Sound Man: A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces . . . by Glyn Johns (4-Dec-2014) Hardcover

by Glyn Johns

Excellent Book

Genres: Music, Biography, Nonfiction, Memoir, Autobiography, Biography Memoir, History

Hardcover

First published January 1, 2014

Reviews

[Gordon · Rating 1 out of 5]

The dullest biography ever. I mean come on you were the engineer or producer on literally the biggest records of all time by The Who, The Rolling Stones, The Eagles and more and you did not have one single interesting story to tell. I mean your kid turned out to be as big a producer as you did too why not even mention him and how that made you feel. It was like reading a captains log written by a robot where they just entered basic facts. Maybe that's the key to being a successful producer...have zero personality.

[Sebastian Bach · Rating 4 out of 5]

Incredible history from a man who helped invent rock and roll. Love the book it just could have used a couple more exclamation points

[Mark Hartzer · Rating 4 out of 5]

This is one to check out from the library. There is quite a bit of name dropping as you would expect who has engineered and produced so many great albums, but much of it is a lot of random bits and pieces.

While he includes some interesting anecdotes, I think the book would have been stronger if it focused on fewer sessions. For example, if he spent more detail on: "Who's Next"; "Led Zeppelin 1"; "Sticky Fingers" & "Let it Be", we would have a richer understanding of those milestone works instead of a more cursory understanding.

For example, here is a great descriptive part where he is working with The Beatles on Let it Be: "All was going well until I heard this extraordinary noise that sounded like someone stepping on the cat. I panicked, thinking that a piece of equipment might be malfunctioning, while peering at the screen to see if it was adversely affecting the guys onstage. All of a sudden a picture appeared of a small figure with a black bag over its head with a mic cable disappearing into it. It turned out to be Yoko, who had decided to contribute to the proceedings." That is a marvelous story.

Unfortunately, while I like John Hiatt, Joan Armatrading, and The Eagles, I would rather hear more detail about those artists I've previously mentioned. Probably 3.5 stars.

[Jason Koivu · Rating 5 out of 5]

Interesting and entertaining! Great stories told well.

Glyn Johns recorded some of the most famous rock albums of all time by the biggest names going.

If you're into sound engineering, you should like this one. If you like 60s/70s UK rock, you'll love this one! The man behind the mixing board proves to be as intriguing as the rockstars he recorded.

[Dave · Rating 3 out of 5]

Johns autobiography touches upon every musician and band he engineered or produced over a 50 + year career in the business. He has worked with such bands as The Beatles, The Rolling Stones, Led Zeppelin, The Small Faces, Humble Pie, The Faces, The Eagles, and Eric Clapton just to name a few.
I wasn't aware that Johns himself wanted to be a singer and started out with a single or two to his name before he found his niche as a producer.
What I did like was Johns admitting at times he was wrong about a certain artist more or less judging a book by its cover. His first meeting with Clapton didn't go over too well and thought he was lazy and all but over career-wise due to drugs, but Clapton was called upon to do some guitar studio work with Johns and the two became tight. So Johns was also a teacher as well in the studio.
I had always heard he was a harsh taskmaster, but he was liked things his way which tended to work most of the time and the man got results with all the award winning albums he has produced containing songs still heard on classic rock radio.

[Tankboy · Rating 2 out of 5]

I’ve never read a memoir that focused on the mundane and relegated all the interesting stories to a reference in a single sentence here or there. I was hoping to glean some of Johns’ experience and studio methods from this, but instead was treated to a rather boring rundown that reads more like a checklist of events without much elaboration.

[M.D. Navalinski · Rating 4 out of 5]

Having spent the last few years plowing through rock book after rock biography by the true masters only to walk away, feeling inundated with sex and drug exploits while being short changed on the musical end of the adventure-the reason I picked the book up in the first place. This one is quite the opposite.
In the 60's 70s and 80's Glyn Johns engineered and produced the best of them. The Beatles, Stones, Small Faces, Steve Miller, Joe Cocker Zeppelin and the Eagles get mentioned in the first breath.Leon Russel, Humble Pie, The Band, the Who and even The Clash have turned to Johns for their music.
Nothing too revealing here regarding anyones nasty habits although work habits, and creativity in the studio will keep you busy for the almost three hundred pages you will fly through. For ardent rock fans this is a real treat....

[Tosh · Rating 2 out of 5]

A very so-so memoir by a very talented producer and recording engineer who worked with the legendary greats. The only thing I found interesting really, is his commentary on Keith Moon, which was sad and I suspect very true. Otherwise it is very much 'he's a nice guy or girl, or I didn't like him or her, till I worked, etc and etc. At the very least he said nice things about Joe Meek! On the surface, and if you're interested in the subject matter - a fast read - but it is clearly not a masterpiece. Far from that. On the other hand, it would have been better of a book if he focused on two or three of albums that he worked on. I would think one would like to read about the making of Led Zeppelin albums -like the first one for instance. He covers it in his book, but i feel that there could be more details - and more in depth writing about Page, etc. But one has to keep in mind that writing is not his main tool of his life. It's good to have this book, but it could have been a lot better.

[Bruce Mclean · Rating 3 out of 5]

A fine and easy read with some interesting tales from someone with a front row seat to the recording of many iconic albums. Where this falls short is tales about those recording sessions. I would have loved more about the differing creative processes of the artists, more technical info about his recording technique etc. Johns' will spend pages on random stories about little known record execs, but only spend a couple paragraphs on producing the classic Who's Next. That being said, it's still an enjoyable, if occasionally frustrating read.

[Deirdre Kelly · Rating 3 out of 5]

After watching director Peter Jackson’s eight-hour remake of the Beatles 1969/70 Let It Be project, recently aired on the Disney Channel under the original title of Get Back, I was mesmerized by a figure in the background whose eye-catching fashion sense and cool demeanour made him stand out. This was the legendary sound engineer Glyn Johns, previously only known to me as a name on the back of record covers but here looming magnificently in the flesh in pop splendour clothes, grooving and getting along with the Beatles at a historic moment in pop culture. I just had to find out more about him. Luckily, the British-born Johns has written his memoirs, and I devoured it — not because it is well written (it is not— Johns is not a professional writer; he is a recording studio wunderkind and readers should bear that in mind when sifting through his cliche ridden and often frustratingly superficial prose). But because his book provides a window on to the world of pop music in the 60s, 70s, 80s and beyond. Name the recording artist and you are likely to find Johns’ name attached. Everyone from the Rolling Stones, Led Zeppelin, Procol Harum, the Eagles and Linda Ronstadt to Little Feat, Leon Russell, the Clash and Eric Clapton in his solo years clamoured to work with him. He was a hard task master but also a genial guy. He started out singing in church choirs and went on to have brief success as a recording artist in his own right. He even had a top single on the Spanish pop charts at one point. So he knew his harmonies, and he knew what would make a great song. He invented studio techniques that are still part of the industry today. In his own way he was a giant among the giants. He was there when the pop recording industry was in its infancy and he experienced the rapid changes that followed the British Invasion spearheaded by the Beatles in the mid 60s. I said he’s not a terrific writer. But Johns does succinctly and successfully summarize the changes he observed in the industry over the years and his account is quite illuminating. But to get back to my initial wonderment: Johns was a stylish dresser. But in his book he makes no mention of being a follower of fashion. Indeed, he forged his own path and many a pop star wanted to follow him because they knew he knew what it took to make them sound great.

[ROBERT · Rating 4 out of 5]

3.5 rounded up to 4.0.

Glyn Johns as a music engineer and producer worked with the musicians that made the music that was the soundtrack of my youth. It was great reading about the process of the making of so much music that I spent hours listening to with friends. He had a ton of anecdotal stories about those musicians that he would sprinkle into this story of his 50 years in the business.

He was a fledgling studio engineer when the Stones hit the scene. The traditional engineers weren't too interested in that type of music so he ended up on the ground floor to record the bands that made up the English invasion. He recorded a who's who of musicians and albums for the next 50 years.

It is a great story if the music he recorded was a part of your life. If not, the story would not be that interesting. The music was part of mine so I gobbled it up in a few days.

[Dick Darden · Rating 4 out of 5]

Glyn Johns is like Forrest Gump in that he somehow is just there at nearly every huge moment in rock n roll history. All your favorite records? This guy made them. Glyn, who didn’t drink or do drugs, was at times the only sober person in the room. It’s a shame that he doesn’t give us more of a glimpse into some of these legendary recording sessions. To his credit, it doesn’t seem like he’s trying to make himself look better than he is. There are lots of big names in here, but it doesn’t come off as name dropping. Definitely worth a read if you’re even slightly interested in rocking or rolling.

[Tim Sheehan · Rating 3 out of 5]

A little light on details. As a music geek I would have liked to have read more about the actual sessions and studio tricks than just "I did this album with such-and-such artist."

[Akila Maithripala · Rating 5 out of 5]

A time machine of a book. You are in the studio with Glyn Johns as he explains the process and characteristics of the major bands of the golden era of rock music. You'll know a more about music you love after reading Sound Man. A 'Good Read'.

[Paul Duncan · Rating 3 out of 5]

Very interesting life journey and incredibly blessed in terms of his skill and timings within that rock era from its birth into full adulthood. Clearly not just a good pair of ears and obviously respected for a mastery and presence in the studio environment. Nearly all the big names. Downside - comes across a little pompous at times. Who wouldn’t.

[Marlan · Rating 3 out of 5]

Good read - he worked with many classic stars. A little more superficial than I expected.

[Jeff Learned · Rating 4 out of 5]

This was written by a surprisingly gracious, humble, and gentle man. Surprising especially because of the industry in which he worked.

Glyn Johns’ accomplishments are epic. Recording and producing the biggest artists in rock & roll history, he often bends over backwards to extend credit to others for his obvious genius. It was both interesting and refreshing to read.

[patrick Lorelli · Rating 3 out of 5]

Sound Man the life of Glyn Johns, was just an okay book. Starts off with how he got into music and into working behind the scenes as an engineer. He then takes you along his journey of the different bands that he worked with and solo artists, which were some of the top stars of the 60’s, 70’s, and into the 80’s. The part for me that was disappointing was towards the end of the book when he talks about working with the Eagles on their first two albums he could start seeing a problem between Frey, Henley, and the other two. By the third record he was not their producer and their sound had started to change. He went into detail how he like their original sound and explained why. He does the same with Eric Clapton’s album Slow Hand, which is a fantastic record. He goes into detail how they worked to get the songs and how Clapton and the band worked for the sound he wanted. But he really did not do that for any other groups or solo acts in the rest of the book. He does make reverence to when he first heard Zeppelin and was asked to work on their first record but that really was the only other time. Would have been nice to have more stories like that. I thought this book had the potential to be so much more but instead I felt let down. I got this book from net galley.

[Gregory Totman · Rating 5 out of 5]

One reviewer of sound man said it was the most boring biography he had read !
I have to disagree I think Glyn is just honest and down to earth .
Most autobiographies by rock stars are just an ego rant , leaving you thinking they are mostly pretentious wankers . As a record producer and sound engineer Glyn met a few .
Glyn doesn't mind mentioning the wankers . Sound Man doesn't hype it up or hero worship the many artists he has worked with .
Just play Who's Next extremely loud to appreciate his work .
Yet its in the closing chapters that's Glyn's anecdotal writing hits its stride . He was working with the great John Hiatt on his album Stolen Moments . Glyn and John had enlisted a slide guitar player Mac Gayden who had worked with J.J. Cale . Mac had an unfortunate experience with LSD and was for want of a better expression a little disorientated . Glyn tirelessly worked with Mac for him to get the arrangement right for 2 songs . One of the songs "thirty years of tears " required a solo from Mac .
Glyn's frustration rising said to Mac just play something to make me cry . Mac delivered just that . After reading that i jogged my memory by playing that song . It made me cry !
A great read

[Richard Block · Rating 2 out of 5]

Head Down the Johns

Glyn Johns is one great engineer but a polarising character, as is evident in this egotistical autobiography. No doubt about his chops as an engineer and producer - he was on too many great records for it to be by chance. Yet as a person, his is famously sour, blunt and opinionated. Things are either 'great' or 'terrible'. He evidently did not go to university or read much, and this book contains less passion than a shopping list. Even the anecdotes are dry as burnt toast.

He evidently loves himself, big time and is convinced his opinions are facts. There are a number of times he corrects his negative first impressions - Eric Clapton, The Clash, The Eagles, Bill Graham - all get the thumbs down at first and then a reversal. It does make you wonder how he would have got on in life had he been a less judgemental character. No one can doubt that it is his relationship with the Stones that defines his best, and his arrogance with the Eagles, his worst moments. He is distinctly unlovable but very talented.

His book is interesting only because of what he did, not who he was - and it is written with a flat, candid style that is dull as dishwater.

[Steven Peterson · Rating 3 out of 5]

This is an amiable book by Glyn Johns, well known producer and recording engineer. It gives us glimpses of many personalities.

A look at his discography (pages 291-300) portrays the range of performers whom he worked with: The Rolling Stones, The Beatles, Small Faces, Steve Miller Band, Procol Harum, Traffic, Joe Cocker, Led Zeppelin, Humble Pie, Billy Preston, Leon Russell, The Band, Boz Scaggs, The Who, Eagles, Eric Clapton, Faces, Paul McCartney and the Wings, Ozark Mountain Daredevils, Howlin' Wolf, and many more major talents--plus some who are not so well known.And he was still working with artists in 2014 (Benmont Tench).

So this is filled with anecdotes about artists with whom Johns worked. Again, amiable.

But, somehow, I don't learn many lessons of value as I read this book. The work is more a series of vignettes than a cohesive work, addressing some theme, making sense of the industry.

[Derek · Rating 2 out of 5]

This book sucks.

Glyn Johns recorded Zeppelin, Stones, Who, Beatles (he worked on Let It Be, and claims it was his idea that they go on the Apple HQ rooftop to do their last gig), the Eagles, etc etc. You'd think he'd either have some really interesting technical stuff to share about how he recorded these bands, or failing that, some interesting anecdotes about the bands he recorded...but this book is seriously lacking in both.

He spends about 2 pages talking about the mic-ing technique he used on Led Zeppelin I to get Bonham's drum sound. That's it for the tech stuff. As for anecdotes - he has a few about the Stones, that have been recounted elsewhere. A couple crazy Keith Moon stories. Whoop de shit, dude.

"John Lennon was hysterically funny. I've never met anyone with a quicker wit." How about a couple examples, Glyn? Nope.

Totally half-assed, this book. Johns seems uninterested in the subject, which is mostly himself. Not recommended.

[Trevor Curran · Rating 2 out of 5]

The thing I found most shocking about this book, and I mean that in the worst way possible, is that this amazing professional sound engineer and successful music producer, whose entire career was built on giving advice and guiding artists through the process of creating successful recordings, didn't hire a professional to assist him in writing this book! The writing is terrible.

I gave the book two stars only because of the sprinkling of interesting anecdotes tossed in haphazardly throughout the book. I recommend ONLY if you are the music fanatic that I am and you want to read those nuggets of musical history.

[Miles Walsh · Rating 3 out of 5]

Glyn Johns has had a stellar career as an engineer and producer - his list of credits through the 60s, 70s, 80s and onwards read like a who's who of classic rock.

But.... Writer he is not. I found this an oddly joyless and perhaps overly-sanitised account of said stellar career, with much listing of "then flew to LA to make an album with Big Dong and The Sidemen, then back to London to do the mix on Magnus Magnus' 8th album "Oct-Opus", when I'd brought in the brilliant Bert Bloke on drums and Mandy Raver on violin as session players". Really Glyn? Fascinating stuff..... Zzzzzz.....

There's some good stories about the Rolling Stones and The Who. But there's an awful lot of padding in between.

[Ingrid · Rating 1 out of 5]

Disappointing read. I should have checked out the reviews here, instead of the review in my (Dutch) newspaper. The London and L.A. telephone directories of the era must make a better read than this book. I agree totally with what others have written: a lot of names dropping, and the rest is rhyme nor reason.
The only thing that I may do as a result of this book is check out the records listed at the end on Spotify.

[Jamie · Rating 1 out of 5]

A dismally dull autobiography. Written in a style that somehow crosses a schoolboy with a judgemental headmaster it was a grind from start to finish. It’s a list of people he worked with followed by a summary of whether he thought they were nice or not. Sometimes you gotta have a ghostwriter.
Laying waste to the cliche, Johns did remember the sixties and they sound like the most boring years in recent history. Avoid!

[Gary · Rating 4 out of 5]

This guy has had a very interesting career in the music business. I can remember seeing his name on many of the albums I used to listen to back in the 70's.

[John · Rating 4 out of 5]

I really enjoyed the book and think anyone who enjoyed music from the '60's and '70's in particular will find it interesting.

[Mark Paalman · Rating 3 out of 5]

If you love the roots of British Invasion and Classic American rock, then you must read this book. Glyn Johns was one of the top sound recording engineers in England at the launch of the Rolling Stones, Led Zeppelin, and more. He was a collaborator with the Beatles toward the end, as well as many other established acts like The Who. Johns was sought out from across the pond as well, right there at the start of Steve Miller, the Eagles, and others. He also changed the way engineers and producers shaped popular music forever. His perspective on the creative process is valuable, especially for anyone seriously interested in the Art and History of rock music.

My but-monkey: while many of his reminiscences about superstar acts are entertaining, the shortfall of this work is that the focal point appears, more often than not, to be the author himself and not the acts he supported.

When I think of a thoroughly enjoyable book about the roots and hi-jinx of rock music, I think of Peter Asher’s extemporaneous “The Beatles from A to Zed”. Asher crafted a page turner that breathes life effortlessly into his stories with a charming, colloquial voice. He inserts himself liberally into the work, but rarely lets either his own point of view, or his ego, overshadow the actual stars of the book.

Not so, with “Sound Man” Johns. Granted, the title telegraphs his own importance in the work, so he is honest and up front about it. In books like this, I really want to dig deep into backstage whispers and quirky quips about the musicians. Glyn Johns’ book provides plenty. And there are some tender moments, especially surrounding the terminal complications among the Beatles, or when the friends of Eric Clapton work to sober him up. But Johns quite often uses his anticdotes to flex on his own perfectionism: the Eagles should’ve done it my way; Faces should’ve followed my advice; Keith Moon was a toxic presence. In reading Johns’ vivid scenes spanning the mid 60s through late 70s, there is an undercurrent of egotistical wudda-shudda-couddas that border on the parental and frankly grow tedious.

Even the title, “Sound Man,” can be read as Johns’ way of putting first his sound and steady hand at the mixing console. And indeed, I give the man his due. There is no doubt that he contributed significantly to the world-wide success of numerous rock ‘n’ roll artists. But I get the sense that he is more interested in proclaiming his virtues than telling the stories of his subjects. Indeed, I would argue that his subjects are the predominant reason why anyone would care to read this book.

[Daniel · Rating 3 out of 5]

This review originally published in Looking For a Good Book. Rated 3.5 of 5

When you are one of the most influential sound engineers/music producers ever, it would be difficult to write a biography or memoir without a whole heck of a lot of name-dropping ... as evidenced by Glyn Johns' memoir, Sound Man.

Seriously ... Johns worked with groups like The Beatles, The Rolling Stones, The Who, Steve Miller Band, Led Zeppelin, The Eagles, and individuals such as Joe Cocker, Boz Scaggs, Leon Russel, Eric Clapton, Neil Young, Linda Ronstadt, Emmylou Harris, and hundreds of others. There is even a recording method (for recording drums) named for him. This man has been on the inside of some of the most influential music of one of the most influential times for music. The influence he had... the insight he must have!

Learning of Johns' early years provided some of the most interesting information. It would make sense that Johns began as a musician, recording several singles between 1962-1965. He began sound engineering in 1964 and continued through 2017 (working with Paul McCartney and Eric Clapton in 2016). Following the process by which he turned to engineering and mixing and producing really was perhaps the most interesting part of this book. Which, given the people he worked with, is a bit disappointing.

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. There's a lot of - "I worked with XX on this album. Then I worked with XX. I was asked to work with XX but it didn't work." 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).

From a purely historical/music perspective, this is interesting. But it's a dry snapshot of an exciting time.

Looking for a good book? If you just want to know who Glyn Johns worked with, or some of the very basic means by which Glyn Johns came up with some of his methods, then his memoir, Sound Man is for you. If you are looking for some real insight to the art and the artists that made music from the 1960's through the early 2000's, you might be out of luck.

I received a digital copy of this book from the publisher, through Netgalley, in exchange for an honest review.