Editing Glyn Johns (section)

====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}}}}