RELISTENTOTHE Grateful Dead
Re
Bands
Featured
Bands
Grateful Dead
RecentTopVenuesSongsTours
Today In History
June 8th
Years
1995
30k
PlaybackListensHours
48h764105
7d11.4k1.6k
30d30k4.2k
49 shows
340 tapes
1994
8.5k
PlaybackListensHours
48h66293
7d1.6k231
30d8.5k1.2k
85 shows
460 tapes
1993
37.6k
PlaybackListensHours
48h3.8k507
7d8k1.1k
30d37.6k5k
83 shows
656 tapes
1992
35.2k
PlaybackListensHours
48h2.9k361
7d4.1k528
30d35.2k4.7k
57 shows
539 tapes
1991
40.6k
PlaybackListensHours
48h9.3k1.3k
7d9k1.2k
30d40.6k5.5k
78 shows
967 tapes
1990
35.2k
PlaybackListensHours
48h2.6k344
7d6.9k905
30d35.2k4.6k
78 shows
1,139 tapes
1989
47.5k
PlaybackListensHours
48h3k373
7d8.7k1.1k
30d47.5k5.9k
78 shows
1,013 tapes
1988
21.6k
PlaybackListensHours
48h1.4k159
7d3.6k417
30d21.6k2.5k
82 shows
882 tapes
1987
37.5k
PlaybackListensHours
48h2.2k249
7d7.5k801
30d37.5k4.1k
88 shows
1,025 tapes
1986
15.2k
PlaybackListensHours
48h937104
7d2.3k260
30d15.2k1.7k
47 shows
683 tapes
1985
21.7k
PlaybackListensHours
48h1.8k211
7d4.9k577
30d21.7k2.6k
73 shows
1,356 tapes
1984
15.8k
PlaybackListensHours
48h1.1k147
7d3.4k441
30d15.8k2k
67 shows
1,075 tapes
1983
33.3k
PlaybackListensHours
48h1.5k204
7d4.1k529
30d33.3k4.4k
71 shows
1,069 tapes
1982
41.7k
PlaybackListensHours
48h1.8k224
7d4.4k548
30d41.7k5.2k
63 shows
753 tapes
1981
52.7k
PlaybackListensHours
48h2.4k306
7d5.6k723
30d52.7k6.6k
92 shows
868 tapes
1980
70.5k
PlaybackListensHours
48h6.2k664
7d10.4k1.2k
30d70.5k8.3k
91 shows
794 tapes
1979
26.1k
PlaybackListensHours
48h1.3k187
7d3.5k489
30d26.1k3.7k
79 shows
600 tapes
1978
59.2k
PlaybackListensHours
48h2.1k284
7d12.5k1.6k
30d59.2k8.1k
87 shows
592 tapes
1977
301.5k
PlaybackListensHours
48h19.1k2.6k
7d34.8k4.8k
30d301.5k41.6k
64 shows
419 tapes
1976
49.4k
PlaybackListensHours
48h3.6k499
7d27.7k3.9k
30d49.4k6.7k
45 shows
298 tapes
1975
5.9k
PlaybackListensHours
48h76278
7d1.5k142
30d5.9k612
25 shows
63 tapes
1974
98.9k
PlaybackListensHours
48h4.3k560
7d12.2k1.6k
30d98.9k12.5k
42 shows
324 tapes
1973
79.9k
PlaybackListensHours
48h4.6k597
7d11.5k1.5k
30d79.9k10.2k
75 shows
445 tapes
1972
76.8k
PlaybackListensHours
48h3.5k422
7d8.6k1.1k
30d76.8k9.3k
88 shows
361 tapes
1971
34.3k
PlaybackListensHours
48h2.1k229
7d6.2k691
30d34.3k3.9k
82 shows
356 tapes
1970
42.2k
PlaybackListensHours
48h9.3k950
7d15k1.5k
30d42.2k4.5k
101 shows
376 tapes
1969
26.2k
PlaybackListensHours
48h2.2k358
7d5.8k944
30d26.2k3.9k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h42953
7d1.5k181
30d6.9k860
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h10815
7d33547
30d1.5k205
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h23118
7d1.1k69
30d8k532
32 shows
78 tapes
1965
573
PlaybackListensHours
48h493
7d1026
30d57334
2 shows
2 tapes
1991
6/1/91
Shakedown Street
21:13
Walkin' Blues
8:06
Bertha >
7:18
Greatest Story Ever Told
5:39
Candyman
7:24
Queen Jane Approximately
7:46
Deal
14:06
Picasso Moon
6:54
Foolish Heart
10:54
Playing In The Band >
12:09
Uncle John's Band
10:23
Drums >
9:26
Space >
13:19
I Need A Miracle >
4:43
Black Peter >
8:58
Throwing Stones >
8:34
Not Fade Away
10:43
One More Saturday Night
5:08
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)