AnalogPlanet Radio

No Eagles? Also would have included something more obscure such as Helen Watson. Too much Stones if that is possible.

Glynn did a great job on Ryan Adams Ashes and Fire LP!

And I would second Helen Watson's Blue Slipper!

If I remember correctly Don Henley said they changed producers to Bill Szymczyk because Glynn's sound was too organic!!!

James, Dublin, Ireland

Listening to your show is a joy because of the eclectic range of music you play. I am glad you are a vinyl lover and not a professional DJ and that is meant as a compliment!

James, Dublin, Ireland

I would like to have seen one Ryan Adams track here. So many of the recordings were done a long time ago, great as they are. I think Johns did an album with Ryan Adams fairly recently.
It would've been fun to compare the sound quality of yesterday's engineering approaches to today's. I do realize Johns is hired for doing things they way he's always done them, but it might have been worth a listen.

I mentioned the Ryan Adams LP Ashes and Rain, a super album musically and productionwise! Michael please play a track from it next time!

James, Dublin, Ireland

It is also not a coincidence that the Ryan Adams and Helen Watson LPs were mastered by Doug Sax.

James, Dublin, Ireland

and Don't Let Me Down were both engineered by Johns as well.
That opening Stones track always makes me think back to when I was about fourteen years old and bought a VG+ Mono London pressing of "Out Of Our Heads". Cranked up nicely, it nearly destroyed the woofers in my Dad's system!

Hi

I am a new member. How do I high up to access your streaming service programs?

Jerry

Some of his best work IMO was the quasi-unreleased version of LiB. The best version I know of "Teddy Boy" ever produced. Actually, maybe the only listenable version.

What source did KG have to cut the MCA Heavy Vinyl Who's Next? I think it is bettered by the later Classic Records as well as UK original.

Mikey
I'm not certain in respect to what Stones tunes Johns was involved in . OK,he engineered some of their canon. How early on ?
It really makes little difference in reality. There's that fine line of the producer and mastering engineer ,that is working the preamp to the cutting lathe . ( By the way. You mentioned in your show,the masters going from two inch to half inch tape. It's actually quarter inch tape. I'm sure your aware of that,but many are not . You could go a little bit further and ask how many IPS ,were they mastered down to,or for that fact,how fast they were running,on the actual recording )
I digress .
Whomever engineered or mastered the early Stones albums did a terrible job.
I'm a very serious collector of first UK pressings ,of a few artists .
I can say without reservation,hesitation,manipulation or materbation.
The Beatles vinyl albums of the period,between 63-69, cannot be denied.
Nobody comes even close.
Every,and I do mean every recording produced by ANY other group,or solo artist during that period ,sounds like crap,when you do an A/B against the Beatles.
Up to Pepper,mono was the focal point,ironically,they started paying attention to the stereo landscape beginning with the advent of Apple Records .
All Parlophone were dedicated mono mixes . Sgt. Pepper,was a turning point,and the mono does in fact blow away the stereo mix.
I listened to a broad spectrum of the Stones,Beach Boys ( The Beach Boys,will be an entire artical ) and Beatles first pressings.
It's hard to define ,how much more balls ,everything the Beatles recorded ,overshadows every other pop artist of the period.
The Stones sound so thin,I couldn't believe the difference .
I ran everything flat,same volume etc. Then I would EQ etc. but always on an equal playing field.
I often wonder what the Stones would have sounded like with a bass player ... ( Think about it,then listen to it )
I think it would serve the Stones well,to dig out all the master tapes and have someone have a go at them.
Your fawning over Glyn Johns. In my opinion,and many others,he got short shrift on Let It Be.
His was the mastering job to go to. Phil Spector,is merely paying his karma now.
This all goes back to the period,as closely as possible .
There is no contest between 64-69 ...

One of my favorite sounding albums, John Hiatt's 'Slow Turning', produced by Glyn Johns.

James- You are correct Doug Sax did master Slow Turning. Good call on recommending Ryan Adams Ashes and Fire to the radio show. Always a treat when a Glyn Johns recording gets cut to vinyl by Doug sax. Michael please play Dirty Rain from that album. Whenever I spin that track its just another reminder of the depth of emotion Doug was able to transfer to the grooves of a record.