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

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Johns attributes his experience in the choir, particularly hearing and watching Rapley play the organ, as having a profound impact on his musical direction. The project resulted the Let It Be album [89] and Let it Be (1970) [90] and The Beatles: Get Back (2021) [91] documentary films. 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, [147] and he generally prefers recording the basic track from one continuous take of a whole performance, rather than editing together different pieces.

I explained that I felt, because of their stature, the sales of the album would not be affected by my involvement one way or another, so a credit would be a fair settlement for what I had done, as by association it could only be positive for my career in the future. Eventually, Randy Meisner and Bernie Leadon departed, [124] and the band recruited Don Felder and former James Gang guitarist Joe Walsh. 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. In England they were grappling with the trickle before the floodgate opened to the changes that were about to take place.

Really it is one of my favorite book and it is a must read for music lovers who care about and appreciate sound quality.

I respect that Johns is a man of principle and is not the sort to dish a bunch of dirt, but because of that, the book reads more like a textbook than a memoir.Perhaps it was because I had shown an interest in it at school, although my only memory of singing in the choir at my primary school was, when I was five, being pulled out of line and slapped on the calf by an extremely rotund Miss Butterworth for talking when I should have been listening. When a musician overdubs his or her part onto an existing track, this ceases to be a two-way interaction. 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. At Johns' suggestion, Swettenham later went on to form Helios Electronics in 1969 (with record executive/entrepreneur Chris Blackwell). 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.

Take Some Time Out: Reading between the lines, there’s another lesson to be taken away from Sound Man, and that’s to occasionally stop and smell the roses. During Johns's first year at IBC, the popularity of rock and roll increased and demand for records that sounded more American. There is no way I could haves stayed involved with what followed: fairly heavy substance abuse with hundreds of hours in the studio with the band being at each other’s throats, disappearing up their own arses.In this respect, it’s quite a different read from Phill Brown’s similarly entertaining Are We Still Rolling?

Tales of insinuation and glory have us turned around to the point where we don't know much about what really happened during most of the great. Johns (a 2012 Rock and Roll Hall of Fame inductee receiving its Award for Musical Excellence) has a memoir soon to be released entitled “Sound Man: A Life Recording Hits With The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, The Faces.Glyn Johns’ autobiography, Sound Man, is a treasure trove of recording stories for pros and rock fans.