andrews27
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andrews27 wrote on Jul 9 th, 2020 at 4:57pm: Gazza wrote on Jul 9 th, 2020 at 4:19pm: Voodoo Chile in Wonderland wrote on Jul 9 th, 2020 at 11:38am: Japanese bonus: 100 Years ago and Hide Your Love, both are Glyn Johns 1973 mixes
Thanks Rogerriffin Andy Johns mixed the original album. So basically he was in competition that summer with his older brother? The i-tunes version of this release lists 'track 11' and 'track 12' at the end of disc 2 So maybe those two tracks you mention will be available as a download but only available as a physical release in Japan? I read Glyn Johns' book. My memory is that Glyn had a rough experience on GHS and departed to work on someone else's album, drafting his brother/apprentice Andy to attempt the mixes. To correct my error, this is the passage I was thinking of in Glyn Johns’ book Sound Man. Glyn says that he stopped working for The Stones during the May 1971 Sticky Fingers mixing sessions, and didn’t work with them again until he was asked to mix ABKCO tracks for Metamorphosis in 1974: On my return [from the Mick-Bianca wedding], I did a couple of days mixing with the Stones and announced that that was it, recommending my brother Andy to take over from me as their engineer. He was eight years younger than me and left school with a burning desire to follow in my footsteps. I managed to get him a job at Olympic, which did not last long, as his timekeeping proved to be less than reliable. However, he moved on and quickly established himself as a formidable engineer, making wonderful-sounding records with, among others, Led Zeppelin, Blind Faith, Jack Bruce, Free, Ten Years After, Jethro Tull, and Cat Stevens. So he was more than qualified to work with the Stones. We never worked together, but I was a huge fan of his sound. I believe that he eventually became the best in the world at recording the heavier side of rock and roll, with Zeppelin’s II, III, IV, and Houses of the Holy, Van Halen, and Joe Satriani.Glyn doesn’t explain why “That was it” in 1971, but his chronology is off, since Sticky Fingers was released in April 1971, and Mick married Bianca in May 1971. So, if his memory is accurate at all, what was he mixing after the wedding? Unless some record company idiot has confused Glyn Johns and Andy Johns on the GHS reissue, we don’t know when or why Glyn would have mixed these tracks from CD 2: 8. Dancing With Mr. D (Glyn Johns 1973 Mix) 9. Doo Doo Doo Doo Doo (Heartbreaker) – (Glyn Johns 1973 Mix) 10. Silver Train (Glyn Johns 1973 Mix) Glyn doesn’t mention Goats Head Soup at all in his book. If he did any mixes, somewhere in the world, somewhere in the production chain, it may have been to try and camouflage errors made in the original Jamaican recordings. See boldfaced passage below: On Exile on Main St., the Rolling Stones were able to make one of their finest albums, in spite of heavy drug use. On the follow-up, Goats Head Soup, the drugs began to take their toll on the band, which continued to experience commercial success, even after losing favor with critics.
"It was getting a little more bizarre by then," says Andy Johns, who served as chief engineer and mixed the record. "That album suffered from drugs and alcohol. You can hear it in the music. Just about everyone was getting high, except for Bill [Wyman, the bassist] and Charlie [Watts, the drummer]."
"Heroin was now playing a bigger factor in what was going on," he adds. "It definitely was not helping. It was very negative." The primary user was guitarist Keith Richards, but Mick [Jagger] wasn't exactly straight and I definitely wasn't," Johns says.
To make matters worse, Richard was to face charges for use, supply, and trafficking of cannabis and heroin in Nice, France, while Wyman's wife, Astrid, was raped in her Jamaican hotel room. "That stuff was definitely on their minds," says Johns.
With the exception of "Silver Train," which was recorded in Ireland, Goats Head Soup was recorded at Dynamic Sound Studios in Kingston, Jamaica. "There was an attitude of 'Let's get it done,'" says Johns. "It was just pure momentum. I don't know that there was much of a direction at all. It was like, 'Let's do an album,' and those were the songs that came out during the four or five months."
And, as was the case on the previous albums, the Stones spent days attempting to perfect the recordings. Johns recalls that Richards had a particularly rough time with "Doo Doo Doo Doo [Heartbreaker]," which went on to become a number 15 hit. "The track was really out of tune," says Johns. "Everyone was so out of it that instead of recutting the track, Keith spent four days trying to get the bass in tune, and there was no way to make it work, because the electric piano and the guitar were out of tune with each other. Things were getting a little fuzzy there."
In all, Goats Head Soup simply wasn't up to par with the Stones' previous few efforts. "There weren't as many good songs and the recording was pretty shabby," Johns admits. "It's not their greatest effort, although there are some gems on it." John's personal favorites are "Winter," which he calls "one of the best things that they ever did," and the coyly titled "Star Star," (better known as "Starfucker") which he says "is a classic rock 'n' roll song."
- Craig Rosen, The Billboard Book of Number One Hits, 1996.
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Goats Head Soup reissue to be released later this year (Read 46,385 times)
