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	Glyn Johns - Wikipedia, the free encyclopedia
		Glyn Johns (born 1942 in Epsom, England) is a recording engineer and record producer who has worked with such artists as The Beatles, The Steve Miller Band, Led Zeppelin, The Rolling Stones, The Who, The Eagles, Eric Clapton, The Clash, Midnight Oil and the Blue Öyster Cult Linda Ronstadt, Emmylou Harris and others.
		Johns compiled several versions of the album, which were all rejected by the band, before the project was eventually turned over to producer Phil Spector.
		Glyn Johns is the father of Ethan Johns, also an accomplished producer who has worked with acts such as Ryan Adams and the Kings of Leon.
	en.wikipedia.org /wiki/Glyn_Johns (217 words)

	Glyn Johns (Site not responding. Last check: 2007-10-12)
		Johns' big break as a producer came in 1968, when he was approached to helm The Steve Miller Band's Sailor; their collaboration also yielded several other LPs, including 1969's acclaimed Brave New World.
		Johns quickly emerged as a sought-after producer, in 1971 alone lending his studio talents to classic records including The Who's Who's Next, The Faces' A Nod Is as Good as a Wink to a Blind Horse and The Stones' Sticky Fingers.
		Johns' pace was relentless throughout the 1970s; among his other notable production and engineering jobs of the period were The Stones' Exile on Main Street (1972), The Who's Quadrophenia (1973), Joan Armatrading's self-titled third LP (1976) and Eric Clapton's Slowhand (1977) and Backless (1978).
	www.80sretromusic.com /biography/J/johns.htm (263 words)

	Glyn Johns b (Site not responding. Last check: 2007-10-12)
		Johns was also involved in the recording of the Beatles' SGT. PEPPER'S LONELY HEARTS CLUB BAND and LET IT BE, while Led Zeppelin, Joe Cocker and Traffic also called on his talents.
		Johns' frantic schedule lessened during the succeeding decade as he embarked on a lower-key approach with newer acts, including Nine Below Zero, Live Wire and, more recently, Helen Watson.
		Johns' work is now largely determined by artists he respects.
	www.centrohd.com /biogra/j1/glyn_johns_b.htm (224 words)

	Glyn Johns: Reviews, Discography, Audio Clips, and more \|\|\| Music.com (Site not responding. Last check: 2007-10-12)
		Johns' big break as a producer came in 1968, when he was approached to helm the Steve Miller Band's Sailor [+]; their collaboration also yielded several other LPs, including 1969's acclaimed Brave New World [+].
		Johns quickly emerged as a sought-after producer, in 1971 alone lending his studio talents to classic records including the Who's Who's Next, the Faces' A Nod Is as Good as a Wink to a Blind Horse and the Stones' Sticky Fingers [+].
		Johns' pace was relentless throughout the 1970s; among his other notable production and engineering jobs of the period were the Stones' Exile on Main Street (1972), the Who's Quadrophenia [+] (1973), Joan Armatrading's self-titled third LP (1976) and Eric Clapton's Slowhand [+] (1977) and Backless [+] (1978).
	www.music.com /person/glyn_johns/1 (584 words)

	The Glyn Johns Get Back Mixes - Let It Be - Turn Me On, Dead Man
		Johns made an effort to present the Beatles returning to their roots and playing without overdubs or studio effects.
		Glyn Johns opened both of his mixes with "One After 909," one of the first songs John and Paul wrote.
		Mark Lewisohn suggests that the reason Glyn Johns removed "Teddy Boy" was because Paul had informed him that he would include a re-recorded version for his first solo album, which would be released in the spring of 1970.
	www.turnmeondeadman.net /LIB/GlynJohns.html (856 words)

	Let It Be - Turn Me On, Dead Man (Site not responding. Last check: 2007-10-12)
		Paul had approached Glyn Johns, who was an independent "balance engineer" and a member of the filmmakers union.(1) After the recording was over, Glyn Johns produced an album of material and presented it to the Beatles in the Spring of 1969.
		Glyn Johns took the "warts and all" approach in assembling Get Back, but the results were not particularly good.
		Johns tried a second time several months later with a somewhat altered playlist, but the Beatles rejected his efforts again.
	www.turnmeondeadman.net /LIB/Intro.html (766 words)

	joe satriani - discography > joe satriani - press release
		Johns surrounded Satriani with a group of heavyweights: drummer Manu Katche from the Peter Gabriel band, bassist Nathan East from the Eric Clapton's group and Andy Fairweather Low, also from the Clapton band, who served as resident rhythm guitarist, freeing Satriani to concentrate on lead guitar.
		Johns also convinced Satriani to abandon his labyrinth of pedals and outboard effects and simply attach his cord straight into the amplifier for much of the album.
		His 1992 album, The Extremist, was co-produced by Andy Johns, brother of Glyn Johns and a veteran producer/engineer himself.
	www.satriani.com /2004/discography/Joe_Satriani/Joe_Satriani-PR.shtml (816 words)

	Beatles history - 1969 year
		John, in an interview, says that Apple is like a big fl hole that takes all his benefits as an author and singer.
		John and Yoko announce a plan of producing a film called `A6' about a murder, revealing their intention to make public the case of James Hanratty.
		John and Yoko arrive in a white bag inside a white Rolls Royce, at Hyde Park (at Cumberland Gate), to protest for James Hanratty, while Hanratty's father addresses the crowd.
	dmbeatles.com /history.php?year=1969 (7863 words)

	1969 year in Beatles history
		John and Yoko are scheduled to join Ringo and the others on the trip, but had to cancel at the last moment since John does not get his visa.
		John Kurlander, second engineer for this session, disobeying Paul, conserved the tape, appending it to the end of the complete tape, but clearly apart from the rest, 15 seconds after `The End'.
		John declares to New Musical Express he is considering to leave the group.
	www.geocities.com /dsmurashev.geo/history/1969.htm (8437 words)

	Get Back -Glyn Johns Final Compilation
		Essentially Johns kept the majority of the already assembled album, altering it only in order to more accurately reflect the songs soon to be seen performed in the Let It Be film.
		He took this recording, remixed it, chopped off the extended coda, and edited spoken chatter at the beginning and end to give the appearance that it was from the live rooftop performance seen in the film, which it certainly wasn't.
		To do this, Johns mixed out the Beatles' own backing vocals, and all but mixed out the Gayleen Pease and Lizzie Bravo backing vocals (these were the two fans who had been recruited for the original recording sessions).
	www.fabfour.de /vt182.html.html (2599 words)

	BootlegZone : The Beatles -- Get Back, Glynis - CD 1 (Site not responding. Last check: 2007-10-12)
		The Rooftop concert took place on the 30th and was mixed by Glyn Johns in its entirety on February 5th.
		Glyn Johns' first attempt at "Let It Be" remixes (except for the Rooftop) occurred on March 10th, 1969.
		Johns then took the best of his day's efforts and had them pressed to acetates for the Beatles to evaluate.
	www.bootlegzone.com /album.php?name=ss044 (787 words)

	Real Live - Wikipedia, the free encyclopedia
		Real Live is a 1984 live album release documenting Bob Dylan's European tour in the summer of 1984.
		Produced by Glyn Johns, it features Mick Taylor (formerly of the Rolling Stones) on lead guitar, Ian McLagen (formerly of the Faces) on keyboards, and a guest appearance from Carlos Santana.
		The performances on Real Live were recorded in support of his successful Infidels release, and while that album was hailed as a "return to musical form" (as described by Kurt Loder in Rolling Stone Magazine), critical reception for Real Live was generally mixed.
	en.wikipedia.org /wiki/Real_Live (218 words)

	Timeline:1969
		Citing John and Yoko;s drug bust, Ringo is served with a writ by Brymon Estates, landlords of 34 Montagu Square, for misuse of property.
		John, Yoko and Kyoko arrive fly to Montreal and begin their eightday bedin for peace in Room 1742 of the Queen Elizabeth Hotel.
		John and Yoko give Michael X a bag with their recently shorn hair in exchange for a pair of Muhammed Ali boxing shorts.
	www.beatlemania.hu /69time.htm (9543 words)

	BootlegZone : The Beatles -- Get Back - The Glyn Johns Final Compilation (Site not responding. Last check: 2007-10-12)
		Johns utilized the recordings from this date but incorporated a spoken intro from January 22 that he edited onto the beginning.
		This track was the one exception that Glyn Johns allowed on either version of "Get Back" to the original no frills, no overdub concept that the Beatles and George Martin had started out with originally.
		I think that this 2nd mix is even better than the first one because Glyn Johns has removed Teddy Boy (which was recorded by The Beatles only as a rehearsal and not as a serious take) and that it features I Me Mine and Across The Universe.
	www.bootlegzone.com /album.php?name=vt182&section=1 (3954 words)

	BootlegZone : The Beatles -- Get Back - The Glyn Johns Final Compilation (Site not responding. Last check: 2007-10-12)
		However, delays in the preparation of the packaging for the LP (which was to include a book of pictures and text), and in the completion of what now was to be a feature film instead of a television special were cited as reasons for the lack of any forthcoming album.
		The reference to Jan 69 is probably related to the recording date, not mixing, as this song was not given its first mix until March 1969 during Glyn Johns' first studio sessions after being given his assignement by John and Paul.
		This is the final Glyn Johns mix that was rejected by the band, and is vastly superior to the Spectorized version officially released.
	www.bootlegzone.com /album.php?name=vt182§ion=1 (3954 words)

	Sing This Song Together E to K
		Glyn Johns' younger brother, Andy also started working at Olympic Studios in London, and though he wasn't working with them yet, he first met the Stones there when they were working on
		Johns' first engineering jobs came in the late 1960s, carving a niche for himself by working with blues-based rock and hard rock bands such as Free, Jethro Tull, Traffic and Ten Years After.
		Johns has gone on to work with none other than the Beatles, Led Zeppelin, the Who, the Eagles, the Clash and many other rock artists.
	www.timeisonourside.com /whydontEK.html (8322 words)

	Stereophile: Recording of February 2004: Let It Be...Naked
		This, and a second Johns mix with a different song order, fell short of expectations, so eventually the tapes ended up with Phil Spector, who tightened them even more, shuffled the song order again, and added some orchestral and choral sweetening.
		Brought to the surface again last year, the original tapes were found to be in good shape, and this time around the mixing engineers could use Pro Tools on a digital workstation to splice and dice to the nanobeat while correcting fluffed notes and combining parts from different takes.
		When John, Paul, George, Ringo (and Billy) recorded these tapes, they were at their fuzzy peak, with long hair and beards sprouted all around.
	www.stereophile.com /recordingofthemonth/204rotm (1260 words)

	THE WHO: RECORDING DATA (In-L)
		IN THE CITY (Keith Moon and John Entwistle) (Version I; 2'19) A studio version recorded 12/65 at IBC Studios, London; produced and engineered by Kit Lambert.
		IT'S YOUR TURN (John Entwistle) (Version I; 3'39) A studio version recorded 6/82 at Turn Up-Down Studios, Surrey, England; produced and engineered by Glyn Johns.
		I'VE BEEN AWAY (John Entwistle) (Version I; 2'04) A studio version (mono) recorded 11/66 at Regent Sound Studios, London; produced and engineered by Kit Lambert.
	www.geocities.com /SunsetStrip/Club/6041/Recordings/In-L.htm (2011 words)

	THE SOURCE - E.M.I. Master Reel - E90489 (Site not responding. Last check: 2007-10-12)
		However, per the dialogue on the Nagra reels, it could indicate that Glyn might have stopped the tape at anytime during the song.
		A 10 second playback of the end of the reprise is heard on Nagra reel 1014B.
		If he means backwards over 22.21, this would seem inaccurate since this performance as well as 22.21 are known to have survived.
	www.beatlesource.com /bs/e90489.html (702 words)

	Andy Johns - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links (Site not responding. Last check: 2007-10-12)
		The younger brother of successful producer Glyn Johns, as an engineer and later a producer, Andy has a list of clients as impresive as they come.
		Beginning as a tape operator at Olympic Studios, Johns engineered for the cream of the late 60s/early 70s British scene including Led Zeppelin, Jethro Tull, Humble Pie and Rod Stewart.
		Johns also worked with the Stones during their classic 68-73 string..
	www.artistdirect.com /nad/music/artist/links/0,,449623,00.html (179 words)

	the loud bassoon online zine - records: the beatles - get back: the glyn johns final compilation
		A bootleg so legit that it shows up in the CDDB, Get Back – The Glyn Johns Final Compilation is one of the finest unofficial albums ever released by the Fab Four.
		Engineer Glyn Johns had assembled the first version of the album, and made some changes in this second version, which was the final arrangement of the album, and which was killed off when the band decided they just didn't like it much.
		The standard Get Back bootlegs have traditionally used the first version assembled by Johns, and yet this version is the one that came closest to being officially released.
	www.loudbassoon.com /records/B/beatles_getbackfinal.html (901 words)

	Get Back - The Glyn Johns Final Compilation
		Vigotone is proud to present the final Glyn Johns compilation of the legendary unissued Get Back LP.
		The package is wonderfully produced, as you would expect, with all the recordings clearly reproduced.
		The C.D. GET BACK(Version Two): Final tape banding and compilation performed by Glyn Johns at Olympic Studios, Studio One, 117 Church Road, Barnes, London SW13, on January 5th 1970.
	www.jpgr.co.uk /vt182.html (363 words)

	Joe Satriani
		Producer Glyn Johns brought in world class musians to lay down the tracks including drummer Manu Katche, bassist Nathan East and rhythm guitarist Any Fairweather- Low.
		Eventually, about six months later, when I took a break I saw more clearly what I was up to and that's when I brought in Glyn Johns to help me see what it was I was trying to reach.
		Both times I jumped at the Johns name because I've always been so impressed with their work over the years with The Who, Led Zeppelin, Eric Clapton, the Clash, the Beatles, the Eagles, Steve Miller, the Stones and John Hiatt.
	www.hardradio.com /metalmama/satriani.html (1552 words)

	Beatles 1969-xx-xx Get Back - The Glyn Johns Final Compilation (FLAC) - The Traders' Den
		Notes: After the stereo remixing of Let It Be on Sunday January 4, 1970 Glyn Johns collected all the Get Back tapes ready for a further compiling attempt at Olympic Studios, Barnes the following day, Monday January 5, 1970.
		Johns used Take 8 of Across The Universe from Sunday February 4, 1968.
		"LET IT BE" (recorded 30 Jan 69 with 30 April 69 overdub): was the one exception that Glyn Johns allowed on either version Get Back to the original no frills, no overdub concept that the and George Martin had started out with originally.
	www.thetradersden.org /forums/showthread.php?t=5164 (4335 words)

	Re: Glyn Johns Let it be
		To me, the glyn one sounds like an early rehearsal compared to > >the roof take....
		> Paul's bridge vocal is great, especially at the end, George's attack is > sharp, > John has fun with his "on your what?" To me, it's full of electricity, and it > sounds like they're having a blast.
		Re: Glyn Johns Let it be, Peter V
	www.usenet.com /newsgroups/rec-music-beatles/msg15731.html (327 words)

	The Beatles - Get Back - The Glyn Johns Final Compilation (Site not responding. Last check: 2007-10-12)
		Label: Vigotone VIGO 182 "Vigotone is proud to present the final Glyn Johns compilation of the legendary unissued Get Back LP.
		Uncirculated before now, and assembled just one day after the last official Beatles recording session in January 1970, this lineup features notable differences from the more common Spring 1969 compilation on As Nature Intended and is an important addition to the unreleased Beatles canon.
		"I cannot bring myself to listen to the Phil Spector version of the album - I heard a few bars of it once, and was totally disgusted, and think it's an absolute load of garbage." -- Glyn Johns.
	www.thebtls.co.uk /gbgj.htm (132 words)

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