, Johns turned off the mics in the live room to leave them to it. In another section, Johns recalls sitting outside a studio while the Beatles battled with each other inside, and writes, “It is not my place to discuss any detail of what happened

Glyn johns get back album