Glyn Johns

Glyn Johns ( * February 15, 1942 in Epsom, England ) is a British sound engineer and music producer who has been involved since the 1960s in the production of numerous important audio recordings and the development of British beat bands and their music has influenced decisively beat.

Career

Glyn Johns graduated after finishing school in 1959 an apprenticeship at the prestigious London's IBC Studios as a tape technician and sound engineer. There he became the de facto sound engineer for all associated with rock and beat music productions. He spent four years as a staff engineer, in particular with producer Shel Talmy.

Beat Music

Glyn Johns was instrumental in the sound development of British beat bands, and thus the success of the beat music. He is regarded as one of the discoverers of the Rolling Stones, because he produced on March 11, 1963, the first five demo recordings of the still unknown Rolling Stones in London's IBC Studios and demonstrated it to the major label Decca Records, which with them on May 9 1963 a record deal closed. First studio recordings were there on 9 July 1963 Johns as a sound engineer. He then assisted the music producer Shel Talmy in The Kinks hits You Really Got Me (July 1964; IBC Studios) or All Day and All of the Night (23 September 1964; Pye Recording Studios ). For The Who he took in their early stages I Can not Explain ( November 1964; Pye Studios ), Anyway, Anyhow, Anywhere ( 13 and 14 April 1964; IBC Studios), My Generation (13 October 1965; IBC) on, from April to November 1965, he was instrumental in the Who- My Generation LP with a sound engineer. After an intermediate phase, the cooperation with the Who in hits like Will not Get Fooled Again ( April-May 1971 at the Rolling Stones Mobile Studio ) and the album Who's Next was continued ( May-June 1971).

Johns took on a three-track device to the live performances of the Rolling Stones between 5 and 16 March 1965 from which the EP Got Live if You Want it originated. He produced until October 1966 in the IBC Studios. November 8, 1966, he was responsible for the album Between the Buttons at Olympic Studios as a sound engineer and supervised five subsequent albums the group. John turned his cutting technique at all Rolling Stones albums that he produced at Olympic Studios. The group often gave him the sound aspects, because he made it well. " No doubt, Glyn Johns was one of the great engineers of all time ," concluded Shel Talmy. The same also said Ritchie Yorke in his Led Zeppelin Biography: " ... he is trustworthy and competent. "

Independent engineer

In October 1965 Glyn Johns became the first independent sound engineer in the UK and remained for a long time the only one. He was no longer employed at the IBC Studios, but was now allowed to work in all studios. So it was that he carried out his work at IBC, Pye Recording Studios, Decca Studios, Abbey Road Studios or Olympic Studios. But the studios acted initially reserved because he violated his status against conservative ideas Staff engineers. At Olympic Studios, however, was mainly active as of October 1966. Soon he was considered by some to beat bands preferably selected sound engineer. He developed into one of the outstanding engineers Geoff Emerick addition of Abbey Road Studios.

The Beatles

Its performance to the The Beatles album Let It Be was released. In early March 1969 on John Lennon and Paul McCartney contributed Glyn Johns the thankless task to look after the completion of the album. Johns had the problem, from the recorded and unfinished in many hours recordings - many chaotic and little inspired by it - to find enough material that was suitable for publication. John developed several versions, whereas he wanted the recordings " untreated" sound as natural as possible and. He also added many studio conversations that had been recorded during the recording sessions, between the individual songs to convey the atmosphere at the studio sessions. End of May 1969, created his first version Johns. In December 1969, John was commissioned to create a new version of the album as a soundtrack that should fit the song from the film of the same name. On January 5, 1970 John had created a new version of the album. This version also failed to convince the Beatles and remained unpublished. It was not until the later revision by Phil Spector led to the publication on 8 May 1970. Interestingly, Johns ' versions were recognized in retrospect, because in the revision and republication of the Let It Be album, entitled Let It Be ... Naked oriented one itself. at its original concept Glyn Johns ' review of Spector's version was clearly, as he once remarked as follows:

" I can not bring myself to listen to the Phil Spector version of the album - I heard a few bars of it once, and was totally disgusted, and think it's an absolute load of garbage. "

"I bring it not about me, to listen to the Phil - Spector - version of the album - I 've heard a few bars and was totally disgusted, for me that's a big pile of garbage. "

Johns also directed the sound recording technology at the famous appearance of the Beatles on the roof of Apple Studios (3 Savile Row) on 30 January 1969.

Music producer

The artistic transitions from mere sound engineer for music producers were with Johns - as elsewhere in recording studios - often blurred. In the LP Sailor ( January 1968 ) praised Boz Scaggs: " In the production, it turned out that John was much more than a sound engineer. He was a music producer like us and has the complete work together -. Although he is not mentioned on the album cover " That changed in the production of the Steve Miller Band album Children of the Future ( April to June 1968), as John's first time was mentioned as a music producer. Even in Brave New World for the Steve Miller Band in May 1969 at Olympic Studios (only the song My Dark Hour, all the rest were produced by John at Sound Recorders in Hollywood ), he was mentioned as a co-producer; John also played on this guitar and served as a background singer. John was co-responsible producer of all albums by Led Zeppelin by Led Zeppelin ( October 1968 ) to Physical Graffiti ( July and December 1970, March 1971, May 1972, and January-February 1974).

The Eagles let him her debut album Eagles with the single release Take It Easy ( February 1972 ) produce; Glyn Johns hereby created a new format in country-rock. When Eagles album On the Border, there were difficulties. While the band tried in the recording sessions for harder sounds, music producer Glyn Johns was replaced after the recordings for the two titles You Never Cry like a Lover and Best of My Love by Bill Szymczyk and the sessions in the recording studio the Record Plant in Los Angeles laid. The change was justified by the fact that John's in the Country of production elements and the harmonies emphasize, while Frey and Henley intended a harder sound. As a music producer, he is also in the Rolling Stones LP Get Yer Ya -Ya 's Out! ( January-April 1970) mentioned. In the years 1976 to 1979 John worked as a producer for Joan Armatrading. The late 1970s, Johns produced for Eric Clapton albums Slowhand (May 1977) and Backless ( November 1978). This was followed in particular Midnight Oil (Places Without a Postcard, 1981), New Model Army ( The Ghost of Cain, 1986), Crosby, Stills and Nash ( After the Storm, 27 January to 1 July 1994), Joe Satriani (Joe Satriani; 1995) or Bill Wyman ( Struttin 'Our Stuff, 1997). John Hiatt's Slow Turning album he produced in Nashville ( May 20-June 6, 1988), two years his album Stolen Moments ( June 1990), Ryan Adams album Ashes & Fire, he produced - almost 70 years old - at the Sunset Sound Factory in Hollywood (August to September 2011).

Others

Glyn Johns has a son, Ethan Thomas, Robert Johns ( b. 1969 ), who is also working as a sound engineer and music producer. On April 14, 2012 Glyn Johns was inducted into the Rock and Roll Hall of Fame because of excellent work in the recording studio.

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