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Today In History
June 12th
Years
1995
30.1k
PlaybackListensHours
48h53271
7d1.7k235
30d30.1k4.2k
49 shows
341 tapes
1994
10.6k
PlaybackListensHours
48h1.3k163
7d3.6k457
30d10.6k1.5k
85 shows
460 tapes
1993
41.4k
PlaybackListensHours
48h3.2k430
7d8.4k1.1k
30d41.4k5.4k
83 shows
656 tapes
1992
38.5k
PlaybackListensHours
48h2.6k347
7d5.9k756
30d38.5k5.1k
57 shows
538 tapes
1991
36.3k
PlaybackListensHours
48h5.2k649
7d13.7k1.9k
30d36.3k5k
78 shows
973 tapes
1990
47.4k
PlaybackListensHours
48h6.3k795
7d17.8k2.2k
30d47.4k6.1k
78 shows
1,139 tapes
1989
48.3k
PlaybackListensHours
48h2.8k345
7d7k875
30d48.3k6k
78 shows
1,017 tapes
1988
21.2k
PlaybackListensHours
48h1.1k134
7d3.3k385
30d21.2k2.4k
82 shows
882 tapes
1987
34.3k
PlaybackListensHours
48h2.9k327
7d5.4k604
30d34.3k3.7k
88 shows
1,025 tapes
1986
12.1k
PlaybackListensHours
48h1k114
7d2.2k244
30d12.1k1.4k
47 shows
684 tapes
1985
22.5k
PlaybackListensHours
48h1.7k205
7d4.4k514
30d22.5k2.6k
73 shows
1,356 tapes
1984
20.5k
PlaybackListensHours
48h3.8k448
7d7.1k857
30d20.5k2.6k
67 shows
1,075 tapes
1983
29.7k
PlaybackListensHours
48h1.3k172
7d3.5k469
30d29.7k3.9k
71 shows
1,069 tapes
1982
42.2k
PlaybackListensHours
48h1.1k142
7d3.8k473
30d42.2k5.2k
63 shows
753 tapes
1981
44.6k
PlaybackListensHours
48h2.2k271
7d5.3k673
30d44.6k5.6k
92 shows
868 tapes
1980
70.7k
PlaybackListensHours
48h2.8k324
7d13.3k1.5k
30d70.7k8.2k
91 shows
794 tapes
1979
22.2k
PlaybackListensHours
48h1.5k207
7d3.7k527
30d22.2k3.1k
79 shows
600 tapes
1978
51k
PlaybackListensHours
48h1.9k258
7d5.2k704
30d51k7k
87 shows
592 tapes
1977
292.7k
PlaybackListensHours
48h9.3k1.3k
7d47.4k6.5k
30d292.7k40.4k
64 shows
418 tapes
1976
61.3k
PlaybackListensHours
48h19.4k2.5k
7d17.3k2.4k
30d61.3k8.4k
45 shows
298 tapes
1975
6.5k
PlaybackListensHours
48h22924
7d1.6k153
30d6.5k662
25 shows
63 tapes
1974
100.5k
PlaybackListensHours
48h3.7k488
7d14.4k1.9k
30d100.5k12.8k
42 shows
324 tapes
1973
87.2k
PlaybackListensHours
48h9k1.3k
7d17.5k2.3k
30d87.2k11.1k
75 shows
445 tapes
1972
67.2k
PlaybackListensHours
48h2k258
7d7.1k888
30d67.2k8.2k
88 shows
361 tapes
1971
34.1k
PlaybackListensHours
48h1.5k173
7d4.7k527
30d34.1k3.9k
82 shows
357 tapes
1970
46.3k
PlaybackListensHours
48h1.5k183
7d12.9k1.3k
30d46.3k4.9k
101 shows
375 tapes
1969
27.2k
PlaybackListensHours
48h1.2k165
7d4.9k785
30d27.2k4.1k
112 shows
326 tapes
1968
7.5k
PlaybackListensHours
48h51064
7d1.7k222
30d7.5k943
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h9213
7d28941
30d1.6k218
23 shows
55 tapes
1966
8.1k
PlaybackListensHours
48h45829
7d77949
30d8.1k539
32 shows
78 tapes
1965
632
PlaybackListensHours
48h322
7d1368
30d63237
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)