Engineer and producer Glyn Johns was born in Epsom, England, on February 15, 1942. He began his career as a performer, fronting the band the Presidents during the early 1960s. He became an apprentice to the producer Shel Talmy, who worked with the Who and the Kinks. By 1965, Johns was engineering Rolling Stones' recording sessions, including 1967's Their Satanic Majesties Request and 1968's Beggars Banquet. In addition to his work with the Stones, he engineered albums for Traffic, Procol Harum, Spooky Tooth, the Move and Billy Nichols in 1968 alone. Also in 1968, he found the time to engineer and produce the Steve Miller Band's album Sailor, which led to more production work.
By 1971, Johns had hit his stride as a producer, with Who's Next by the Who, the Rolling Stones' Sticky Fingers and the Faces' A Nod Is as Good as a Wink to a Blind Horse to his credit. He produced the Eagles' first three albums and is arguably responsible for creating that group's distinct Southern California sound. He was asked to rescue the Beatles' ill-fated Get Back sessions and worked on the tapes for months before the project was turned over to Phil Spector to complete as Let It Be. Johns' production and engineering throughout the Seventies included work with the Band, Joe Cocker, Rod Stewart, Eric Clapton and many others. In the Eighties, Johns worked as engineer or producer for the Who, the Clash and Jimmy Page. His Nineties credits include production for John Hiatt, David Crosby and Belly. Johns' most recent work is as mixer, engineer and producer of Ryan Adams' 2011 album, Ashes and Fire.
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