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Grateful Dead
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Today In History
June 5th
5 shows
26 tapes
Years
1995
27.4k
PlaybackListensHours
48h3.5k472
7d9.3k1.3k
30d27.4k3.8k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h67795
7d1.4k211
30d8.4k1.2k
85 shows
460 tapes
1993
31.9k
PlaybackListensHours
48h2.8k383
7d2.4k322
30d31.9k4.2k
83 shows
656 tapes
1992
32.9k
PlaybackListensHours
48h1.1k139
7d11.9k1.5k
30d32.9k4.4k
57 shows
539 tapes
1991
36.4k
PlaybackListensHours
48h1.6k222
7d8.8k1.2k
30d36.4k5k
78 shows
967 tapes
1990
35.9k
PlaybackListensHours
48h2.5k325
7d6.3k839
30d35.9k4.7k
78 shows
1,139 tapes
1989
49.7k
PlaybackListensHours
48h3.8k484
7d7.2k902
30d49.7k6.2k
78 shows
1,013 tapes
1988
21.8k
PlaybackListensHours
48h1.2k133
7d5k540
30d21.8k2.5k
82 shows
882 tapes
1987
39.1k
PlaybackListensHours
48h2.6k282
7d9.7k944
30d39.1k4.3k
88 shows
1,025 tapes
1986
14.8k
PlaybackListensHours
48h948105
7d2.2k256
30d14.8k1.7k
47 shows
683 tapes
1985
20.7k
PlaybackListensHours
48h1.8k211
7d4.3k503
30d20.7k2.4k
73 shows
1,356 tapes
1984
23.1k
PlaybackListensHours
48h1.4k183
7d2.9k372
30d23.1k2.9k
67 shows
1,075 tapes
1983
33k
PlaybackListensHours
48h1.5k189
7d4.1k544
30d33k4.4k
71 shows
1,069 tapes
1982
40.8k
PlaybackListensHours
48h1.6k207
7d4.2k526
30d40.8k5.1k
63 shows
753 tapes
1981
58.3k
PlaybackListensHours
48h2k260
7d5.4k690
30d58.3k7.4k
92 shows
868 tapes
1980
70.9k
PlaybackListensHours
48h4.1k476
7d19.8k2.4k
30d70.9k8.3k
91 shows
794 tapes
1979
29.2k
PlaybackListensHours
48h1.3k183
7d3.7k521
30d29.2k4.1k
79 shows
600 tapes
1978
56.3k
PlaybackListensHours
48h8.3k1k
7d6.9k925
30d56.3k7.8k
87 shows
592 tapes
1977
344k
PlaybackListensHours
48h15.3k2k
7d32.7k4.6k
30d344k48.1k
64 shows
419 tapes
1976
38.7k
PlaybackListensHours
48h12.4k1.7k
7d18.7k2.6k
30d38.7k5.2k
45 shows
298 tapes
1975
5.3k
PlaybackListensHours
48h70166
7d89897
30d5.3k567
25 shows
63 tapes
1974
95.8k
PlaybackListensHours
48h4.3k531
7d12.7k1.6k
30d95.8k12.1k
42 shows
324 tapes
1973
78.2k
PlaybackListensHours
48h3.9k510
7d12.2k1.6k
30d78.2k9.9k
75 shows
445 tapes
1972
77.5k
PlaybackListensHours
48h2.8k349
7d8.6k1k
30d77.5k9.4k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h2.2k251
7d8.8k1k
30d33.5k3.8k
82 shows
356 tapes
1970
33.2k
PlaybackListensHours
48h5.6k544
7d4.5k487
30d33.2k3.7k
101 shows
376 tapes
1969
23.7k
PlaybackListensHours
48h2.7k431
7d8.8k1.2k
30d23.7k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h55570
7d1.2k151
30d6.6k817
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h15521
7d34847
30d1.6k215
23 shows
55 tapes
1966
7.7k
PlaybackListensHours
48h42031
7d1.2k74
30d7.7k508
32 shows
78 tapes
1965
571
PlaybackListensHours
48h342
7d1468
30d57134
2 shows
2 tapes
1991
6/1/91
01 Tuning
0:46
02 Shakedown Street
16:07
03 Walkin' Blues
8:09
04 Bertha
7:05
05 Greatest Story Ever Told
5:41
06 Candyman
6:45
07 Queen Jane Approximately
6:57
08 Deal
10:14
09 Tuning
1:44
10 Picasso Moon
6:49
11 Foolish Heart
10:44
12 Playing In The Band
11:58
13 Uncle John's Band
10:26
14 Drums
9:39
15 Space
12:40
16 I Need A Miracle
4:40
17 Black Peter
8:55
18 Throwing Stones
8:24
19 Not Fade Away
9:01
20 Tuning
0:21
21 One More Saturday Night
4:55
FIN
View on archive.org
Sources
Transferrer: Charlie Miller
2:42:00
SBD
Rating:
7.00 / 3 ratings
Transferrer:
Charlie Miller
SHNID:
gd1991-06-01.140459.sbd.cm.miller.flac1644
Source:
SBD > Cassette Master (TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Samplitude Pro X3 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- This file set is 16 bit
Transferrer: Charlie Miller
2:42:00
SBD
Rating:
8.00 / 2 ratings
Transferrer:
Charlie Miller
SHNID:
gd1991-06-01.140453.sbd.miller.flac2496
Source:
SBD > Cassette Master (TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Samplitude Pro X3 Suite > FLAC/24
Source 3 of 8
2:40:08
SBD
Rating:
6.33 / 46 ratings
SHNID:
gd91-06-01.sbd.barbella.6020.sbeok.shnf
Source:
DSBD> Dat> c> Dat> CD> EAC> SHN
Taper Notes:
View NotesDSBD> Dat> c> Dat> CD> EAC> SHN; via Steve Barbella, with thanks to John Valter, Paul Bottiglio
Taper: Mike Millard
2:52:43
Taper:
Mike Millard
Transferrer:
JEMS
SHNID:
gd1991-06-01.151505.millard.JEMS.vol69.flac2496
Source:
AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
Lineage:
Mike Millard Master Cassettes > Nakamichi CR-7A (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC
Taper Notes:
View NotesKnown Issues: -Drums: splice 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. 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 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. 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 Grateful Dead, Coliseum, Los Angeles, CA, June 1, 1981 The ultimate taper meets the ultimate tapers' band. Yes, Mike Millard did record the Grateful Dead, though to be fair he was more as an appreciator than a fan. In fact, as Rob notes below, he was really doing a favor by recording the show. In classic Millard fashion, he eschewed the tapers' section in favor of recording from his sweet spot, which in this case was the third row of the massive LA Coliseum, site of two Olympic Games. The Coliseum '91 performance is not particularly beloved in Deadhead circles, in part because of the heavy presence of the LAPD, who did not adopt the kind of "live and let live" attitude fans were used to in the Bay Area. Bad vibes indeed. As for the show itself, the first set earns praise, opening with a lively "Shakedown Street" and always-welcome turns of "Bertha," "Candyman" and Bob Dylan's "Queen Jane Approximately." However, the second set is characterized as being on "auto-pilot," losing the urgency and energy of Act 1. Despite that assessment, the audience surrounding Mike is lively and loud, adding more crowd noise to his recording than usual. Perhaps due to wind, there is also some instability in the stereo image compared to most Millard masters. Mike's pull is still very good, though there are better captures of this show from tapers' section recordings as well as a soundboard source. Samples provided. As a result, this is a rare case where Mike's master isn't the best recording of a show, yet Mike The Mike doing The Dead feels like an important chapter in his taping history and therefore worth sharing. Here's what Rob S recalled about seeing the Dead at the LA Coliseum 1991: I met Mike at his home in Fullerton and he drove us to the Coliseum to see the Grateful Dead. In 1991, the Dead were riding higher than ever (in popularity at least), and the ticketless hordes that followed them made venues like the cavernous Coliseum the only place left the Dead could play in So Cal, at least in the summer. Although not a Deadhead, Mike was kind enough to tape the band twice at my urging, as well as a Jerry Garcia Band show in 1989. For this show, he was able to get us seats in the center of the third row, perfect for recording. I had mail order tickets as well, so we had a taper ticket to get the gear in. We arrived during Johnny Clegg & Savuka’s set and did not record any of it. Mike had no issues taping FOH, save for the rather boisterous crowd around him. Even the gentleman who vomited a couple seats away was kind enough to do this during the intermission break, so there was no disaster-cleanup noise during the sets. It was a good day. ### JEMS is proud to join with Rob, Jim R, Barry G, Ed F and 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. Mike's master cassettes took a little extra finessing this week. Thanks to Professor Goody for his mastering and pitch-adjustment help. As always, mjk5510 is there to take projects over the finish line even when they are late. Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace. BK for JEMS
Taper: Mike Millard
2:52:43
Taper:
Mike Millard
Transferrer:
JEMS
SHNID:
gd1991-06-01.151504.millard.JEMS.vol69.flac1644
Source:
AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
Lineage:
Transfer: Mike Millard Master Cassettes > Nakamichi CR-7A (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > MBIT+ resample to 1644 > Audacity > TLH > FLAC
Taper Notes:
View NotesKnown Issues: -Drums: splice 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. 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 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. 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 Grateful Dead, Coliseum, Los Angeles, CA, June 1, 1981 The ultimate taper meets the ultimate tapers' band. Yes, Mike Millard did record the Grateful Dead, though to be fair he was more as an appreciator than a fan. In fact, as Rob notes below, he was really doing a favor by recording the show. In classic Millard fashion, he eschewed the tapers' section in favor of recording from his sweet spot, which in this case was the third row of the massive LA Coliseum, site of two Olympic Games. The Coliseum '91 performance is not particularly beloved in Deadhead circles, in part because of the heavy presence of the LAPD, who did not adopt the kind of "live and let live" attitude fans were used to in the Bay Area. Bad vibes indeed. As for the show itself, the first set earns praise, opening with a lively "Shakedown Street" and always-welcome turns of "Bertha," "Candyman" and Bob Dylan's "Queen Jane Approximately." However, the second set is characterized as being on "auto-pilot," losing the urgency and energy of Act 1. Despite that assessment, the audience surrounding Mike is lively and loud, adding more crowd noise to his recording than usual. Perhaps due to wind, there is also some instability in the stereo image compared to most Millard masters. Mike's pull is still very good, though there are better captures of this show from tapers' section recordings as well as a soundboard source. Samples provided. As a result, this is a rare case where Mike's master isn't the best recording of a show, yet Mike The Mike doing The Dead feels like an important chapter in his taping history and therefore worth sharing. Here's what Rob S recalled about seeing the Dead at the LA Coliseum 1991: I met Mike at his home in Fullerton and he drove us to the Coliseum to see the Grateful Dead. In 1991, the Dead were riding higher than ever (in popularity at least), and the ticketless hordes that followed them made venues like the cavernous Coliseum the only place left the Dead could play in So Cal, at least in the summer. Although not a Deadhead, Mike was kind enough to tape the band twice at my urging, as well as a Jerry Garcia Band show in 1989. For this show, he was able to get us seats in the center of the third row, perfect for recording. I had mail order tickets as well, so we had a taper ticket to get the gear in. We arrived during Johnny Clegg & Savuka’s set and did not record any of it. Mike had no issues taping FOH, save for the rather boisterous crowd around him. Even the gentleman who vomited a couple seats away was kind enough to do this during the intermission break, so there was no disaster-cleanup noise during the sets. It was a good day. ### JEMS is proud to join with Rob, Jim R, Barry G, Ed F and 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. Mike's master cassettes took a little extra finessing this week. Thanks to Professor Goody for his mastering and pitch-adjustment help. As always, mjk5510 is there to take projects over the finish line even when they are late. Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace. BK for JEMS
Taper: Gesine Lohr
2:45:02
Taper:
Gesine Lohr
Transferrer:
Matt Vernon
SHNID:
gd1991-06-01.151056.aud.lohr.vernon.flac2496
Source:
AT-815As (near soundboard) > D5 > Nak 550 > MAC
Lineage:
MAC > Nak CR-7A (azimuth adjusted) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > Tascam Hi Res Editor (DSF concatenate & 2496 PCM) > Audacity (Trim, tracking, amplification)
Taper Notes:
View Notestape flips 05, 14, 18 02 - volume adjustments
Taper: Gesine Lohr
2:45:02
Taper:
Gesine Lohr
Transferrer:
Matt Vernon
SHNID:
gd1991-06-01.151055.aud.lohr.vernon.flac1648
Source:
AT-815As (near soundboard) > D5 > Nak 550 > MAC
Lineage:
MAC > Nak CR-7A (azimuth adjusted) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > Tascam Hi Res Editor (DSF concatenate & 2496 PCM) > Audacity (Trim, tracking, amplification) > dbpoweramp > 1648
Taper Notes:
View Notestape flips 05, 14, 18 02 - volume adjustments
Taper: Unknown
2:47:16
Transferrer:
Pete Ebel
SHNID:
gd1991-06-01.139357.nak300-OTS.ebel.flac1644
Source:
NAK 300-> DAT (Tapers Section)
Lineage:
Cassette transfered to DAT in the mid 90's... DAT-> Marantz CDR 615 (late 90's)-> extract wav -> Flaced with Traders little helper Level 8->Tagged. (16/44.1)