Glyn Johns

Not to be confused with Glynis Johns.

Glyn Johns
Johns, 1978 Johns, 1978
Background information
Birth name	Glyn Thomas Johns
Born	(1942-02-15) 15 February 1942 Epsom, Surrey, England
Genres	Rock pop
Occupation(s)	Producer, engineer, musician
Instrument(s)	Guitar
Years active	1959–present

Glyn Thomas Johns (born 15 February 1942) is an English musician, recording engineer, and record producer. As an engineer and producer, he has worked with many of the most famous rock recording acts from both the UK and abroad, such as the Rolling Stones, the Beatles, the Who, Led Zeppelin, the Kinks, the Eagles, Bob Dylan, the Band, Eric Clapton, the Clash, the Steve Miller Band, the Small Faces, Joan Armatrading and many others.

The years between 1964-84 were Johns' peak years of activity in which he was involved in the engineering and/or production of countless hit records. In 1965 Johns became one of the first independent British recording engineers to operate freelance rather than under the hire of a particular record label or studio. Since 1984 Johns has continued to be active in the industry.

He is the father of engineer and producer Ethan Johns and older brother of the late Andy Johns, also a renowned producer and recording engineer. Johns has also recorded as a solo musical artist.

He is widely considered one of the preeminent recording engineers and producers in the history of rock music. In 2012, he was inducted into the Rock and Roll Hall of Fame, receiving the Award for Musical Excellence.

Early life

Johns was born in Epsom, Surrey, England on 15 February 1942, and is the older brother of the late Andy Johns. At the age of eight Johns joined a local church choir as a boy soprano. Felton Rapley, considered one of the leading pipe organists in the UK at the time, became the choirmaster, and as under his direction Johns progressed, being given occasional solos and eventually elevated to head chorister at the age of eleven. Johns attributes his experience in the choir, particularly hearing and watching Rapley play the organ, as having a profound impact on his musical direction. At the age of 13, Johns left the choir after his vocal cords began to change due to puberty.

Johns recounts that his next-door neighbour lent him a Guild electric guitar, which sparked his interest playing guitar. At this time he was attending the church's Wednesday night youth club, where for the first time he saw Jimmy Page play guitar. Johns became a fan of traditional jazz and joined a local ragtag jazz band on tea chest bass. He attributes the record "Little Rock Getaway" by Les Paul and Mary Ford as an influence. Les Paul was one of the first musicians to experiment with tape multi-tracking and sound effects. Lonnie Donegan's skiffle hit version of Lead Belly's "Rock Island Line" was also influential—according to Johns, "I had heard nothing like it and rushed out to buy it the next day". He soon bought his own guitar and was introduced to blues and folk recordings by a neighbor, who lent him records by artists such as Snooks Eaglin, Brownie McGhee and Sonny Terry, Woody Guthrie and Burl Ives. Johns began to keep company with a group of friends interested in music, whose ranks included Ian Stewart (later in the Rolling Stones), Rob Mayhew, and Colin Golding. In 1959 at the age of 17, Johns left school, and with Mayhew and Golding formed the band the Presidents.

Career in music and recording

Over a long career as an engineer and/or producer, Johns produced has worked with a wide range of the musical industry's most successful artists. Johns has also recorded as a solo musical artist.

Early years: 1959–63

IBC Studios and as performing artist

Glyn Johns' first session as a recording engineer was for Lonnie Donnegan at IBC Studios in London, 1959

See also: IBC Studios and Decca Records

In 1959, Johns began his career as an as an assistant engineer at IBC Studios on Portland Place in London. IBC was an independent recording studio and had no affiliation with a label. Johns' early duties included odd tasks and providing basic support for the experienced engineers. His first session was for Lonnie Donegan.

At the time IBC had a busy schedule. According to Johns, coats and ties were required to be worn by recording engineers (and white lab coats for technical engineers). Most recordings were done then in mono (except for classical music). During Johns' first year at IBC, the popularity of rock and roll increased and demand for records that sounded more American. Engineers were confronted with the challenge of capturing louder music. Younger engineers were more apt to try new approaches, and Terry Johnson, another young engineer at IBC, convinced Johns to move in this direction. Johns recounts that Jack Good, one of the UK's early successful television rock and roll producers, made regular use of IBC Studios, and did many of his recordings with Johns and Johnson engineering sessions. They engineered pre-recorded tracks for the Oh Boy! television programme, which featured leading British rock and roll performers of the day, such as Joe Brown, Marty Wilde, Billy Fury, Wee Willie Harris, and others.

In the early 1960s, Johns was signed to Decca Records as a solo musical performing artist at the urging of Jack Good. There Johns cut three singles—the first produced by Jack Good and the last two produced by Tony Meehan.

During this time, Johns was playing in the Presidents, who began to put the phrase "Featuring Decca Recording Star Glyn Johns" on their posters. Johns realized that he could invite musicians to IBC on Sundays, when the studio was not booking sessions — letting musicians play in the sound room whilst he honed his engineering and producing skills at the console. The makeshift sessions attracted many of the best young musicians in London, such as Jimmy Page, Ian Stewart, Alexis Korner, Brian Jones, and Nicky Hopkins. Johns first session as chief engineer was for Joe Brown, which was produced by Tony Hatch. In 1962, Johns entered into an arrangement with George Clouston, the manager at IBC studios, to let him produce records by certain artists.

The Rolling Stones 1962–3

See also: The Rolling Stones and Ian Stewart (musician)

Johns' friend, Ian Stewart was playing piano with the Rolling Stones. The two lived for awhile in a house nicknamed "the Bungalow" with one of Stewart's friends, Brian Wiles, who played in a group with Jeff Beck. It was through Stewart that Johns became involved in recording the Rolling Stones on their earliest recordings. In March 1963, Johns brought them to IBC to record several tracks. After Andrew Loog Oldham became the Rolling Stones' manager, Stewart was asked to leave the group, and Oldham took over the role as producer of the group's recordings. Oldham moved the Rolling Stones' sessions to other studios, such as Regent Sound, using other engineers, and for more than a year Johns was not involved with the Rolling Stones recordings.

As engineer for Shel Talmy

In 1963, Johns made arrangements to produce and record a session with Georgie Fame, but was unexpectedly paired—only as engineer—with producer Shel Talmy. Johns recounts that though he was initially skeptical, he unexpectedly enjoyed working with Talmy, and the two formed a successful partnership on many recordings for the next couple of years, recording hit songs for acts such as the Kinks and the Who.

Peak years: 1964–84

The Kinks, the Who, and Eric Clapton and as independent

The Who, pictured in 1965. With producer Shel Talmy, Glyn Johns engineered many of the early records by the Kinks and the Who in the mid-1960s. He later went on to produce and engineer with the Who throughout the next decade on albums such as Who's Next (1971), The Who by Numbers (1975), and It's Hard (1983).

During the mid 1960s, Johns worked with several of the popular British beat groups of the era. With producer Shel Talmy he engineered many of the early records by the Kinks and the Who, such as "You Really Got Me" and "All Day and All of the Night" by the Kinks, and "My Generation" by the Who.

In 1965, Johns left IBC studios to further pursue his solo career as a singer and performer and promote his latest record "Mary Anne", but the record failed to chart. At the urging of Talmy, Johns began working freelance as an independent producer and engineer — one of the first independent engineers in the UK. Subsequently, he did sessions at various studios such as Decca, Pye, Marble Arch, and Olympic.

In 1971, Johns reunited with the Who for the first time since the mid-1960s, this time as a co-producer, to work on what became the album, Who's Next, According to Pete Townshend in his autobiography:

“Glyn was my model of what a good producer should be - someone who guides the music and creates the right sound - and there was a great mutual respect and fondness between us. We were both perfectionists in the studio who worked quickly. It was his work as an engineer on the early Who sessions . . . that made them sound so great.”

Johns continued to work with the Who throughout the 1970s as an engineer on parts of Quadrophenia in 1973. He produced and engineered The Who by Numbers (1975) and produced early sessions for Who Are You (1978) with engineer John Astley, who later took over as producer. Johns returned to work with the group, producing and engineering 1983's It's Hard.

Pete Townshend recruited Johns to record Eric Clapton's Rainbow Concert in 1973. Johns produced and engineered Eric Clapton's 1977 album, Slowhand, which featured hits such as "Lay Down Sally", "Wonderful Tonight", and his version J. J. Cale's "Cocaine", and Clapton's next album, Backless in 1978, which contained another hit "Promises". In his autobiography Eric Clapton wrote about Johns:

He was a disciplinarian who did not like people mucking about or wasting time. When we were in the studio we were expected to work and he'd get frustrated if there was any goofing off. Even though we were all getting stoned or drunk we responded to that quite well. He brought out the best in us, and as a result that album (Slowhand) has great playing and a great atmosphere.”

The Rolling Stones 1965-75

See also: Olympic Studios

Mick Jagger and Keith Richards of the Rolling Stones pictured in 1972. Glyn Johns engineered many of the group's recordings during the 1960s and 1970s.

Though Johns briefly ceased recording the Rolling Stones in late 1963 and 1964, in 1965 he returned to the role on their British sessions and assisted the group with much of their most famous material. With Johns that year they recorded "(I Can't Get No) Satisfaction" and the albums December's Children (And Everybody's) and Out of Our Heads. Johns worked regularly with the Rolling Stones as engineer for the remainder of the decade and into the mid-1970s − from December's Children (And Everybody's) (1965) through to Black and Blue.(1975) In 1966, Johns and Bill Wyman of the Rolling Stones formed Freeway Music, a management and production company.

Starting with the sessions for Between the Buttons in late 1966, Johns and the Rolling Stones began to record extensively at Olympic Studios. Olympic Studios became Johns' preferred studio for many years. and it also became one of the most renowned recording facilities in England.

In 1968 the Rolling Stones expressed the desire to work with an American producer and Johns recommended Jimmy Miller, who he had seen working with Traffic. Johns stayed on as engineer, and with this team the group recorded Beggars Banquet (1968), Let It Bleed. (1969), Glyn Johns engineered some of the tracks on Sticky Fingers (1971), and Exile on Main St. (1972), both produced by Jimmy Miller. On these two albums his brother, Andy Johns, also worked as an engineer. His brother engineered Goat's Head Soup, the last Rolling Stones album produced by Jimmy Miller. Glyn Johns contributed to certain tracks on It's Only Rock 'n Roll, and returned as chief recording engineer on the early sessions for Black and Blue.

The Small Faces, the Faces, and Humble Pie

In the 1960s, Johns engineered many of the records made by the Small Faces, such as "Whatcha Gonna Do About It" "Tin Soldier", their 1967 hit, "Itchycoo Park", which featured the use of bizarre phasing effects. Johns engineered the Small Faces' 1968 LP, Ogdens' Nut Gone Flake. Glyn Johns remarked about the Small Faces:

This was one hell of a band. They had a massive amount of energy that was unleashed on their audiences from the minute they hit the stage until they left. If they had ever made it to America, they would undoubtedly have been as successful as any of the British bands that took it by storm in the sixties. That was not to be, as they broke up in 1969 before ever going there.

After the group's breakup, guitarist and lead vocalist Steve Marriot formed Humble Pie, whose membership included Peter Frampton — Johns produced engineered their third and fourth albums, Humble Pie and Rock On. The other former Small Faces, Ronnie Lane, Ian McLagan, and Kenney Jones, joined with Rod Stewart to form the Faces, and Johns engineered and co-produced (with the band) the albums A Nod Is as Good as a Wink... to a Blind Horse and Ooh La La. During the 1970s, after leaving the Faces, Ronnie Lane worked on several projects including the Rough Mix album with Pete Townshend, which was produced by Glyn Johns. Lane began to experience health problems and was diagnosed with multiple sclerosis. In 1983, Eric Clapton and Johns helped organize the ARMS Charity Concerts to raise money for Lane's medical bills and research for the disease−assembling a cast of musicians for the show, which included Clapton, Ian Stewart, Bill Wyman, Charlie Watts, Andy Fairweather Low, Steve Winwood and others.

Led Zeppelin

File:Ledzeppelin.jpg

Glyn Johns engineered Led Zeppelin's debut album, released in 1969.

Johns engineered Led Zeppelin's, debut album recorded in October 1968. Though production credit was given to Jimmy Page, Johns was involved in the production during the making of the album. According to Johns, when working on the album, by accident he developed his method of using three microphones to record drums for stereo recording.

The Beatles

Glyn Johns worked as the chief recording engineer on the Beatles' (Get Back (Let it Be) sessions) which were both taped and filmed. In 1969, Paul McCartney called Johns and asked him to assist with sessions. George Martin, though officially listed as the producer, only made occasional appearances. Johns was brought in primarily as an engineer, but he recounts that he ended up assisting the band with input on some of the arrangements. During taping and shooting, John Lennon sometimes famously referred to him as "Glynis" (with reference to the actress Glynis Johns).

According to Johns, he suggested that band play a brief concert on the rooftop of their Apple Studio facility, where much of the sessions were being recorded and filmed, and rigged the recording wires onto the rooftop connected to control room for the performance. He also recommended that the album be structured as an "audio documentary" with talk and banter included between each track. Johns helped them compile several versions of the album, all of which got shelved, before the project was eventually turned over to producer Phil Spector in 1970, who oversaw the final product, released as the album Let It Be.

Johns also engineered early recorded parts of the song "I Want You (She's So Heavy)" at Trident Studios on 23 February 1969, that in later finished form appeared on the Abbey Road album. For Abbey Road's remaining tracks, the group returned to EMI Studios and re-united with producer George Martin and a team of engineers including Geoff Emerick, Phil McDonald, Alan Parsons.

Johns also assisted with early sessions of Paul McCartney and Wings' Red Rose Speedway.

Procol Harum, Joe Cocker, the Move, and the Easybeats and others

Johns also worked with other notable British acts such as Procol Harum, Joe Cocker, the Move, and Fairport Convention. He also engineered several songs by Australia's the Easybeats, including their 1967 hit "Friday on My Mind", which was produced by Shel Talmy. Johns also worked with the French musician Johnny Halliday.

The Steve Miller Band, Bob Dylan, the Band, the Eagles

In the late 1960s and 1970s, Johns was in demand on both sides of the Atlantic and worked with American acts such as the Steve Miller Band, and the Eagles. Johns recounts that he did his first work with an American act in 1968 with the Steve Miller Band, whom he had seen perform live at the Fillmore in San Francisco. According to Johns, the group came to England to record their debut album, Children of the Future, at Olympic with Johns as engineer. During the sessions, Johns assumed the role of producer. Johns produced and engineered their next three albums, Sailor, and Brave New World, and Your Saving Grace.

At the request of producer Bob Johnston, Johns engineered the live recordings of Bob Dylan's performance backed by the Band at the Isle of Wight Festival in 1969, some of which appeared on his 1970 Self Portrait album. He later produced and engineered Dylan's 1984 live album, Real Live. Johns also did one of the mixes for the Band's Stage Freight in 1970.

Glyn Johns produced and engineered the Eagles' first three albums in the early- to mid- 1970s.

Johns engineered and produced the Eagles' first three albums, bringing them to Olympic Studios in London to record their self titled debut, followed by Desperado, and the early sessions for On the Border. During these years they achieved success, recording hits such as "Witchy Woman", "Tequila Sunrise", and "Best of My Love", which became their first number one hit single. Increasingly the group began to develop internal friction and also with Johns. They also objected to John's ban on use of drugs in the studio. By 1974, singer/guitarist Glenn Frey and drummer/vocalist Don Henley gained control of the band, and sought a more hard-rocking approach. Johns, who preferred their early country-rock orientation, fell out of favour with the group and left during the making of On the Border, so they moved the sessions to California and brought in producer/engineer Bill Szymczyk to finish the album. Eventually, Randy Miesner and Bernie Leadon departed, and the band recruited Don Felder and former James Gang guitarist Joe Walsh.

Other American acts

Johns engineered and co-produced the first two albums by the Ozark Mountain Daredevils, which provided the hits "If You Wanna Get to Heaven" and "Jackie Blue". Johns worked with others such as Spooky Tooth, Billy Preston, and Howlin' Wolf. Johns engineered the song "A Man Needs a Maid" on Neil Young's 1971 Harvest album. Johns has also worked with Emmylou Harris.

Joan Armatrading

Glyn Johns produced three albums by Joan Armatrading in the 1970s.

During the 1970s, Johns produced three albums by Joan Armatrading beginning with her 1976 offering, Joan Armatrading, followed by Show Some Emotion (1977), and To the Limit (1978).

The Clash

In 1982, Johns worked with the Clash during the late stages of making the album Combat Rock. Initially it was intended to be a double album tentatively under the working title Rat Patrol from Fort Brag. The group's chief songwriters Mick Jones and Joe Strummer disagreed on how to proceed, and according to Johns even booked separate studios in New York to do their own competing mixes of the album. According to Clash biographer Marcus Gray, the group's manager Bernie Rhodes, pushed to bring in either Gus Dudgeon, who had produced Elton John, or Glyn Johns. Johns recounts that the chief of London's CBS Records A & R department, Muff Winwood (brother of musician Steve Winwood), having been dissatisfied with Jones' and Strummer's mixes, asked Johns to remix the album. Johns agreed and, upon hearing an acetate of one of the previous mixes, was concerned about the record's apparent self-indulgence, but was also impressed with many of its tracks and realized that there was enough strong material to make a good album. Johns recommended that the album be shortened to one-disc length, 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.

1985–present

Thought Johns' output slowed in the mid-1980s, he undertook work with Midnight Oil, Nanci Griffith, Belly, New Model Army, Joe Satriani, John Hiatt, Buckacre, Gallagher and Lyle, Georgie Fame, Helen Watson, and many others. Johns produced much of Linda Ronstadt's 1998 We Ran album.

In 2011, after a number of years spent largely away from production, Johns worked with Ryan Adams on his album, Ashes & Fire. In February 2012, Johns began work on the Band of Horses album, Mirage Rock. Johns and Clapton collaborated once again for Clapton's 2016 release I Still Do.

Approach to recording

See also: Recording studio, Microphone, Tape recorder, and Mixing console

Instrumental tracks

Johns has stated that 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. He also generally prefers recording the basic track from one continuous take of a whole performance, rather than editing together different pieces.

Johns recollects that when he began recording, studios rarely had more than three- or four- track capability, and it was only feasible to record musicians in collective configurations. According to Johns, the goal at the time was to capture the music as a performance. In the intervening years, with the advent of devices capable of recording an increasing number of tracks, it became possible to record each part separately, eliminating the need for collective performances, and has resulted in a tendency to favour isolation of musicians and instruments. Johns has resisted this development stating:

"I have never lost the value of musicians interacting with one another as they play. This can be so subtle and invariably is nothing more than a subconscious emotive reaction to what others are playing around you, with what you are contributing having the same effect on them. When a musician overdubs his or her part onto an existing track, this ceases to be a two-way interaction.

Miking drums

Johns developed a unique approach for recording drums in stereo, sometimes referred to as the "Glyn Johns Method", that aims to achieve a natural perspective of the whole kit, rarely employing more than three or four microphones. Microphones are placed mainly overhead in the following manner:

• One overhead mono mic hoisted several feet (approx. 40-60 inches) overhead directly above the snare drum (aimed directly at the snare drum or in some situations at a slightly away from it).
• One overhead mono mic off to the side approx. six inches above the floor tom (on its right—aimed at the snare drum)
• One mic in front of the bass drum (usually placed where the air wave dissipates)

Necessary to achieving the method is to keep both the overhead mic and the side-mic equidistant from, and usually pointed at, the center of the snare, aimed in such a way that a triangular pattern is formed, with the three corners being the snare drum, the top overhead mic, and the side overhead mic.

Johns usually chooses not to close-mic individual drums or cymbals, but sometimes places an additional mic close to the snare drum. Johns recounts that he developed this method while recording Led Zeppelin's first album.

Family

See also: Andy Johns, Ethan Johns, and Will Johns

In addition to being the older brother of the late producer and engineer Andy Johns, Glyn Johns has two older sisters. Andy Johns began as an engineer with Jimi Hendrix under the tutelage of Eddie Kramer. and like Glyn Johns, he also worked with the Rolling Stones and Led Zeppelin.

With Johns' first wife Sylvia he had two children: a son Ethan Johns, who is producer and engineer that has worked with artists such as Paul McCartney and Kings of Leon, and like his father Ryan Adams. and a daughter Abigail.

He is the uncle of the blues musician Will Johns (son of Andy Johns).

Autobiography

Johns has written a book about his life titled Sound Man, published by Blue Rider Press on 13 November 2014.

Legacy

Glyn Johns is recognized as one of the preeminent audio engineers and record producers of the rock era. On 14 April 2012, he was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio. He received an Award for Musical Excellence and was honoured for his work on landmark recordings by many famous artists. He was also the winner of the 2013 Music Producers Guild Inspiration Award.

Discography

Main article: Glyn Johns discography

References

Bibliography

• Brown, Ashley (1990). "Space Cowboy". The Marshall Cavendish Illustrated History of Popular Music. Vol. 11 (Reference ed.). Marshall Cavendish. ISBN 1-85435-026-9.
• Clapton, Eric (2007). Clapton: The Autobiography. New York: Broadway Books. ISBN 9780767925365.
• Gray, Marcus (2004). The Clash: Return of the last Gang in Town. Milwaukee: Hal Leonard. ISBN 0-634-08240-X.
• Johns, Glyn (2014). Sound Man: A Life of Recording with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, and the Faces ... (1st ed.). New York: Plume: Penguin Random House. ISBN 978-0-14-751657-2.
• Lewisohn, Mark (1988). The Beatles Recording Sessions (1st ed.). New York: Harmony Books. ISBN 0-517-58182-5.
• Marks, Ian D.; McIntyre, Iain (2010). Wild About You: The Sixties Beat Explosion in Australia and New Zealand. Portland, London, Melbourne: Verse Chorus Press. ISBN 978-1-891241-28-4.
• Spitz, Bob (2021). Led Zeppelin: The Biography. New York: Penguin Press. ISBN 978-0-399-56242-6.
• Townshend, Pete (2012). Who I Am: A Memoir. New York: HarperCollins Publishers. ISBN 978-0-00-746604-7. Retrieved 26 June 2023.

Websites

• Alan, Mark (1 May 2015). "Who is Glyn Johns (?), Glad You Asked - The Rolling Stones [Video]". 103.7. Retrieved 27 June 2023.
• "Billy Preston That's The Way God Planned It". Album Liner Notes.com. Retrieved 3 July 2023.
• Ankeny, Jason. "Glyn Johns: Artist Biography". AllMusic. Retrieved 20 July 2017.
• Aswad, Jem (30 November 2022). "Neil Young's 'Harvest Time' Is a Fascinating, if Overlong, Documentary on the Creation of His Most Popular Album". Variety.com. Archived from the original on 23 March 2023. Retrieved 8 June 2023.
• Bacon, Peter (13 July 2012). "Will Johns play's at Birmingham's Brasshouse". Birmingham Post. Retrieved 10 November 2012.
• Barker, Andrew (8 April 2013). "Andy Johns, Engineer for Led Zeppelin and the Rolling Stones, Dies at 61". Variety. Retrieved 28 June 2023.
• Beaumont, Mark (29 November 2021). "Who's who in 'The Beatles: Get Back'? A guide to the non-Fabs". Nme.com. Archived from the original on 26 March 2023. Retrieved 17 June 2023.
• Bell, Max (19 October 2018). "The story of Humble Pie, the anti-supergroup". Classic Rock. Retrieved 28 June 2023.
• Bensley, Lin (30 December 2021). "The Engine Room: Glyn Johns". Record Collector. Retrieved 25 June 2023.
• Black, Johnny (16 July 2020). "What happened when Howlin' Wolf hooked up with rock royalty to make an album". Classic Rock. Retrieved 1 July 2023.
• Boyle, Jules (21 December 2014). "Legendary Producer Glyn Johns Reveals Missed Opportunity for Unique Collaboration". Daily Record. Retrieved 25 June 2023.
• Brennan, Collin (25 May 2016). "From Clapton to The Clash: Legendary Producer Glyn Johns on a Lifetime of Rock and Roll". Consequence.net. Archived from the original on 4 February 2023. Retrieved 8 June 2023.
• Brown, Phil (May 2000). "Phill Brown: The Traffic sessions with Glyn Johns, 1968". Tape Op. Retrieved 27 June 2023.
• Browne, David; Fricke, David; Dolan, Jon; Grow, Kory; Gehr, Richard; Greene, Andy; Hermes, Will; Martoccio, Angie (5 July 2022). "The Who's 50 Greatest Songs: "Pure and Easy" ('Odds and Sods', 1974)". Rolling Stone. Retrieved 6 June 2023.
• Buskin, Richard (May 2005). "Classic Tracks: The Who 'Who Are You?': Producers & Engineers: Jon Astley • Glyn Johns". Sound on Sound. Retrieved 26 June 2023.
• Chelstowski, Ray (10 March 2021). "The Band's latest "Stage Fright"". Goldmine. Retrieved 2 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• Danton, Eric R. (8 April 2013). "Andy Johns, Rolling Stones and Led Zeppelin Engineer, Dead at 61". Rolling Stone. Retrieved 20 July 2017.
• DeRiso, Nick (30 April 2018). "Why Paul McCartney and Wings Fell Apart after 'Red Rose Speedway'". VCR. Retrieved 30 June 2023.
• Erlewine, Stephen Thomas. "We Ran – Linda Ronstadt". AllMusic. Archived from the original on 5 June 2023. Retrieved 5 June 2023.
• Flanigin, Bill (12 February 2021). "Looking Back…on Eric Clapton's "Backless"". Culture Sonar. Retrieved 26 June 2023.
• Foley, Ivan (18 August 2021). "Ozark 'Hillbillies' who Made it Big in Rock 'n' Roll". The Landmark. Retrieved 3 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• Huey, Steve. "New Model Army Biography". AllMusic. Retrieved 3 July 2023.
• Fremer, Michael (3 May 2016). "Glyn Johns's Book "Sound Man" Is a Must Read For Analogplanet Readers". Analog Planet. Retrieved 21 January 2018.
• Fricke, David (30 January 1986). "Ian Stewart: 1938-1985". Rolling Stone. Retrieved 25 June 2023.
• Fulgham, Keefer (10 February 2015). "Glyn Johns recalls work with Beatles, Rolling Stones and more in 'Sound Man'". Colorado Public Radio. Retrieved 24 June 2023.
• Gallucci, Michael (18 February 2016). "Eric Clapton to Release New Album, 'I Still Do,' With 'Slowhand' Producer Glyn Johns". Ultimate Classic Rock. Retrieved 17 June 2023.
• Giles, Jeff (22 March 2016). "How the Eagles Steered Towards Rock with 'On the Border'". VCR: Classic Rock & Culture. Retrieved 1 July 2023.
• Giles, Jeff (3 October 2015). "How the Who Struggled with Getting Old on 'The Who by Numbers'". Ultimate Classic Rock. Retrieved 26 June 2023.
• Giles, Jeff (17 November 2016). "Why the Faces' Great 'A Nod is as Good as a Wink' Wasn't Good Enough". VCR. Retrieved 28 June 2023.
• Golsen, Tyler (28 October 2022). "Glyn Johns on the "awkward position" he was in during The Beatles' 'Get Back'". Far Out. Retrieved 29 June 2023.
• Greenwald, Matthew. "Rock On: Humble Pie". AllMusic. Retrieved 28 June 2023.
• Hanson, Amy. "Children of the Future: Review". AllMusic. Retrieved 2 July 2023.
• Hatfield, Jason (September 2004). "Dave Mattacks: Recording Drums". Tape Op. Retrieved 18 June 2023.
• Havers, Richard (11 January 2014). "Olympic Studios". UDiscoverMusic. Retrieved 27 June 2023.
• Hopkins, Scott. "The Class of 1971: 'Sticky Fingers' — The Rolling Stones". Music Fest News.com. Retrieved 27 June 2023.
• Hochman, Steve (5 August 2001). "John Hiatt Needed for the 'Country Bear' Necessities". Los Angeles Times. Retrieved 3 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• "Glyn Johns". Rockhall.com. Archived from the original on 24 October 2021. Retrieved 5 June 2023.
• "Glyn Johns interview: My 50 years of producing rock classics". The Independent. 31 October 2014. Archived from the original on 28 July 2017. Retrieved 19 July 2017.
• Jury, Louise (13 April 2012). "Stones' Studio Runs out of Time". Evening Standard. Retrieved 27 June 2023.
• Kurutz, Steve. "Biography: Andy Johns". AllMusic. Archived from the original on 20 January 2023. Retrieved 8 June 2023.
• "A Legend in Four Microphones – The Glyn Johns Drum Recording Method". Homerecordinglab.com. 11 May 2018. Archived from the original on 6 September 2019. Retrieved 30 May 2020.
• Leviton, Mark (22 August 2020). "Pete Townshend/Ronnie Lane's 'Rough Mix': An Overlooked Gem". Best Classic Bands. Archived from the original on 8 June 2023. Retrieved 8 June 2023.
• Love, Damien (24 May 2016). "Inside Dylan's Self Portrait Sessions: "You Don't Force Bob to Do Anything"". Retrieved 2 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• Marchese, David (2 August 2012). "Band Of Horses Get Back In The Saddle For New 'Mirage Rock'". Spin. Retrieved 29 June 2023.
• McNair, James (27 November 2014). "Sonic Boom Time". The National. Retrieved 20 July 2017.
• Michaels, Sean (10 November 2014). "Bob Dylan wanted to make an album with the Beatles and the Rolling Stones". The Guardian. Retrieved 1 July 2023.
• Monger, Timothy. "Biography: Joan Armatrading". AllMusic. Archived from the original on 6 April 2023. Retrieved 8 June 2023.
• Moore, Addie (2 June 2022). "The Eagles Debut Album: A Song-By-Song Guide". AllMusic. Retrieved 3 July 2023.
• Mulholland, Garry (5 December 2014). "The Small Faces: Ian McLagan and Kenney Jones tell the story of their singles". Uncut. Retrieved 28 June 2023.
• Ofjord, Michael. "Seeds Review". AllMusic. Retrieved 3 July 2023.
• Pickford, John (27 June 2018). "Technique of the Week – Glyn Johns Method". Archived from the original on 29 September 2020. Retrieved 30 May 2020.
• Planer, Lindsay. "Your Saving Grace Review". AllMusic. Retrieved 2 July 2023.
• Reavis, Dick (September 1986). "The Faulty Cure". Texas Monthly. Retrieved 29 June 2023.
• Renzi, David (15 March 1996). "Satriani's new method: 'Shut up and play'". Retrieved 3 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• "Review: Sound Man: A Life of Recording with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, and the Faces..." Kirkus Reviews. Archived from the original on 6 June 2023. Retrieved 6 June 2023.
• Rother, Larry (19 December 2014). "What He Saw From the Control Room". New York Times. Retrieved 26 June 2023.
• Runtagh, Jordan (15 November 2021). "Getting Back to 'Get Back': The Long and Winding Saga of Glyn Johns' Lost Beatles Album". People. Retrieved 29 June 2023.
• "Ryan Adams working on a new album with Glyn Johns | News". Nme.com. 16 March 2011. Archived from the original on 22 October 2012. Retrieved 6 January 2013.
• Thomas, Kenny (5 May 2015). "A Tale of Three Helios:The Legacy and Resurrection of the Branson Boards". Mix. Retrieved 11 July 2017.
• Sarti, Anthony (January 2004). "Andy Johns: One Big Lovely Noise". Tape Op. Archived from the original on 8 December 2022. Retrieved 8 June 2023.
• Schneider, Jason (5 October 2011). "Ryan Adams Talks Working with Legendary Producer Glyn Johns on 'Ashes & Fire'". Exclaim!*@#. Retrieved 29 June 2023.
• Scoppa, Bud (10 September 2020). "Stewing Over Goats Head Soup". Hits Daily Double. Retrieved 27 June 2023.
• Sexton, Paul (9 August 2022). "'Itchycoo Park': All Too Beautiful For The Small Faces". UDiscoverMusic.{{cite web}}: CS1 maint: ref duplicates default (link)
• Staff (6 August 2015). "Glyn Johns speaks sound and vision". Goldmine. Retrieved 28 June 2023.
• Staff (17 January 2023). "The Rolling Stones: Why Mick Taylor Had To Go". Mojo. Retrieved 27 June 2023.
• Tavares, Nick (20 November 2013). "Even the Who at their worst were worth repeated listens". Static and Feedback. Retrieved 26 June 2023.
• Tianen, Dave (13 August 2009). "The Wizard of Waukesha". PBS. Retrieved 1 July 2023.
• Unterberger, Richie. "Biography: David Hassinger". Retrieved 27 June 2023.
• Walsh, John (31 October 2014). "Glyn Johns Interview: My 50 Years of Producing Rock Classics". The Independent. Retrieved 20 July 2017.
• Ward, Matt (17 April 2012). "Iconic Producer Andy Johns on Recording with Jimi Hendrix, Led Zeppelin, Rolling Stones and the 1176". Uaudio.com. Retrieved 20 July 2017.
• "What is Glyn Johns technique? Who is Glyn Johns, the producer?". Drum Magazine. Archived from the original on 6 June 2023. Retrieved 6 June 2023.
• "2013 Winners". Mpg.org. Archived from the original on 9 April 2023. Retrieved 8 June 2023.
• Williams, Richard (14 August 1976). "Joan Armatrading: Joan Armatrading (A&M)". Melody Maker. Retrieved 3 March 2021 – via Rock's Backpages.
• Wilson, Matthew (20 December 2020). "Eagles' Hit Song 'Take It to the Limit' Caused Randy Meisner to Quit: Here's Why". Outsider. Retrieved 3 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• Yeniocak, Su (28 January 2022). "Bernie Leadon Recalls How He Helped Don Felder Join The Eagles". Rock Celebrities. Retrieved 3 July 2023.{{cite web}}: CS1 maint: ref duplicates default (link)
• Zimmerman, Lee (6 March 2023). "Borstal Boys: Faces' Ooh La La at 50". Rock & Roll Globe. Retrieved 29 June 2023.