Sound Man
A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces ...
(Sprache: Englisch)
A memoir of a remarkable career by Glyn Johns, a Rock and Roll Hall of Fame producer and sound engineer who has worked with the Rolling Stones, the Beatles, Bob Dylan, the Who, the Clash, and more.
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A memoir of a remarkable career by Glyn Johns, a Rock and Roll Hall of Fame producer and sound engineer who has worked with the Rolling Stones, the Beatles, Bob Dylan, the Who, the Clash, and more.
Klappentext zu „Sound Man “
"A fantastic romp through the pages of Rock and Roll history.” —Sir Paul McCartneyIn 2012, legendary producer and sound engineer Glyn Johns was inducted into the Rock and Roll Hall of Fame. Over the course of his incredible career, Johns helped create some of rock's most iconic albums, including those by the Beatles, the Rolling Stones, Eric Clapton, the Eagles, the Who, the Clash, and, more recently, Ryan Adams and Band of Horses. In this one-of-a-kind memoir, Johns shares incredible stories about the musicians he's worked with from the freewheeling sixties to the present. Sound Man is an intimate glimpse into rock and roll history and the perfect gift for any music fan.
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PREFACESomeone asked me the other day: What exactly does a record producer do? My answer was: You just have to have an opinion and the ego to express it more convincingly than anyone else. Every time I start another project I wonder if I am going to get found out.
So much of what any of us achieve in life has a massive element of good fortune attached. In my case, you can start with being born in 1942, which tipped me out into the workplace just as things were getting interesting in the music business, along with a whole host of artists who were to change the face of popular music. They were to drag me with them on the crest of a wave through an extraordinary period of change, not only in the music they were writing and performing but in the structure of the industry itself. Every now and then, when the opportunity presented itself, I would try to express my opinion more convincingly than anyone else, and there were a few who took notice.
I started working as a recording engineer in 1959, just before the demise of the 78. It was the beginning of the vinyl age. Mono was the thing and stereo was only for hi-fi freaks.
Bill Haley and His Comets had started the American rock and roll invasion in Britain in the mid-fifties, and it had been rammed home by Elvis, Fats Domino, Jerry Lee Lewis, and Chuck Berry, to name but a few. They dominated the charts in the UK, along with ballad singers like Doris Day, Tony Bennett, and Perry Como. British artists were just copying whatever was arriving from across the pond, even singing with an American accent. There had not as yet been a homegrown response. Music was still extremely safe and somewhat insipid in comparison to what was to follow.
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The record industry as we know it now was in its infancy. In England they were grappling with the trickle before the floodgate opened to the changes that were about to take place. Those in charge had no concept of what was about to happen and most certainly did not lead the way. As a result, some of them fell by the wayside, others were led by the nose, and some were clever enough to sit back, keep quiet, and allow themselves to be carried through the next few years by the explosion of youth that was to take over.
The ensuing years were full of excitement, much adrenaline, many dawn choruses, and extremes of every emotion you can imagine. I was blasted through my youth into middle age with an extraordinary combination of creative people, sounds, rhythm, and lyrics in a period of time that I believe is unlikely to ever be repeated. I have been extremely fortunate in witnessing firsthand some wonderful moments with some truly fantastic, innovative artists while making records as an engineer and producer over the last fifty years, and watching the creative process change into something almost unrecognizable from where I started. All this while plowing my way through the minefield of the business and the incredible cast of characters it threw up managers, lawyers, entrepreneurs, promoters, publishers, and so-called executives, large and small.
AT IBC STUDIOS IN THE SIXTIES.
Early Years
Ihave no idea why my mother took me as an eight-year-old to join the parish church choir. My father was an atheist, and she drifted in and out of Christianity throughout her life, never attending church on anything like a regular basis until my father retired many years later. 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. I remember this incident clearly and have often wondered why, as I can recall very little else from those early years. Maybe it was the vicious expression on her fat face. I remember she bit her bottom lip a
The record industry as we know it now was in its infancy. In England they were grappling with the trickle before the floodgate opened to the changes that were about to take place. Those in charge had no concept of what was about to happen and most certainly did not lead the way. As a result, some of them fell by the wayside, others were led by the nose, and some were clever enough to sit back, keep quiet, and allow themselves to be carried through the next few years by the explosion of youth that was to take over.
The ensuing years were full of excitement, much adrenaline, many dawn choruses, and extremes of every emotion you can imagine. I was blasted through my youth into middle age with an extraordinary combination of creative people, sounds, rhythm, and lyrics in a period of time that I believe is unlikely to ever be repeated. I have been extremely fortunate in witnessing firsthand some wonderful moments with some truly fantastic, innovative artists while making records as an engineer and producer over the last fifty years, and watching the creative process change into something almost unrecognizable from where I started. All this while plowing my way through the minefield of the business and the incredible cast of characters it threw up managers, lawyers, entrepreneurs, promoters, publishers, and so-called executives, large and small.
AT IBC STUDIOS IN THE SIXTIES.
Early Years
Ihave no idea why my mother took me as an eight-year-old to join the parish church choir. My father was an atheist, and she drifted in and out of Christianity throughout her life, never attending church on anything like a regular basis until my father retired many years later. 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. I remember this incident clearly and have often wondered why, as I can recall very little else from those early years. Maybe it was the vicious expression on her fat face. I remember she bit her bottom lip a
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Autoren-Porträt von Glyn Johns
Glyn Johns
Bibliographische Angaben
- Autor: Glyn Johns
- 2015, 336 Seiten, Maße: 13,6 x 20,3 cm, Gebunden, Englisch
- Verlag: Penguin US
- ISBN-10: 0147516579
- ISBN-13: 9780147516572
- Erscheinungsdatum: 16.12.2015
Sprache:
Englisch
Pressezitat
Glyn Johns was there. He was there at some of the most important recording sessions in Rock and Roll. Reading his book, you are standing beside him as he sets up the studio in readiness for the arrival of groups like Led Zeppelin, The Beatles and The Rolling Stones. For me it is a fantastic romp through the pages of Rock and Roll history. Sir Paul McCartneyGlyn Johns has been a very important person in my recording life (and also his brother Andy). Glyn was the first recording engineer who helped me to understand recording and through that he was very supportive in introducing me to a lot of sessions with important people such as Ben Sidren, Leon Russell, Ronnie Lane, Pete Townshend and Howling Wolf. This together, of course, with many of the great recordings he did with us. He is one of the best. Charlie Watts
Sound Man will make readers aware of the many sides of Glyn Johns, a giant of a man and one of my best friends from the moment we met in 1963 to present day. Apart from his genius behind the faders and success as the producer of myriad hits, his humor comes through here, together with his unfailing desire to do the very best work he could in the face of some frighteningly egotistical artists. Bill Wyman
If you remember the sixties then you probably weren't there, unless of course your name is Glyn Johns. Sound Man is an intimate, humorous journey through the corridors of the music industry, as told by one of the greatest record producers of all time. I'm proud to be mentioned here and there, and to have worked with Johns on so many memorable occasions. A great read! Eric Clapton
Glyn Johns was the most sought after sound engineer at the time when the recording industry was just exploding in the early 60s in London. He soon became the first choice of the artists who wrote their own songs and wanted a producer who could create for them a great sound for their recordings. He was always a strong and direct
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influence on the talent he worked with, and his records sounded brilliant! He soon became one of the very few truly great record producers and remained so over the last fifty years. Reading Sound Man reminded me of just how many incredible people he worked with and how many great iconic records he made. It's fantastic reading. Chris Blackwell, founder of Island Records
Sound Man opens with a declaration: A record producer has to have an opinion and the ego to express it more convincingly than anyone else. So Glyn Johns has stood his ground with a few big-headed rock stars? I must be the exception. I've only had transcendental moments in the studio with Johns. Returning to the control room after a studio take I often felt like running: the joy of hearing what Johns had created out of the glue-and-string that was The Who was like a drug. He is an artist himself of supreme talent and experience. Pete Townshend
Sound Man opens with a declaration: A record producer has to have an opinion and the ego to express it more convincingly than anyone else. So Glyn Johns has stood his ground with a few big-headed rock stars? I must be the exception. I've only had transcendental moments in the studio with Johns. Returning to the control room after a studio take I often felt like running: the joy of hearing what Johns had created out of the glue-and-string that was The Who was like a drug. He is an artist himself of supreme talent and experience. Pete Townshend
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