Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles , Eric Clapton, the Faces . . .

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Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles , Eric Clapton, the Faces . . .

Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles , Eric Clapton, the Faces . . .

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Having delivered the mixed master of my version of Let It Be, I approached each member of the band separately, asking if I could have a production credit on the album when it was released. This is a discography of records (primarily albums) produced, engineered, and/or mixed by Glyn Johns for various acts. David Geffen had to convince Johns to produce the band as he admits being bored seeing the Flying Burrito Brothers (featuring Eagles guitarist Bernie Leadon) perform.

Glyn is still clearly moved by the music Zeppelin made in the studio as he was recording them for the first time. There were a couple of occasions when finally putting the album together I would play back earlier mixes that I had done on my own, to compare with the one they had chosen after hours of farting around, and in the cold light of day they would agree that mine were better. How did you feel about the reaction to the book, the sales, reception, and reviews, at the end of the day? They dominated the charts in the UK, along with ballad singers like Doris Day, Tony Bennett, and Perry Como.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. Most likely it was easy for the author to put his memories to paper thanks to the fact that he didn’t plunge to the depths of drugs and drink so many rock stars do.

The ensuing years were full of excitement, much adrenaline, many dawn choruses, and extremes of every emotion you can imagine. Jones changed his tune and later was friendlier to Johns and the band had their biggest album and reached larger audiences opening for The Who on their first farewell tour.Its contents are generally reliable regarding his work as an engineer and producer for other artists. Olympic Studios became Johns's preferred studio for many years, [57] [e] and it became one of the most in-demand recording facilities in England. The Beatles weren’t just altering how they wrote and rehearsed songs, working in a foreign studio with cameras in their faces, they went an extra step to hire a man they’ve never worked with them to capture that sound. 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.

His opinion hasn’t softened over time — two years ago he told the Rock Hall audience that “shame he wasn’t locked up earlier, really, wouldn’t have played with my record. He doesn’t so much explain why he was successful as that’s demonstrated by the decisions he made and the actions he took. According to Johns, he suggested that band play a concert on the rooftop of their Apple Studio facility, where much of the sessions were being recorded and filmed, [95] and rigged the recording wires onto the rooftop connected to control room for the performance. Johns’s career was at its peak from the mid-’60s through the ’70s, and a tiny sample of his work includes engineering work with the Beatles, the Rolling Stones, Led Zeppelin, Neil Young, and the Small Faces, and production work with the Eagles, the Who, Fairport Convention, Steve Miller, and Eric Clapton. One of Johns’ intriguing stories describes his relationship with the Small Faces and their notorious manager Don Arden (father of Sharon Arden, known to most people as Sharon Osbourne).As he told the Rock Hall audience in 2012, “I go off thinking I’m pretty hot stuff, [but] I’m not at all. With producer Shel Talmy, Glyn Johns engineered many of the early records by the Kinks and the Who in the mid-1960s. Now, in 2014, Plume is publishing 85 to 100 titles a year, and its backlist currently encompasses approximately 700 titles. The album began as a soundtrack for the multimedia project, Lifehouse, which though abandoned, ended up forming the basis of Who's Next. Just take the next 24 hours, and check out a fraction of songs he worked on as producer, engineer and/or was tasked with mixing on this playlist I put together.



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