Glyn Johns

Glyn Thomas Johns (born 15 February 1942) 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 1964–1984 marked Johns's peak era of activity in which he engineered or produced numerous hit records. In 1965 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 (1970) and The Beatles: Get Back (2021). Since 1984 Johns has continued to be active in the industry.

Johns is the father of Ethan Johns, and the older brother of Andy Johns (1950–2013), 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 2012, Johns was inducted into the Rock and Roll Hall of Fame, receiving the Award for Musical Excellence.

Early life

Johns was born in Epsom, Surrey, England, on 15 February 1942,Template:Sfn and is the older brother of Andy Johns.Template:Sfn In his autobiography, Glyn Johns recounts that at the age of eight he joined a local church choir as a boy soprano.Template:Sfn Felton Rapley, considered one of the leading pipe organists in the UK at the time, became the choirmaster, and as Johns progressed, Johns was given occasional solos and eventually rose to head chorister at the age of eleven.Template:Sfnm Johns attributes his experience in the choir, particularly hearing and watching Rapley play the organ, as having a profound impact on his musical direction.Template:Sfn As he approached adolescence, Johns left the choir after his vocal cords began to change.Template:Sfn

Johns recounts that his next-door neighbour lent him a Guild electric guitar, which sparked his interest playing guitar. At this time Johns was attending the church's Wednesday night youth club, where for the first time he saw Jimmy Page play guitar.Template:Sfn Johns became a fan of traditional jazz and joined a local ragtag jazz band on tea chest bass.Template:Sfn He cites the record "Little Rock Getaway" by Les Paul and Mary Ford as an influence.Template:Sfn Les Paul was one of the first musicians to experiment with tape multi-tracking and sound effects.Template:Sfn Lonnie Donegan's skiffle hit version of Lead Belly's "Rock Island Line" was also influential—according to Johns, "I had heard nothing like it and rushed out to buy it the next day".Template:Sfn He soon bought his own guitar and was introduced to blues and folk recordings by a neighbour, who lent him records by artists such as Snooks Eaglin, Brownie McGhee, Sonny Terry, Woody Guthrie, and Burl Ives.Template:Sfn Johns began to keep company with a group of friends interested in music, whose ranks included Ian Stewart (later in the Rolling Stones).Template:Sfn In 1959 at the age of 17, Johns left school, and with Mayhew and Golding formed the band the Presidents.Template:Sfn

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.Template:Sfn Johns has also recorded as a solo musical artist.Template:Sfn

Early years: 1959–1963

IBC Studios and as performing artist

File:LonnieDonegan1956.jpg

Glyn Johns's first session as a recording engineer was for popular skiffle singer Lonnie Donegan (pictured above) at IBC Studios in London, 1959

In 1959, Johns began his career as an assistant recording engineer at IBC Studios on Portland Place in London.Template:Sfnm IBC was an independent recording studio and had no affiliation with a label.Template:Sfnm Johns recounts that his early duties included odd tasks and providing basic support for the experienced engineers.Template:Sfn His first session as a recording engineer was for the popular skiffle singer Lonnie Donegan.Template:Sfnm

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 mono (except for classical music).Template:Sfn During Johns's first year at IBC, the popularity of rock and roll increased and demand for records that sounded more American.Template:Sfn Engineers were confronted with the challenge of capturing louder music.Template:Sfn Younger engineers were more apt to try new approaches, and Terry Johnson, another young engineer at IBC, convinced Johns to move in this direction.Template:Sfn Johns recounts that 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.Template:Sfn They engineered pre-recorded tracks for the Oh Boy! television programme, which featured leading British rock and roll performers of the day, such as Joe Brown, Marty Wilde, Billy Fury, Wee Willie Harris, and others.Template:Sfn

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.Template:Sfn Johns's first single, "Sioux Indian", was produced by Jack GoodTemplate:Sfn and the next two produced by Tony Meehan.Template:Sfn Johns later went on to record for Pye RecordsTemplate:Sfn and Immediate Records,Template:Sfn but none of his solo records became hits.Template:Sfnm

During this time, Johns was playing in the Presidents,Template:Sfn who, according to Johns, began to put the phrase "Featuring Decca Recording Star Glyn Johns" on their posters.Template:Sfn 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.Template:Sfn 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.Template:Sfn Johns recounts that his first session as chief engineer was for a recording by Joe Brown, which was produced by Tony Hatch.Template:SfnTemplate:Efn In 1962, Johns entered into an arrangement with George Clouston, the manager at IBC studios, to let him produce records by certain artists.Template:Sfn

The Rolling Stones 1962–1963

Template:See also Johns's friend, Ian Stewart was playing piano with the Rolling Stones.Template:Sfn 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.Template:Sfnm It was through Stewart that Johns became involved in recording the Rolling Stones on their earliest recordings.Template:Sfn Johns mentions that in March 1963, he brought them to IBC to record several tracks.Template:Sfnm 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.Template:Sfn 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.Template:Sfn

As engineer for Shel Talmy

In 1963, Johns made arrangements to produce and record a session with Georgie Fame,Template:Sfn but was paired, only as engineer, with producer Shel Talmy.Template:Sfn 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.Template:Sfnm

Peak years: 1964–1984

The Kinks, the Who, and Eric Clapton and as independent

File:The Who in 1965.png

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 groups of the era. With producer Shel Talmy he engineered many of the early records by the Kinks and the Who,Template:Sfn such as "You Really Got Me" and "All Day and All of the Night" by the Kinks, and "My Generation" by the Who.Template:Sfn

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.Template:Sfn At the urging of Talmy, Johns began working freelance as an independent producer and engineer—one of the first independent engineers in the UK.Template:Sfn Subsequently, he did sessions at various studios such as Decca, Pye, Marble Arch, and Olympic.Template:Sfn

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.Template:SfnTemplate:Efn According to Pete Townshend in his autobiography:

Johns continued to work with the Who throughout the 1970s as an engineer on parts of Quadrophenia in 1973.Template:Sfn He produced and engineered The Who by NumbersTemplate:Sfn (1975) and produced early sessions for Who Are You (1978) with engineer John Astley, who later took over as producer.Template:Sfn Johns returned to work with the group, producing and engineering 1982's It's Hard.Template:Sfn

Pete Townshend recruited Johns to engineer Eric Clapton's Rainbow Concert in 1973.Template:Sfn Johns produced and engineered Eric Clapton's 1977 album, Slowhand,Template:Sfnm which featured hits such as "Lay Down Sally", "Wonderful Tonight", and his version of J. J. Cale's "Cocaine",Template:Sfn and Clapton's next album, Backless in 1978, which contained another hit "Promises".Template:Sfn In his autobiography Eric Clapton wrote about Johns:

The Rolling Stones 1965–1975

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.Template:Efn With Johns that year they recorded "(I Can't Get No) Satisfaction"Template:Sfn and the albums December's Children (And Everybody's)Template:Sfn and Out of Our Heads.Template:Sfn 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).Template:SfnmTemplate:Efn

Starting with the sessions for Between the Buttons in late 1966, Johns and the Rolling Stones began to record extensively at Olympic Studios.Template:Sfn Olympic Studios became Johns's preferred studio for many years,Template:SfnTemplate:Efn and it became one of the most in-demand recording facilities in England.Template:Sfn

File:Jagger-Richards.jpg

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.Template:Sfn Johns stayed on as engineer, and with this team the group recorded Beggars Banquet (1968)Template:Sfn and Let It Bleed (1969).Template:Sfn Glyn Johns engineered some of the tracks on Sticky Fingers (1971),Template:Sfn and Exile on Main St. (1972),Template:Sfn both produced by Jimmy Miller. On these two albums his brother, Andy Johns, also worked as an engineer.Template:SfnTemplate:Efn His brother engineered Goat's Head Soup, the last Rolling Stones album produced by Jimmy Miller.Template:Sfn Glyn Johns contributed to certain tracks on It's Only Rock 'n Roll,Template:Sfn and returned as chief recording engineer on the early sessions for Black and Blue.Template:SfnTemplate:Efn

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,Template:Sfn such as "Whatcha Gonna Do About It"Template:Sfn "Tin Soldier",Template:Sfn their 1967 hit, "Itchycoo Park",Template:Sfn which featured the use of bizarre phasing effectsTemplate:Sfn Johns learned from another Olympic engineer, George Chkiantz.Template:SfnTemplate:Efn Johns engineered the Small Faces' 1968 LP, Ogdens' Nut Gone Flake.Template:Sfn

After the group's breakup, guitarist and lead vocalist Steve Marriot formed Humble Pie, whose membership included Peter Frampton—Johns produced engineered their third and fourth albums, Humble PieTemplate:Sfn and Rock On.Template:SfnTemplate:Efn 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 the Faces, and Johns engineered and co-produced (with the band) the albums A Nod Is as Good as a Wink... to a Blind HorseTemplate:Sfn and Ooh La La.Template:Sfn 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.Template:Sfn Lane began to experience health problems and was diagnosed with multiple sclerosis.Template:Sfn 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,Template:Sfn and assembled a cast of musicians for the show, which included Clapton, Jimmy Page, Bill Wyman, Charlie Watts, Steve Winwood and others.Template:Sfnm

Led Zeppelin

Johns engineered Led Zeppelin's 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.Template:Sfn According to Johns, when working on the album, he developed his method of using three microphones to record drums for stereo mixes.Template:Sfn

The Beatles

Glyn Johns worked as the chief recording engineer on the Beatles' "Get Back" sessions, which were both taped and filmed.Template:Sfn The project resulted the Let It Be albumTemplate:Sfn and Let it Be (1970)Template:Sfn and The Beatles: Get Back (2021)Template:Sfn documentary films. In 1969, Paul McCartney called Johns and asked him to assist with sessions.Template:Sfnm George Martin, though officially listed as the producer, only made occasional appearances.Template:Sfn During taping and shooting, John Lennon in jest referred to him as "Glynis" (referring to the apparently unrelated actress Glynis Johns).Template:Sfnm

According to Johns, he suggested the band play a concert on the rooftop of their Apple Studio facility, where much of the sessions were being recorded and filmed,Template:Sfn and rigged the recording wires onto the rooftop connected to control room for the performance.Template:Sfn He also recommended that the album be structured as an "audio documentary" with talk and banter included between each track.Template:Sfn Johns helped the band compile several versions of the album,Template:Sfn all of which got shelvedTemplate:Sfn before the project was turned over to producer Phil Spector in 1970, who reworked it and released it as the album Let It Be.Template:SfnTemplate:Efn

Johns engineered early recorded parts of the song "I Want You (She's So Heavy)" at Trident StudiosTemplate:Sfn on 23 February 1969, that in later finished form appeared on the Abbey Road album.Template:Sfn For Abbey RoadTemplate:'s remaining tracks, the group returned to EMI Studios and re-united with producer George Martin and a team of engineers including Geoff Emerick, Phil McDonald, and Alan Parsons.Template:Sfn

Johns assisted with early sessions of Paul McCartney and Wings' Red Rose Speedway.Template:SfnTemplate:Efn Johns quit the project due to what he described as his lack of satisfaction with the material.Template:Sfn

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

Johns also worked with other British acts such as Procol Harum,Template:Sfnm Joe Cocker,Template:Sfn the Move,Template:Sfn and Fairport Convention.Template:Sfn He engineered several songs by Australia's the Easybeats,Template:Sfnm including their 1967 hit "Friday on My Mind", which was produced by Shel Talmy.Template:Sfn Johns worked with the French musician Johnny Hallyday.Template:Sfn

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 and worked with American acts such as the Steve Miller Band, and the Eagles.Template:Sfn 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.Template:Sfn The group came to England to record their debut album, Children of the Future, at Olympic with Johns as engineer.Template:Sfn During the sessions, Johns assumed the role of producer.Template:Sfnm Johns produced and engineered their next three albums, Sailor,Template:Sfn Brave New World,Template:Sfn and Your Saving Grace.Template:Sfn

File:Eagles in concert September 2014.jpg

Glyn Johns produced and engineered the Eagles' first three albums in the early- to mid-1970s.

At the request of producer Bob Johnston,Template:Sfn Johns engineered the live recordings of Bob Dylan's performance backed by the Band at the Isle of Wight Festival in 1969,Template:Sfn some of which appeared on his 1970 Self Portrait album.Template:Sfnm He later produced and engineered Dylan's 1984 live album, Real Live.Template:Sfn Johns also did one of the mixes for the Band's Stage Fright in 1970.Template:SfnmTemplate:Efn

Johns engineered and produced the Eagles' first three albums, bringing them to Olympic Studios in London to record their self-titled debut,Template:Sfnm followed by Desperado,Template:Sfn and the early sessions for On the Border.Template:Sfn During these years they achieved success, recording hits such as "Witchy Woman", "Tequila Sunrise", and "Best of My Love", which became their first number one hit single.Template:Sfn Increasingly the group began to develop internal friction and with Johns.Template:Sfn They also objected to Johns' ban on use of drugs in the studio.Template:Sfn By 1974, singer/guitarist Glenn Frey and drummer/vocalist Don Henley gained control of the band,Template:Sfn and sought a more hard-rocking approach.Template:Sfn Johns, who preferred their early country-rock orientation,Template:Sfnm 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.Template:Sfn Eventually, Randy Meisner and Bernie Leadon departed,Template:Sfn and the band recruited Don Felder and former James Gang guitarist Joe Walsh.Template:Sfn

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".Template:Sfn Johns worked with others such as Spooky Tooth,Template:Sfn Billy Preston,Template:Sfnm and Howlin' Wolf.Template:Sfn Johns engineered the song "A Man Needs a Maid" on Neil Young's 1971 Harvest album.Template:Sfn Johns has also worked with Emmylou Harris.Template:Sfn

Joan Armatrading

File:Joan armatrading.jpg

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,Template:Sfn beginning in 1976 with Joan Armatrading,Template:Sfn followed by Show Some Emotion (1977), and To the Limit (1978).Template:Sfn 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.Template:Sfn

The Clash

In 1982, Johns worked with the Clash during the late stages of making the album Combat Rock.Template:Sfn Initially it was intended to be a double album tentatively under the working title Rat Patrol from Fort Brag.Template:Sfn The group's chief songwriters 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.Template:SfnTemplate:Efn 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.Template:SfnTemplate:Efn Johns recounts that the chief of London's 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.Template:Sfn 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.Template:Sfn 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.Template:SfnmTemplate:Efn

1985–present

Though Johns's output slowed in the mid-1980s, he undertook work with Midnight Oil, Nanci Griffith, Belly,Template:Sfn New Model Army,Template:Sfn Joe Satriani,Template:Sfn John Hiatt,Template:Sfn Buckacre,Template:Sfn Gallagher and Lyle,Template:Sfn Georgie Fame,Template:Sfn Helen Watson,Template:Sfn and many others.Template:Sfn Johns produced much of Linda Ronstadt's 1998 We Ran album.Template:Sfn

In 2011, after a number of years spent largely away from production, Johns worked with Ryan Adams on his album, Ashes & Fire.Template:Sfn In February 2012, Johns began work on the Band of Horses album, Mirage Rock.Template:Sfn Johns and Clapton collaborated once again for Clapton's 2016 release I Still Do.Template:Sfn

Approach to recording

Johns has stated that he prefers, when possible, to record instrumental tracks with musicians playing together live in the studio as a collective unit, using a limited number of microphones and tracks—in a space suitable for ensemble playing that has unique acoustical characteristics,Template:Sfn and he generally prefers recording the basic track from one continuous take of a whole performance, rather than editing together different pieces.Template:Sfn

"I have never lost the value of musicians interacting with one another as they play. This can be so subtle and invariably is nothing more than a subconscious emotive reaction to what others are playing around you, with what you are contributing having the same effect on them. When a musician overdubs his or her part onto an existing track, this ceases to be a two-way interaction.Template:Sfn

Johns developed an approach for recording drums in stereo, sometimes referred to as the "Glyn Johns Method", that aims to achieve a natural perspective of the whole kit, rarely employing more than three or four microphones.Template:Sfnm His method consists of using two overhead microphones, with one placed over the snare drum and the other slightly over and to the right of the floor tom (both pointed towards and equidistant from the snare drum), as well as a third microphone set in front of the bass drum. He sometimes uses an additional close mic for the snare drum.Template:Sfnm

Family

Glyn Johns is the older brother of the producer and engineer Andy Johns (1950–2013),Template:Sfn who began as an engineer with Jimi Hendrix under the tutelage of Eddie Kramer,Template:Sfn and like Glyn Johns, worked with the Rolling Stones and Led Zeppelin.Template:Sfnm Glyn Johns has two older sisters.Template:Sfn

With Glyn Johns's first wife Sylvia, Johns had two children, including a son Ethan Johns, who is a producer and engineer who has worked with artists such as Paul McCartney, Kings of Leon, and like his father Ryan Adams,Template:Sfn as well as a daughter Abigail Johns.Template:Sfn

Glyn Johns is the uncle of the blues musician Will Johns (son of Andy Johns).Template:Sfn

Legacy

Glyn Johns is recognized as one of the pre-eminent audio engineers and record producers of the rock era. On 14 April 2012, he was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio. He received an Award for Musical Excellence and was honoured for his work on landmark recordings by many famous artists.Template:Sfn He was also the winner of the 2013 Music Producers Guild Inspiration Award.Template:Sfn

Johns has written an autobiography titled Sound Man, published by Blue Rider Press on 13 November 2014,Template:Sfn in which he recounts his experiences working with the Rolling Stones, the Beatles, the Who, the Eagles, Crosby, Stills and Nash, and others.Template:Sfn

References

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