Editing Glyn Johns (section)

==Career in music and recording==
Over a long career as an engineer and/or producer, Johns has worked with numerous successful musical acts in the industry.{{sfn|Ankeny on Johns}}  Johns has also recorded as a solo musical artist.{{sfn|Ankeny on Johns}}

===Early years: 1959–1963===
====IBC Studios and as performing artist====
[[File:LonnieDonegan1956.jpg|thumb|upright=0.8|Glyn Johns's first session as a recording engineer was for popular [[skiffle]] singer [[Lonnie Donegan]] (pictured above) at [[IBC Studios]] in London, 1959]]
{{see also|IBC Studios|Decca Records}}

In 1959, Johns began his career as an assistant recording [[Audio engineer|engineer]] at [[IBC Studios]] on [[Portland Place]] in London.{{sfnm|1a1=R&R HOF|2a1=Johns|2y=2014|2pp=xvi, 13}}  IBC was an independent recording studio and had no affiliation with a label.{{sfnm|1a1=Robjohns|1y=2016|2a1=Walsh|2y=2014}}  Johns recounts that his early duties included odd tasks and providing basic support for the experienced engineers.{{sfn|Johns|2014|p=13}}  His first session as a recording engineer was for the popular skiffle singer [[Lonnie Donegan]].{{sfnm|1a1=Bensley|1y=2021|1p=13|2a1=Fulgham|2y=2015}}

At the time IBC had a busy schedule.  Coats and ties were required to be worn by recording engineers (and white lab coats for technical engineers).  Most recordings were done then in [[monaural|mono]] (except for  classical music).{{sfn|Johns|2014|p=20}}  During Johns's first year at IBC, the popularity of [[rock and roll]] increased and demand for records that sounded more American.{{sfn|Johns|2014|p=18}}  Engineers were confronted with the challenge of capturing louder music.{{sfn|Johns|2014|p=20}}  Younger engineers were more apt to try new approaches, and Terry Johnson, another young engineer at IBC, convinced Johns to move in this direction.{{sfn|Johns|2014|p=18}}  Johns recounts that [[Jack Good (producer)|Jack Good]], one of the UK's early successful television rock and roll producers, made regular use of IBC Studios, and did many of his recordings with Johns and Johnson engineering sessions.{{sfn|Johns|2014|pp=21–22}}  They engineered pre-recorded tracks for the ''[[Oh Boy! (TV series)|Oh Boy!]]'' television programme, which featured leading British rock and roll performers of the day, such as [[Joe Brown (singer)|Joe Brown]], [[Marty Wilde]], [[Billy Fury]], [[Wee Willie Harris]], and others.{{sfn|Johns|2014|pp=21–22}}

Johns recounts that in the early 1960s, he was signed to [[Decca Records]] as a solo musical performing artist at the urging of Jack Good.{{sfn|Johns|2014|pp=24–25}}  Johns's first single, "Sioux Indian", was produced by Jack Good{{sfn|Johns|2014|pp=24–25}} and the next two produced by Tony Meehan.{{sfn|Johns|2014|p=49}}  Johns later went on to record for [[Pye Records]]{{sfn|Johns|2014|p=49}} and [[Immediate Records]],{{sfn|Johns|2014|pp=49–50}} but none of his solo records became hits.{{sfnm|Ankeny on Johns}}

During this time, Johns was playing in the Presidents,{{sfn|Johns|2014}} who, according to Johns, began to put the phrase "Featuring Decca Recording Star Glyn Johns" on their posters.{{sfn|Johns|2014|p=25}}  Johns realised that he could invite musicians to IBC on Sundays, when the studio was not booking sessions—letting musicians play in the sound room whilst he honed his engineering and producing skills at the console.{{sfn|Johns|2014|pp=24–26}}  The makeshift sessions attracted many of the best young musicians in London, such as [[Jimmy Page]], Ian Stewart, [[Alexis Korner]], [[Brian Jones]], and [[Nicky Hopkins]].{{sfn|Johns|2014|p=25}}  Johns recounts that his first session as chief engineer was for a recording by Joe Brown, which was produced by Tony Hatch.{{sfn|Johns|2014|pp=28–29}}{{efn|The chief engineer (or balance engineer) is usually an experienced engineer who (often under the producer) supervises studio crew and critical aspects of the recording process.  Amongst various tasks during recording sessions, the chief engineer operates equipment in the control room that requires complicated settings, such as the recording console, outboard equipment/signal processing.  The chief engineer will usually set the preliminary levels (pre-mix) during the recordings.  The chief engineer will often do the later final mix, but sometimes another engineer is chosen for the final mix.}}  In 1962, Johns entered into an arrangement with George Clouston, the manager at IBC studios, to let him produce records by certain artists.{{sfn|Johns|2014|p=41}}

====The Rolling Stones 1962–1963====
{{see also|The Rolling Stones|Ian Stewart (musician)}}
Johns's friend, [[Ian Stewart (musician)|Ian Stewart]] was playing piano with the Rolling Stones.{{sfn|Boyle|2014}} The two lived for a while in a house nicknamed "the Bungalow" with one of Stewart's friends, Brian Wiles, who played in a group with [[Jeff Beck]].{{sfnm|1a1=Johns|1y=2014|1pp=33–35|2a1=Boyle|2y=2014}}  It was through Stewart that Johns became involved in recording the Rolling Stones on their earliest recordings.{{sfn|Boyle|2014}}  Johns mentions that in March 1963, he brought them to IBC to record several tracks.{{sfnm|1a1=Johns|1y=2014|1p=43|2a1=Rother|2y=2014}}  After [[Andrew Loog Oldham]] became the Rolling Stones' manager, Stewart was asked to leave the group, and Oldham took over the role as producer of the group's recordings.{{sfn|Fricke|1986}}  Oldham moved the Rolling Stones' sessions to other studios, such as Regent Sound, using other engineers, and for more than a year Johns was not involved with the Rolling Stones recordings.{{sfn|Johns|2014|p=45}}

====As engineer for Shel Talmy====
In 1963, Johns made arrangements to produce and record a session with [[Georgie Fame]],{{sfn|Johns|2014|p=45}} but was paired, only as engineer, with producer [[Shel Talmy]].{{sfn|Bensley|2021}}  Initially he was skeptical, but unexpectedly enjoyed working with Talmy, and the two formed a successful partnership on many recordings for the next couple of years, recording hit songs for acts such as [[the Kinks]] and [[the Who]].{{sfnm|1a1=Bensley|1y=2021|2a1=Ankeny on Johns}}

===Peak years: 1964–1984===
====The Kinks, the Who, and Eric Clapton and as independent====
[[File:The Who in 1965.png|right|thumb|upright=0.8|The Who, pictured in 1965.  With producer Shel Talmy, Glyn Johns engineered many of the early records by the Kinks and the Who in the mid-1960s.  He later went on to produce and engineer with the Who throughout the next decade on albums such as ''[[Who's Next]]'' (1971), ''[[The Who by Numbers]]'' (1975), and ''[[It's Hard]]'' (1983).]]

During the mid 1960s, Johns worked with several of the popular British [[Beat music|beat]] groups of the era.  With producer Shel Talmy he engineered many of the early records by [[the Kinks]] and [[the Who]],{{sfn|Bensley|2021}} such as "[[You Really Got Me]]" and "[[All Day and All of the Night]]" by the Kinks, and "[[My Generation]]" by the Who.{{sfn|Johns|2014|p=46}}

In 1965, Johns left IBC studios to further pursue his solo career as a singer and performer and promote his latest record "Mary Anne", but the record failed to chart.{{sfn|Johns|2014|p=50}}  At the urging of Talmy, Johns began working freelance as an independent producer and engineer—one of the first independent engineers in the UK.{{sfn|Bensley|2021}}  Subsequently, he did sessions at various studios such as Decca, Pye, Marble Arch, and Olympic.{{sfn|Bensley|2021}}

In 1971, Johns reunited with the Who for the first time since the mid-1960s, this time as a co-producer, to work on what became the album ''[[Who's Next]]''.{{sfn|Walsh|2014}}{{efn|The album began as a soundtrack for the multimedia project, ''Lifehouse'', which though abandoned, ended up forming the basis of ''Who's Next.''  The sessions began in New York with Kit Lambert as producer, but were eventually moved to London with Glyn Johns at Olympic Studios.{{sfn|Browne|Fricke|Dolan|Grow|2022}} which Johns co-produced, engineered, and mixed.{{sfn|Johns|2014|pp=180, 294}}}}  According to Pete Townshend in his autobiography:

{{blockquote|Glyn was my model of what a good producer should be—someone who guides the music and creates the right sound—and there was a great mutual respect and fondness between us. We were both perfectionists in the studio who worked quickly.  It was his work as an engineer on the early Who sessions{{nbsp}}... that made them sound so great.{{sfn|Townshend|2012|p=220}}}}

Johns continued to work with the Who throughout the 1970s as an engineer on parts of ''[[Quadrophenia]]'' in 1973.{{sfn|Walsh|2014}}  He produced and engineered ''[[The Who by Numbers]]''{{sfn|Giles on Who|2015}} (1975) and produced early sessions for ''[[Who Are You]]'' (1978) with engineer John Astley, who later took over as producer.{{sfn|Buskin|2005}}  Johns returned to work with the group, producing and engineering 1982's ''[[It's Hard]]''.{{sfn|Tavares|2013}} 

Pete Townshend recruited Johns to engineer ''[[Eric Clapton's Rainbow Concert]]'' in 1973.{{sfn|Johns|2014|p=295}}  Johns produced and engineered [[Eric Clapton]]'s 1977 album, ''[[Slowhand]]'',{{sfnm|1a1=Walsh|1y=2014|2a1=Rother|2y=2014}} which featured hits such as "[[Lay Down Sally]]", "[[Wonderful Tonight]]", and his version of [[J.&nbsp;J. Cale]]'s "[[Cocaine (song)|Cocaine]]",{{sfn|Gallucci|2016}} and Clapton's next album, ''[[Backless]]'' in 1978, which contained another hit "[[Promises (Eric Clapton song)|Promises]]".{{sfn|Flanigin|2021}}  In his autobiography Eric Clapton wrote about Johns:

{{blockquote|He was a disciplinarian who did not like people mucking about or wasting time.  When we were in the studio we were expected to work and he'd get frustrated if there was any goofing off.  Even though we were all getting stoned or drunk we responded to that quite well.  He brought out the best in us, and as a result that album [''Slowhand''] has great playing and a great atmosphere."{{sfn|Clapton|2007|p=174}}}}

====The Rolling Stones 1965–1975====
{{see also|Olympic Studios}}

Though Johns briefly ceased recording the Rolling Stones in late 1963 and 1964, in 1965 he returned to the role on their British sessions and assisted the group with much of their most famous material.{{efn|In the mid-1960s the Rolling Stones divided their recording time between the UK and the US. In 1965 and 1966 they were regularly booked at the RCA studios in Los Angeles with engineer [[Dave Hassinger]].{{sfn|Unterberger on Hassinger}}  When doing sessions in London, they worked with Glyn Johns as engineer.  Johns said that his return to working with the Rolling Stones was the result of a coincidence.{{sfn|Johns|2014|p=56}}  One night while the group was laying down vocal overdubs at IBC, their producer Andrew Loog Oldham needed an engineer.  Their regular engineer was not available, and Johns happened to be on hand.  Oldham asked Johns if he wished to do the session and he agreed.  Johns and Oldham got along well, and the session ran smoothly.{{sfn|Johns|2014|p=56}}  Oldham asked Johns if he wanted to continue engineering with them and Johns accepted.{{sfn|Johns|2014|p=56}}}}  With Johns that year they recorded "[[(I Can't Get No) Satisfaction]]"{{sfn|Johns|2014|p=81}} and the albums ''[[December's Children (And Everybody's)]]''{{sfn|Alan|2015}} and ''[[Out of Our Heads]]''.{{sfn|Johns|2014|p=291}}  Johns worked regularly with the Rolling Stones as engineer for the remainder of the decade and into the mid-1970s—from ''December's Children (And Everybody's)'' (1965) through to ''[[Black and Blue]]'' (1975).{{sfnm|1a1=Johns|1y=2014|1p=57, 217–219|2a1=Bensley|2y=2021}}{{efn|In 1966, Johns and [[Bill Wyman]] of the Rolling Stones formed Freeway Music, a management and production company.{{sfn|Johns|2014|p=59}}}}

Starting with the sessions for ''[[Between the Buttons]]'' in late 1966, Johns and the Rolling Stones began to record extensively at [[Olympic Studios]].{{sfn|Jury|2012}}  Olympic Studios became Johns's preferred studio for many years,{{sfn|Johns|2014|pp=51–52}}{{efn|Johns particularly liked Olympic's Studio 1, whose sound room was converted from an old movie theater and whose acoustics were adaptable to the needs of various types of music, whether a rock band or a sixty-piece orchestra.{{sfn|Johns|2014|pp=51–52}}  All of the control rooms at Olympic were equipped with custom recording consoles designed by Dick Swettenham.{{sfn|Johns|2014|p=52}} At Johns' suggestion, Swettenham later went on to form [[Helios Electronics]] in 1969 (with record executive/entrepreneur [[Chris Blackwell]]).{{sfn|Johns|2014|p=71}} The company made recording consoles that were used on many recordings during the 1970s,{{sfn|Johns|2014|p=71}}}} and it became one of the most in-demand recording facilities in England.{{sfn|Havers|2014}}

[[File:Jagger-Richards.jpg|thumb|upright=0.8|Mick Jagger and Keith Richards of the Rolling Stones pictured in 1972.  Glyn Johns engineered many of the group's recordings during the 1960s and 1970s.]]
In 1968 the Rolling Stones expressed the desire to work with an American producer and Johns recommended [[Jimmy Miller]], who he had seen working with [[Traffic (band)|Traffic]].{{sfn|Brown|2000}}  Johns stayed on as engineer, and with this team the group recorded ''[[Beggars Banquet]]'' (1968){{sfn|Walsh|2014}} and ''[[Let It Bleed]]'' (1969).{{sfn|Walsh|2014}}  Glyn Johns engineered some of the tracks on ''[[Sticky Fingers]]'' (1971),{{sfn|Hopkins|2021}} and ''[[Exile on Main St.]]'' (1972),{{sfn|Johns|2014|p=294}} both produced by Jimmy Miller.  On these two albums his brother, [[Andy Johns]], also worked as an engineer.{{sfn|Johns|2014|pp=163, 181}}{{efn|While recording ''Sticky Fingers'' in 1971, Johns had to leave the sessions to handle commitments in [[Los Angeles]] and thus recommended his younger brother Andy Johns to assist the group with the album.{{sfn|Johns|2014|pp=163, 181}}  The younger Johns had followed his brother's footsteps becoming an engineer,{{sfn|Danton|2013}} in the late 1960s under the tutelage of [[Eddie Kramer]] (while Kramer was recording Jimi Hendrix),{{sfn|Ward|2012}} and went on to work with artists such as the Rolling Stones, Led Zeppelin, [[Rod Stewart]], [[Jethro Tull (band)|Jethro Tull]], [[Television (band)|Television]], and [[Van Halen]].{{sfnm|1a1=Danton|1y=2013|2a1=Ward|2y=2012}}}}  His brother engineered ''[[Goat's Head Soup]]'', the last Rolling Stones album produced by Jimmy Miller.{{sfn|Scoppa|2020}}  Glyn Johns contributed to certain tracks on ''[[It's Only Rock 'n Roll]]'',{{sfn|Johns|2014|pp=214, 295–296}} and returned as chief recording engineer on the early sessions for ''[[Black and Blue]]''.{{sfn|Johns|2014|pp=219–220}}{{efn|Though Mick Taylor had recently left the band, Johns was satisfied with first round of sessions in Munich, but became frustrated during the subsequent Rotterdam sessions, where tapings were constantly delayed whilst the group auditioned dozens of guitarists in search of a replacement for Taylor.{{sfn|Johns|2014|p=219}}  Following a bitter argument with [[Keith Richards]], Johns quit the sessions and ended his association with the Rolling Stones.{{sfn|Johns|2014|pp=219–220}}}}

====The Small Faces, the Faces, Humble Pie, and Ronnie Lane and Pete Townshend====
In the 1960s, Johns engineered many of the records made by [[the Small Faces]],{{sfn|Staff at Goldmine|2015}} such as "[[Whatcha Gonna Do About It]]"{{sfn|Staff at Goldmine|2015}} "[[Tin Soldier (song)|Tin Soldier]]",{{sfn|Mulholland|2014}} their 1967 hit, "[[Itchycoo Park]]",{{sfn|Sexton|2022}} which featured the use of bizarre phasing effects{{sfn|Mulholland|2014}} Johns learned from another Olympic engineer, [[George Chkiantz]].{{sfn|Johns|2014|p=203}}{{efn|Johns describes this effect as "phasing".{{sfn|Johns|2014|pp=202–203}}}}  Johns engineered the Small Faces' 1968 LP, ''[[Ogdens' Nut Gone Flake]]''.{{sfn|Hart|2018}}

After the group's breakup, guitarist and lead vocalist [[Steve Marriot]] formed [[Humble Pie (band)|Humble Pie]], whose membership included [[Peter Frampton]]—Johns produced engineered their third and fourth albums, ''[[Humble Pie (album)|Humble Pie]]''{{sfn|Bell|2018}} and ''[[Rock On (Humble Pie album)|Rock On]]''.{{sfn|Greenwald on Humble Pie}}{{efn|Glyn Johns's brother, Andy Johns, engineered Humble Pie's first two albums.{{sfn|Barker|2013}}}}  The other former Small Faces, [[Ronnie Lane]], [[Ian McLagan]], and [[Kenney Jones]], joined with [[Rod Stewart]] and [[Ronnie Wood]], both from [[Jeff Beck Group]] to form [[Faces (band)|the Faces]], and Johns engineered and co-produced (with the band) the albums ''[[A Nod Is as Good as a Wink... to a Blind Horse]]''{{sfn|Landau|1972}} and ''[[Ooh La La (Faces album)|Ooh La La]]''.{{sfn|Zimmerman|2023}}  During the 1970s, after leaving the Faces, Ronnie Lane worked on several projects including the ''[[Rough Mix]]'' album with [[Pete Townshend]], which was produced by Glyn Johns.{{sfn|Leviton|2020}}  Lane began to experience health problems and was diagnosed with [[multiple sclerosis]].{{sfn|Reavis|1986}}  In 1983, Eric Clapton and Johns helped organize the [[ARMS Charity Concerts]] to raise money for Lane's medical bills and research for the disease,{{sfn|Johns|2014|pp=260–261}} and assembled a cast of musicians for the show, which included Clapton, Jimmy Page, [[Bill Wyman]], [[Charlie Watts]], [[Steve Winwood]] and others.{{sfnm|1a1=Scapelliti|1y=2019|2a1=Reavis|2y=1986}}

====Led Zeppelin====

Johns engineered [[Led Zeppelin]]'s [[Led Zeppelin (album)|debut album]] recorded in October 1968. Though Jimmy Page was credited as producer, Johns was involved in the production during the making of the album.{{sfn|Spitz|2021|pp=144, 171–172}}  According to Johns, when working on the album, he developed his method of using three microphones to record drums for stereo mixes.{{sfn|Johns|2014|pp=115–118}}

====The Beatles====

Glyn Johns worked as the chief recording engineer on [[the Beatles]]' [[Let It Be (album)#Recording and production|"Get Back" sessions]], which were both taped and filmed.{{sfn|Lewisohn|1988|pp=164–165}}  The project resulted the ''[[Let It Be (album)|Let It Be]]'' album{{sfn|Lewisohn|1988|p=199}} and ''[[Let It Be (1970 film)|Let it Be]]'' (1970){{sfn|Wessman|2021}} and ''[[The Beatles: Get Back]]'' (2021){{sfn|Runtagh|2021}} [[Documentary film|documentary]] films.  In 1969, Paul McCartney called Johns and asked him to assist with sessions.{{sfnm|1a1=Runtagh|1y=2021|2a1=Lewisohn|2y=1988|2pp=164–165|3a1=Walsh|3y=2014}}  George Martin, though officially listed as the producer, only made occasional appearances.{{sfn|Golsen|2022}}  During taping and shooting, [[John Lennon]] in jest referred to him as "Glynis" (referring to the apparently unrelated actress [[Glynis Johns]]).{{sfnm|1a1=Lewisohn|1y=1988|1p=165|2a1=Beaumont|2y=2021}}

According to Johns, he suggested the band play a [[The Beatles' rooftop concert|concert on the rooftop]] of their [[Apple Studio]] facility, where much of the sessions were being recorded and filmed,{{sfn|Johns|2014|p=129}} and rigged the recording wires onto the rooftop connected to control room for the performance.{{sfn|Walsh|2014}}  He also recommended that the album be structured as an "audio documentary" with talk and banter included between each track.{{sfn|Johns|2014|p=129}}  Johns helped the band compile several versions of the album,{{sfn|Lewisohn|1988|pp=176, 196}} all of which got shelved{{sfn|Lewisohn|1988|pp=176, 196–197}} before the project was turned over to producer [[Phil Spector]] in 1970, who reworked it and released it as the album ''[[Let It Be (album)|Let It Be]]''.{{sfn|Lewisohn|1988|pp=197–199}}{{efn|Johns was critical of Spector's re-produced version, calling it "a syrupy load of bullshit".{{sfnm|1a1=Lewisohn|1y=1988|1p=199|The Independent|2014}}}}

Johns engineered early recorded parts of the song "[[I Want You (She's So Heavy)]]" at [[Trident Studios]]{{sfn|Lewisohn|1988|p=170}} on 23 February 1969, that in later finished form appeared on the ''[[Abbey Road]]'' album.{{sfn|Lewisohn|1988|pp=173–174, 186, 191–92}}  For ''Abbey Road''{{'s}} remaining tracks, the group returned to [[Abbey Road Studios|EMI Studios]] and re-united with producer [[George Martin]] and a team of engineers including [[Geoff Emerick]], [[Phil McDonald]], and [[Alan Parsons]].{{sfn|Lewisohn|1988|pp=173–192}}

Johns assisted with early sessions of [[Paul McCartney and Wings]]' ''[[Red Rose Speedway]]''.{{sfn|DeRiso|2018}}{{efn|Some sources mention Johns as the producer, but in his autobiography Johns does not take credit for that role, nor does the list at the end of the book credit him as producer.}}  Johns quit the project due to what he described as his lack of satisfaction with the material.{{sfn|Johns|2014|p=192}}

====Procol Harum, Joe Cocker, the Move, and the Easybeats and others====

Johns also worked with other British acts such as [[Procol Harum]],{{sfnm|1a1=Walsh|1y=2014|2a1=Fremer|2y=2016}} [[Joe Cocker]],{{sfn|Walsh|2014}} [[the Move]],{{sfn|Johns|2014|p=184}} and [[Fairport Convention]].{{sfn|Hatfield|2004}}  He engineered several songs by Australia's [[the Easybeats]],{{sfnm|1a1=Ankeny on Johns|2a1=Marks|2a2=McIntyre|2y=2010|2p=130}} including their 1967 hit "[[Friday on My Mind]]", which was produced by Shel Talmy.{{sfn|Marks|McIntyre|2010|p=130}}  Johns worked with the French musician [[Johnny Hallyday]].{{sfn|Drum Mag.}}

====The Steve Miller Band, Bob Dylan, the Band, the Eagles====
In the late 1960s and 1970s, Johns was in demand on both sides of the [[Atlantic Ocean|Atlantic]] and worked with American acts such as [[the Steve Miller Band]], and the [[Eagles (band)|Eagles]].{{sfn|Ankeny on Johns}}  Johns did his first work with an American act in 1968 with the Steve Miller Band, whom he had seen perform live at [[the Fillmore]] in [[San Francisco]].{{sfn|Johns|2014|pp=98–99}}  The group came to England to record their debut album, ''[[Children of the Future (album)|Children of the Future]]'', at Olympic with Johns as engineer.{{sfn|Johns|2014|p=99}} 
During the sessions, Johns assumed the role of producer.{{sfnm|1a1=Johns|1y=2014|1pp=101–102|2a1=Hanson on Miller}}  Johns produced and engineered their next three albums, ''[[Sailor (Steve Miller Band album)|Sailor]],''{{sfn|Brown|1990|p=1225}} ''[[Brave New World (Steve Miller Band album)|Brave New World]]'',{{sfn|Ankeny on Johns}} and ''[[Your Saving Grace]]''.{{sfn|Planer on Miller}}

[[File:Eagles in concert September 2014.jpg|thumb|upright=1.25|Glyn Johns produced and engineered the [[Eagles (band)|Eagles]]' first three albums in the early- to mid-1970s.]]
At the request of producer [[Bob Johnston]],{{sfn|Johns|2014|p=154}} Johns engineered the live recordings of Bob Dylan's performance backed by [[the Band]] at the [[Isle of Wight Festival]] in 1969,{{sfn|Johns|2014|p=154}} some of which appeared on his 1970 ''[[Self Portrait (Bob Dylan album)|Self Portrait]]'' album.{{sfnm|1a1=Love|1y=2016|2a1=Walsh|2y=2014}}  He later produced and engineered Dylan's 1984 live album, ''[[Real Live]]''.{{sfn|Michaels|2014}}  Johns also did one of the mixes for the Band's ''[[Stage Fright (album)|Stage Fright]]'' in 1970.{{sfnm|1a1=Chelstowski|1y=2021|2a1=Walsh|2y=2014}}{{efn|[[Todd Rundgren]] did another mix for the album.  It has been debated which mix appeared on the first Capitol pressing of the album.{{sfn|Chelstowski|2021}}}}

Johns engineered and produced the Eagles' first three albums, bringing them to Olympic Studios in London to record their [[The Eagles (album)|self-titled debut]],{{sfnm|1a1=Johns|1y=2014|1p=192|2a1=Moore|2y=2022}} followed by ''[[Desperado (Eagles album)|Desperado]]'',{{sfn|Walsh|2014}} and the early sessions for ''On the Border''.{{sfn|Giles on Eagles|2016}}  During these years they achieved success, recording hits such as "[[Witchy Woman]]", "[[Tequila Sunrise (Eagles song)|Tequila Sunrise]]", and "[[Best of My Love (Eagles song)|Best of My Love]]", which became their first number one hit single.{{sfn|Giles on Eagles|2016}}  Increasingly the group began to develop internal friction and with Johns.{{sfn|Giles on Eagles|2016}}  They also objected to Johns' ban on use of drugs in the studio.{{sfn|Giles on Eagles|2016}}  By 1974, singer/guitarist [[Glenn Frey]] and drummer/vocalist [[Don Henley]] gained control of the band,{{sfn|Giles on Eagles|2016}} and sought a more hard-rocking approach.{{sfn|Giles on Eagles|2016}}  Johns, who preferred their early [[country rock|country-rock]] orientation,{{sfnm|1a1=Johns|1y=2014|1p=202|2a1=Giles on Eagles|2y=2016}} fell out of favour with the group and left during the making of ''On the Border'', so they moved the sessions to [[California]] and brought in producer/engineer [[Bill Szymczyk]] to finish the album.{{sfn|Giles on Eagles|2016}}  Eventually, [[Randy Meisner]] and [[Bernie Leadon]] departed,{{sfn|Wilson|2020}} and the band recruited [[Don Felder]] and former [[James Gang]] guitarist [[Joe Walsh]].{{sfn|Yeniocak|2022}}

====Other American acts====
Johns engineered and co-produced the first two albums by [[the Ozark Mountain Daredevils]], which provided the hits "[[If You Wanna Get to Heaven]]" and "[[Jackie Blue (song)|Jackie Blue]]".{{sfn|Foley|2021}}  Johns worked with others such as [[Spooky Tooth]],{{sfn|Drum Mag.}} [[Billy Preston]],{{sfnm|1a1=Johns|1y=2014|1p=159|2a1=Liner Notes.com on Preston}} and [[Howlin' Wolf]].{{sfn|Black|2020}}  Johns engineered the song "[[A Man Needs a Maid (song)|A Man Needs a Maid]]" on [[Neil Young]]'s 1971 ''[[Harvest (Neil Young album)|Harvest]]'' album.{{sfn|Aswad|2022}}  Johns has also worked with [[Emmylou Harris]].{{sfn|Ankeny on Johns}}

====Joan Armatrading====
[[File:Joan armatrading.jpg|thumb|upright=0.8|Glyn Johns produced three albums by [[Joan Armatrading]] in the 1970s.]]
After assessing the disappointing sales of [[Joan Armatrading]]'s second album, [[A&M Records]] selected Johns to produce her next three albums,{{sfn|Futrell et al.|1982|p=170}} beginning in 1976 with ''[[Joan Armatrading (album)|Joan Armatrading]]'',{{sfn|Melody Maker|1975}} followed by ''[[Show Some Emotion (album)|Show Some Emotion]]'' (1977), and ''[[To the Limit (album)|To the Limit]]'' (1978).{{sfn|Monger on Armatrading}} Providing Armatrading with her first chart hit, "[[Love and Affection]]", the eponymous third album cemented her career, and was once described by Johns as his best work.{{sfn|Futrell et al.|1982|p=170}}

====The Clash====
In 1982, Johns worked with [[the Clash]] during the late stages of making the album ''[[Combat Rock]]''.{{sfn|Gray|2004|p=386}}  Initially it was intended to be a double album tentatively under the working title ''Rat Patrol from Fort Brag''.{{sfn|Gray|2004|pp=385–386}} The group's chief songwriters [[Mick Jones (The Clash guitarist)|Mick Jones]] and [[Joe Strummer]] disagreed on how to proceed, and according to Johns even booked separate studios in New York to do their own competing mixes of the album.{{sfn|Johns|2014|p=252}}{{efn|It is well known that Mick Jones did a mix prior to the arrival of Glyn Johns, but in Glyn Johns's autobiography, he mentions that both Strummer and Jones did mixes.}}  According to Clash biographer Marcus Gray, the group's manager  [[Bernie Rhodes]], pushed to bring in either [[Gus Dudgeon]], who had produced [[Elton John]], or Glyn Johns.{{sfn|Gray|2004|p=386}}{{efn|The situation that Gray recounts is somewhat confusing. Gray indicates that Rhodes may have meant Glyn Johns when he proposed Dungeon.}}  Johns recounts that the chief of London's [[Columbia Records|CBS Records]] [[A & R]] department, [[Muff Winwood]] (brother of musician Steve Winwood), having been dissatisfied with Jones' and Strummer's mixes, asked Johns to remix the album.{{sfn|Johns|2014|p=252}}  Johns agreed and, upon hearing an acetate of one of the previous mixes, was concerned about the record's apparent self-indulgence, but was also impressed with many of its tracks and realised that there was enough strong material to make a good album.{{sfn|Johns|2014|p=254}}  Johns recommended that the album be shortened to one disc, and proceeded to reduce the number of tracks for inclusion, plus he edited down the length of several tracks in addition to remixing all of the songs that ended up on the final release.{{sfnm|1a1=Johns|1y=2014|1p=255|2a1=Gray|2y=2004|2pp=386–387}}{{efn|In similar fashion, Johns helped the Who pare down Pete Townshend's sprawling [[Lifehouse (rock opera)|''Lifehouse'' concept]] into the more concise ''Who's Next'' (1971).{{sfn|Gray|2004|p=386}}}}

===1985–present===
Though Johns's output slowed in the mid-1980s, he undertook work with [[Midnight Oil]], [[Nanci Griffith]], [[Belly (band)|Belly]],{{sfn|Ankeny on Johns}} [[New Model Army (band)|New Model Army]],{{sfn|Huey on NMA}} [[Joe Satriani]],{{sfn|Renzi|1996}} [[John Hiatt]],{{sfn|Hochman|2001}} [[Buckacre]],{{sfn|Drum Mag.}} [[Gallagher and Lyle]],{{sfn|Ofjord on Seeds album}} [[Georgie Fame]],{{sfn|Drum Mag.}} [[Helen Watson (singer-songwriter)|Helen Watson]],{{sfn|Drum Mag.}} and many others.{{sfn|Johns|2014|pp=297–300}}  Johns produced much of [[Linda Ronstadt]]'s 1998 ''[[We Ran]]'' album.{{sfn|Erlewine on Ronstadt}}

In 2011, after a number of years spent largely away from production, Johns worked with [[Ryan Adams]] on his album, ''[[Ashes & Fire]]''.{{sfn|Schneider|2011}}  In February 2012, Johns began work on the [[Band of Horses]] album, ''[[Mirage Rock]]''.{{sfn|Marchese|2012}}  Johns and Clapton collaborated once again for Clapton's 2016 release ''[[I Still Do]]''.{{sfn|Brennan|2016}}