Ron Wood
The Palace
Los Angeles, CA
November 18, 1992
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 255
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Panasonic SV-250 DAT Recorder
JEMS Transfer: Mike Millard Master DAT > Tascam DA-302 DAT Recorder > Sound Devices USBPre 2 > Audacity 3.1 capture > iZotope RX > iZotope RX8 Advanced and Ozone 10 > MBIT+ resample to 16/44.1 > xACT 2.50 > FLAC
01 Show Me
02 Flying
03 Breathe On Me
04 (I Know) I'm Losing You
05 Josephine
06 Black Limousine
07 Pretty Beat Up
08 Seven Days
09 Band Introductions
10 Silicone Grown
11 Little Red Rooster
12 I Can Feel The Fire
13 It's Only Rock 'N' Roll (But I Like It)
14 Guitar Medley includes That's All You Need > Gasoline Alley > Prodigal Son > Amazing Grace
15 Stay With Me
16 Millard Outro
Known Faults: Opening "Testify" likely missing, "Show Me" joined in progress
Ron Wood - Guitar, Vocals
Bernard Fowler - Vocals
Ian McLagan - keyboards
Johnnie Lee Schell - Guitar
Shaun Solomon - Bass
Wayne P. Sheehy - Drums
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 MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77.
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 1992.
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.
Ron Wood, The Palace, Los Angeles, CA, November 18, 1992
After ten years and 255 Volumes, the Lost and Found series of Mike "The Mike" Millard master tapes comes to a close with Ron Wood at the Palace in Hollywood.
The Rolling Stones' guitarist was on tour in support of his solo album Slide On This, released in September 1992. Four songs from the record feature in a 15-song setlist that also includes cuts from the Stones, Faces and Wood's solo career, including his classic Bob Dylan cover "Seven Days." Wood shares vocals with Bernard Fowler, a veteran of Stones' tours, and his Faces' bandmate Ian McLagan plays keys.
Wood delivers a charming, well-meaning performance which Millard recorded at the behest of Ed F, on whose DAT deck the show was captured. Despite its high quality and two hour, no flips taping duration, Millard was never a fan of the DAT medium, preferring his legendary Nakamichi 550 cassette recorder, but he made an exception for this show and a couple of others.
His taping position for the night is not as close to the PA as typical Millard standards, but he still manages to pull a very good recording. Samples provided.
While this particular concert might seem an inauspicious way to wrap the Lost and Found series, we chose it intentionally. For one, it is a relatively new discovery as a Millard master and allowed us to move the series back to DIME for its conclusion. But more significantly it contains a charming coda.
Likely due to the fact that he wasn't using his own equipment, Millard doesn't shut off the tape deck at the end of the show and continues recording as he meets friends in the lobby who are looking for Ed F.
Millard says he is going to walk to his car, and we hear that journey all the way through keys jingling, opening the car door, turning on the radio and only then realizing the deck might still be running. Mike checks by testing each microphone, not dissimilarly from how he tests his gear at the start of Vol. 18, the incredible Pink Floyd Sports Arena, April 26, 1975 recording that served as the booster rocket of the entire Lost and Found series in early 2020 and the first true Millard master to be transferred.
Seeing the meters move with his microphone checks, Millard turns off the machine for good and with it the Lost and Found series as well.
###
JEMS is so very 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.
When JEMS started the Lost and Found series ten years ago, we had hoped to put a handful of previously uncredited or uncirculated Millard recordings into the world and share our personal obsession with the G.O.A.T. of audience taping.
Those early volumes triggered a remarkable chain of events that led to us meeting Jim R and Barry G, who had dozens of new-to-us Millard first generation tapes between them. Then Rob S, who had been entrusted by Millard's mother Lia with nearly 200 masters and DAT copies of masters. Ed F would go on to fill even more gaps, as did Jim Ri, Bill C, Dave L and others.
Together, we decided to release every Millard recording we could find and that turned out to be a remarkable 255 performances.
Another 50 circa 1978-83 shows we know Millard taped remain M.I.A., including a few which we have pieces of but are holding out in hopes of finding the complete recordings. Also, it's possible Mike recorded more shows from 1988 to 1994 that we are unaware of. The search will continue and at such time as we acquire missing shows, the Lost and Found series will return.
Until then, in the near future we'll post a small series of updates to previously released volumes that were never properly pitch adjusted, along with a few superior, alternate source tapes acquired since the original posts of the shows. There's also a handful of period recordings made by others on Millard's gear with his blessing.
We write it every week, but it has never been truer now: 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.
You also won't meet two nicer and more enthusiastic people who truly embody the spirit of what the whole taping and collecting hobby. It has been such a pleasure to curate and run this series with them.
We also couldn't deliver shows in the Lost and Found series at the same quality level without the pitch expertise of Professor Goody, who never fails to turn around a prescription when we need it, and mjk5510, the indomitable post production arm of JEMS and creator of our CD friendly artwork. He has continued to serve despite health challenges and we are eternally grateful for his commitment to the project.
I also want to take a moment to remember two founding members of JEMS, Jared Houser, who recorded over 1000 shows himself, and Stan Gutoski, who knew Millard personally and traded tapes with him. In 1986, it was Stan who showed me a box of ten TDK SA-90 tapes labeled by Millard that not only began my fascination with his work, but is the literal box that then went missing for nearly 30 years, the rediscovery of which was the impetus for the entire Lost and Found series.
Lastly, there is no doubt in my mind that Mike "The Mike" Millard is the greatest audience taper of all time and this 255 volume body of work is the proof. Millard's hit rate of recording excellence is unmatched and he did it when the music mattered most.
I truly hope that somewhere out in the ether he feels the love from all of us that he so deeply deserves. And further, that his contributions to preserving rock music history are ultimately recognized beyond DIME, TTD and YouTube.
His work never ceases to impress. May he rest in peace.
BK for JEMS
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The Palace
Los Angeles, CA
November 18, 1992
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 255
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Panasonic SV-250 DAT Recorder
JEMS Transfer: Mike Millard Master DAT > Tascam DA-302 DAT Recorder > Sound Devices USBPre 2 > Audacity 3.1 capture > iZotope RX > iZotope RX8 Advanced and Ozone 10 > MBIT+ resample to 16/44.1 > xACT 2.50 > FLAC
01 Show Me
02 Flying
03 Breathe On Me
04 (I Know) I'm Losing You
05 Josephine
06 Black Limousine
07 Pretty Beat Up
08 Seven Days
09 Band Introductions
10 Silicone Grown
11 Little Red Rooster
12 I Can Feel The Fire
13 It's Only Rock 'N' Roll (But I Like It)
14 Guitar Medley includes That's All You Need > Gasoline Alley > Prodigal Son > Amazing Grace
15 Stay With Me
16 Millard Outro
Known Faults: Opening "Testify" likely missing, "Show Me" joined in progress
Ron Wood - Guitar, Vocals
Bernard Fowler - Vocals
Ian McLagan - keyboards
Johnnie Lee Schell - Guitar
Shaun Solomon - Bass
Wayne P. Sheehy - Drums
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 MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77.
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 1992.
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.
Ron Wood, The Palace, Los Angeles, CA, November 18, 1992
After ten years and 255 Volumes, the Lost and Found series of Mike "The Mike" Millard master tapes comes to a close with Ron Wood at the Palace in Hollywood.
The Rolling Stones' guitarist was on tour in support of his solo album Slide On This, released in September 1992. Four songs from the record feature in a 15-song setlist that also includes cuts from the Stones, Faces and Wood's solo career, including his classic Bob Dylan cover "Seven Days." Wood shares vocals with Bernard Fowler, a veteran of Stones' tours, and his Faces' bandmate Ian McLagan plays keys.
Wood delivers a charming, well-meaning performance which Millard recorded at the behest of Ed F, on whose DAT deck the show was captured. Despite its high quality and two hour, no flips taping duration, Millard was never a fan of the DAT medium, preferring his legendary Nakamichi 550 cassette recorder, but he made an exception for this show and a couple of others.
His taping position for the night is not as close to the PA as typical Millard standards, but he still manages to pull a very good recording. Samples provided.
While this particular concert might seem an inauspicious way to wrap the Lost and Found series, we chose it intentionally. For one, it is a relatively new discovery as a Millard master and allowed us to move the series back to DIME for its conclusion. But more significantly it contains a charming coda.
Likely due to the fact that he wasn't using his own equipment, Millard doesn't shut off the tape deck at the end of the show and continues recording as he meets friends in the lobby who are looking for Ed F.
Millard says he is going to walk to his car, and we hear that journey all the way through keys jingling, opening the car door, turning on the radio and only then realizing the deck might still be running. Mike checks by testing each microphone, not dissimilarly from how he tests his gear at the start of Vol. 18, the incredible Pink Floyd Sports Arena, April 26, 1975 recording that served as the booster rocket of the entire Lost and Found series in early 2020 and the first true Millard master to be transferred.
Seeing the meters move with his microphone checks, Millard turns off the machine for good and with it the Lost and Found series as well.
###
JEMS is so very 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.
When JEMS started the Lost and Found series ten years ago, we had hoped to put a handful of previously uncredited or uncirculated Millard recordings into the world and share our personal obsession with the G.O.A.T. of audience taping.
Those early volumes triggered a remarkable chain of events that led to us meeting Jim R and Barry G, who had dozens of new-to-us Millard first generation tapes between them. Then Rob S, who had been entrusted by Millard's mother Lia with nearly 200 masters and DAT copies of masters. Ed F would go on to fill even more gaps, as did Jim Ri, Bill C, Dave L and others.
Together, we decided to release every Millard recording we could find and that turned out to be a remarkable 255 performances.
Another 50 circa 1978-83 shows we know Millard taped remain M.I.A., including a few which we have pieces of but are holding out in hopes of finding the complete recordings. Also, it's possible Mike recorded more shows from 1988 to 1994 that we are unaware of. The search will continue and at such time as we acquire missing shows, the Lost and Found series will return.
Until then, in the near future we'll post a small series of updates to previously released volumes that were never properly pitch adjusted, along with a few superior, alternate source tapes acquired since the original posts of the shows. There's also a handful of period recordings made by others on Millard's gear with his blessing.
We write it every week, but it has never been truer now: 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.
You also won't meet two nicer and more enthusiastic people who truly embody the spirit of what the whole taping and collecting hobby. It has been such a pleasure to curate and run this series with them.
We also couldn't deliver shows in the Lost and Found series at the same quality level without the pitch expertise of Professor Goody, who never fails to turn around a prescription when we need it, and mjk5510, the indomitable post production arm of JEMS and creator of our CD friendly artwork. He has continued to serve despite health challenges and we are eternally grateful for his commitment to the project.
I also want to take a moment to remember two founding members of JEMS, Jared Houser, who recorded over 1000 shows himself, and Stan Gutoski, who knew Millard personally and traded tapes with him. In 1986, it was Stan who showed me a box of ten TDK SA-90 tapes labeled by Millard that not only began my fascination with his work, but is the literal box that then went missing for nearly 30 years, the rediscovery of which was the impetus for the entire Lost and Found series.
Lastly, there is no doubt in my mind that Mike "The Mike" Millard is the greatest audience taper of all time and this 255 volume body of work is the proof. Millard's hit rate of recording excellence is unmatched and he did it when the music mattered most.
I truly hope that somewhere out in the ether he feels the love from all of us that he so deeply deserves. And further, that his contributions to preserving rock music history are ultimately recognized beyond DIME, TTD and YouTube.
His work never ceases to impress. May he rest in peace.
BK for JEMS
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