Pantages Theatre
Los Angeles, CA
February 22, 1978
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 114
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
Transfer: Mike Millard Master Cassettes > Yamaha KX-W592 Cassette Deck > Sony R-500 DAT > Analog Master DAT Clone > Focusrite Scarlett 6i6 > Sound Forge Audio Studio 13.0 capture > Adobe Audition > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC
01 Overture: Up from the Deep/Young and Rich/Madam I'm Adam/Mondo Bondage
02 Got Yourself A Deal
03 Show Me A Reason
04 God-Bird-Change
05 What Do You Want From Life
06 Special Ballet
07 Don't Touch Me There
08 Mondo Bondage
09 Smoke (La Vie en Fumer)
10 It's Not Unusual
11 Intermission
12 Haloes
13 Be Mine Tonight
14 Crime Medley
15 Getoverture
16 Telecide
17 I Was A Punk Before You Were A Punk
18 I Saw Her Standing There (The Beatles cover)
19 Drum Solo
20 Boy Crazy
21 Stand Up And Shout
22 White Punks On Dope
Known Faults:
-None
Introduction to the Lost and Found Mike the MICrophone Series
Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike The Mike, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For the complete details on how tapes in this series came to be lost and found again, as well as JEMS' long history with Mike Millard, please refer to the notes in Vol. One: http://www.dimeadozen.org/torrents-details.php?id=500680.
Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.
That all changed with the discovery of many of Mike Millard’s original master tapes.
Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1993.
The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?
The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.
The full back story on how Mike’s master tapes were saved can be found in the notes for Vol. 18 Pink Floyd, which was the first release in our series transferred from Millard’s original master tapes:
http://www.dimeadozen.org/torrents-details.php?id=667745&hit=1
http://www.dimeadozen.org/torrents-details.php?id=667750&hit=1
The Tubes, Pantages Theatre, Los Angeles, CA, February 22, 1978
Welcome to another week of what might best be described as Mike "The Mike" Millard outliers, heretofore unknown and unexpected Millard recordings. This time its San Francisco's own performance-art band, The Tubes, best known at this time for the provocative single "White Punks on Dope" and their charismatic frontman, Fee Waybill.
The Tubes were one of the first to take video projection, production design and other staging elements of the underground cabaret scene and merge it with rock 'n' roll. According to Wikipedia, this show was part of a multi-show stand at The Pantages that became a hot ticket in LA, attracting celebs and putting the band on the map in the city. The appearances were ostensibly tied to the release of the live album What Do You Want From Live, recorded the previous November in the UK. Not dissimilar to Cheap Trick, the Tubes' live album may have done more to break The Tubes than the three studio albums which proceeded it.
The nature of the show, heavy on visual elements, even short films, makes it difficult to capture fully via audio. The "Intermission" track here is in fact the sound from a movie the band screens mid-show. This is also the only Millard recording we have that he made at the Pantages, though we have recently learned that Mike may have recorded Bob Dylan there in May 1992, something we're trying to track down.
Mike has a couple of minor issues with levels, but otherwise does a nice job preserving this unwieldy performance. Samples provided. For non-Tubes fans, the set does contain an alternate point of entry, a cover of The Beatles' "I Saw Her Standing There," but caveat emptor. One can only assume that quality recordings of The Tubes from this era are few and far between, unless Bay Area Deadheads were covering the band up there.
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JEMS is proud to partner with Rob, Jim R, Ed F, Barry G and many others to release Millard's historic recordings and to help set the record straight about the man himself.
We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike’s precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim’s memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mike’s incredible audio documents.
First among equals in the thank yous this week is mjk5510, who not only provided his usual, high-quality post-production support and cover art, but he figured out the Tubes' challenging set list. Pitch adjustment was also a bit more vexing than usual, but Professor Goody rose to the occasion as always.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS
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