Ebook , by Glyn Johns
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, by Glyn Johns
Ebook , by Glyn Johns
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Product details
File Size: 16225 KB
Print Length: 317 pages
Publisher: Plume (November 13, 2014)
Publication Date: November 13, 2014
Sold by: Penguin Group (USA) LLC
Language: English
ASIN: B00ISEOIVW
Text-to-Speech:
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Amazon Best Sellers Rank:
#145,364 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
This is Johns insight into his studio work (including his own early attempts at becoming a singer) with many of the greatest bands of that era. The book has the feel of the era ("Johnny McLaughlin was so cool in his sharkskin suit and pencil tie with a button down shirt. He would lean on the pillar on the left side of the stage, barely moving, while playing the most incredible guitar.") but at several important points in his reminisces Johns glosses over, or judiciously prunes (for many readers including me) the seemingly important points of some subject, leaving them out altogether. Presumably it's because he's talking about friends and/or he's doing the British thing of being polite to a fault. And that's too bad because at some points you want him to keep on describing the action, but good manners and/or modesty seems to prevail. Because I'm from that era and would look for Johns' name on the back of an LP as an indication of how good it might be, I think (for nostalgia's sake) this book floats somewhere between 3 and 4 "stars". But to each his own.But to his credit Johns does write in some depth about the era in general--from meeting Ian Stewart and recording the Rolling Stones very early on, to meeting both Jeff Beck and Jimmy Page at the start of their respective careers--and working in the studio with many of the best musicians of the period, but without resorting to gossip. Johns' remembrances (taken from his diaries) like this of George Harrison-- "So we waited for everyone to leave and he went out into the empty studio and played "Something in the Way She Moves"...." He came into the control room, and after having it played back to him, he asked what I thought of it, as he seemed unsure."--is about as personal as the book gets as far as any deep depth. But the many sessions he produced and the many great albums we all still hold up as pinnacles of great rock music give the book a feel of those days when the music was new and exciting. From his work on the Steve Miller Band album "Children of the Future" to working with The Eagles, and everyone else, the book brings up good memories of those times. He also talks about the music business in his era as compared to the present and how things have changed, and not all for the better. But if you're looking for information on how he got the sound he wanted, Johns doesn't dwell on the technicalities of his work.But the day to day workings in the studio ("The rest of March 1971 was taken up with starting and completing the second album with McGuiness Flint and recording The Stones live in concert...", and "I went back in the studio with The Who to complete "The Who By Numbers" at Shepperton Studios.") with all the many bands does have the flavor of those heady times. This book isn't supposed to be a "tell all" type of read. He doesn't dwell on or go into the negative aspects of working with the many bands he's produced. This is Johns' observations of what went on in his life as a top studio producer, and being "straight" while most everyone else was under the influence of various substances means that he writes honestly (but not to deeply) without being judgmental. And on that point the book succeeds. Yes, at times I wish Johns had included a bit more about certain events, but for whatever reason he chose not to. And for a book about (basically) his job as a producer, Johns succeeds pretty well."The day I don't learn something in the recording studio is the day I'm done." Glyn Johns.So if you're looking for some deep secrets to emerge or some mysteries to be brought into the light, this isn't the book. But if you want a look inside at working under pressure with some of the most egotistical artists of the era, with Johns trying to keep things moving in the right direction, this book will be of some interest.
Glyn Johns worked with some of the greatest musicians of all time--The Rolling Stones, The Beatles, The Who, The Eagles, Eric Clapton, Bob Dylan, and on and on. So, it is very disappointing that his book didn't contain many interesting and illuminating stories about them. The book reads like an itinerary. I did this, then I did that, then I worked with _____. The man is just not a storyteller. I didn't feel like I knew/understood any of the people better after reading his book. Also, he seems to think an inordinate number of people are jerks and hard to work with--which makes me wonder about him. He didn't come across as very likeable. However, I have read books by people who weren't likeable that were still very good books. This wasn't one of them. It's just okay, at best.
Johns shares many entertaining stories about his life in the recording studio helping engineer and produce some of the most legendary albums of all time. He does a fine job of re-creating many of these moments, and does so without fawning all over the artists he has been fortunate enough to work with.Reading this book has inspired me to seek out several albums he recorded in the 60’s and 70’s, based on his recollection of completing these records.I only wish Johns had gone into more detail about some of the sessions — for example, working with The Rolling Stones on Sticky Fingers. I was not expecting him to share gossip about these sessions but I would have liked more detail about assembling these albums. All in all this is a really enjoyable book and I recommend it.
I was so looking forward to this book and was so extremely disappointed. He really needed an editor and a lot more time to pull this together. It's a hastily written rambling unstructured diary.It's unfortunate that it jumps around so much and never focuses on any one artist or album for very long. I was hoping to get a behind the scenes understanding of how these great albums that he engineered or produced came about but that never happened. I also got the feeling that he takes a lot more credit for things that he had very little to do with.
I read this book at a time when I was very interested in the production of music. It turned out to be the ideal story to delve into as the author's musical experience encompasses working with practically all the classic rock bands in the heyday of the 60's and 70's. What particularly impressed me was the sheer creativity and will to experiment whilst working with artists of such calibre and raw talent. There is much emphasis on his work with the Rolling Stones with whom he collaborated extensively. His personal life included some hair-raising adventures whilst travelling constantly and these certainly add to the piquant feel of his experience. One gets a real feel of the rock and roll world with its thrills, excesses and downers and all is told in a very straightforward manner. A highly informative read on an exciting aspect of music making during a truly legendary era.
He writes like a sound engineer, all business anddetail which makes the book ultimately a failure. You could pick this up in a book store, scan it for 20 minutes and know all you need to about this rather bland memoir. Better still, listen to the music. The man has been involved in some amazing projects, but you’ll be pretty bored by 1/2 way through his tale since it’s just a rehash of recording sessions and dates with “lovely people†which could have been written on a single page in the form of a list- which you can find at the end.
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