Quotes About First Time They Met

  • Glyn Johns on Ian Stewart

    In 1962, Colin Golding, the bass player in The Presidents, introduced me to Ian Stewart, or "Stu" as he was affectionately known. Colin told me that he knew this guy who lived locally who had a vast collection of jazz and blues records. So he was definitely to be checked out. The friendship that grew from that meeting had an immense effect on my life. We met and discussed our mutual interest in the blues. He was so modest that it wasn't for some time that I found out that he played the piano and that he and a bunch of like-minded blues enthusiasts had put a band together called The Rolling Stones. In fact, he was responsible for starting the band with Brian Jones, having answered an advertisement Brian had placed in Jazz News earlier that year.

    Sound Man

  • Glyn Johns on Laurence Olivier

    He was to read the most important and emotive speech in the whole piece—[Lord] Nelson's letter to Lady Hamilton the night before he died at the Battle of Trafalgar. His transformation into character was extraordinary to watch. Those of us present being stunned into silence by the end of the one and only take. Later that morning he was joined by a group of young actors who had to play a scene with him. It was quite obvious from the start that they were all in awe of him, but within minutes he had them completely at ease in his presence. A true professional. His personal problems left at the door, his concern for others and the job at hand taking precedence.

    Sound Man

    This quote appears in Glyn Johns' autobiography, Sound Man, when he's describing the first session he got to run as an engineer. Here's Glyn setting the scene: “In 1960 I got my first opportunity to actually sit at the console as an engineer. I was the assistant on the recording of a Son et Lumière production about the Battle of Trafalgar staged on Lord Nelson's ship the Victory in Portsmouth Harbour. Lord Nelson was played by Sir Laurence Olivier, who wanted to work on a Saturday, and the engineer, Ray Prickett, refused to work on weekends, so I was given the job. I was petrified. Fortunately, the director, Peter Wood, was a charming and kind man and did his best to put me at ease, knowing that this was my first session in charge. Just the idea of being in the presence of the great man was bad enough. It only involved one microphone, so not a lot could go wrong. Pathetic really. Unfortunately, the news of Olivier's intention to divorce Vivien Leigh and marry Joan Plowright had broken in the press that morning. So when he burst out of the elevator on the third floor and into studio B with a flurry of agitated entourage, there was steam coming out of every orifice.”

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  • Glyn Johns on Lonnie Donegan

    The first session I was assigned was for Lonnie Donegan. This was too good to be true. He was still my favorite recording artist. I even discovered that the picture on the front cover of my much-coveted 10-inch album was taken in studio B at IBC. It was all too much for a young boy.

    Sound Man

    This quote appears in the "Early Years" chapter of Glyn Johns' autobiography, Sound Man. He's describing his first job in a recording studio, writing: "I started work at IBC the very next day, as a lowly assistant engineer. This meant setting up the studio before each session to the engineer's requirements, keeping continuity, and taking the blame for anything that did not work, while receiving varying amounts of verbal abuse from my superiors before, during, and after the session, and then stripping the studio afterward, with a great deal of tea making and equipment polishing thrown in."

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  • Glyn Johns on Ian Stewart

    It was through the window of the Harlequin that I was to catch my first sight of Ian Stewart. He would ride by on his racing bike, cutting a very athletic figure in his leather cycling shorts, his exaggerated chin thrust forward from the exertion of pedaling up the hill on Cheam High Street. He was three or four years older than me and we were not to meet until I was seventeen or eighteen, and boy did that change my life.

    Sound Man

    This quote appears in the "Early Years" chapter of Glyn Johns' autobiography, Sound Man. The Harlequin was a coffee shop that Glyn would frequent as a teenager. Here's how he describes it: "Sometimes smaller groups of us would meet in the Harlequin coffee bar in Cheam, making a round of toast and a cup of tea last until we were asked to leave by the owner, Mrs. Hughes. Little did I know then that twenty years later she would become my mother-in-law."

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  • Glyn Johns on Jimmy Page

    I stayed on at the church as a server and started going to the church youth club on Wednesday nights. Among other delights, we would have discussion nights and play table tennis and were taught ballroom dancing, which didn't appeal to me at all, but at least you got to put your arm around a girl legitimately. One evening we had a talent night. I remember a boy in his early teens no one had seen before, who sat with his legs swinging over the front edge of the stage and played an acoustic guitar. He was pretty good, he may have even won, but I don't think anyone in the hall that night had any idea that he was to become such an innovative force in modern music. This was to be my first meeting with Jimmy Page.

    Sound Man