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63 About this deal
Initially it was intended to be a double album tentatively under the working title Rat Patrol from Fort Brag. Johns first started working in the recording industry at IBC Studios as a “lowly assistant engineer” in his teens working with skiffle legend Lonnie Donegan and later befriending the Rolling Stones’ piano player Ian Stewart (who was sacked by Stones svengali Andrew Oldham because he didn’t look right, yet still remained the band’s road manager) whom he’d later share a flat with. When a musician overdubs his or her part onto an existing track, this ceases to be a two-way interaction. Take my word for this: this is a “laugh out loud” book in many places, unlikely as that might seem given the subject matter. It was through Stewart that Johns became involved in recording the Rolling Stones on their earliest recordings.
Occasionally we get something as radical as: “I didn’t care for his attitude so I decided I wouldn’t work with him again, but later it worked out” (my summary, not an actual quote). Johns had and continues to have very strong opinions about music, musicians and what constitutes great sound, and the book is full of them.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. However, Charlie summed it up perfectly when asked in a recent interview his experience of being in the band for fifty years. Johns has written an autobiography titled Sound Man, published by Blue Rider Press on 13 November 2014, [159] in which he recounts his experiences working with the Rolling Stones, the Beatles, the Who, the Eagles, Crosby, Stills and Nash, and others.
His method consists of employing 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.Glyn is still clearly moved by the music Zeppelin made in the studio as he was recording them for the first time. Of course Johns has also recorded and produced the Who, Joan Armatrading, Steve Miller Band, John Hiatt and so many more. i] 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.
He was one of the first to record the Stones and he began a relationship with them that lasted for years. That shocked me…with one or the other I could see… Glyn said he had an idea…to pull songs from John and Paul, Mick and Keith, George, and Bob…and match the best rhythm section for the song.
At the urging of Talmy, Johns began working freelance as an independent producer and engineer—one of the first independent engineers in the UK.
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