Emerson, Lake & Palmer
Anaheim Convention Center
Anaheim, CA
February 1, 1974
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 230

Recording Gear: (Probably) Shure microphones > Sony TC-152SD Cassette Recorder

JEMS Transfer: Mike Millard Master Cassettes > Yamaha KX-W592 Cassette Deck > Sony R-500 DAT > Analog Master DAT Clone > Audacity 3.1 capture > iZotope RX > iZotope RX8 Advanced and Ozone 10 > MBIT+ resample to 16/44.1 > xACT 2.50 > FLAC

01 Introduction
02 Hoedown
03 Jerusalem
04 Toccata
05 Tarkus
06 Benny The Bouncer
07 Take A Pebble
08 Still...You Turn Me On >
09 Lucky Man
10 Piano Solo
11 Take A Pebble (reprise)
12 Karn Evil 9: 1-3 Impressions

Known Faults: A couple of dropouts from issues during the original recording in "Tarkus", most seamlessly repaired in mastering

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.thetradersden.org/forums/showthread.php?t=142055.

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.thetradersden.org/forums/showthread.php?t=156400

Emerson, Lake & Palmer, Anaheim Convention Center, Anaheim, CA, February 1, 1974

This week we're treated to one of the earliest Mike "The Mike" Millard recording yet to be released in the Lost and Found series: ELP at the Anaheim Convention Center, on tour in support of Brain Salad Surgery. Though misattributed as February 10 on Wikipedia, it was this show and the following night in Anaheim that were recorded for the band's epically titled live album Welcome Back, My Friends, To The Show That Never Ends - Ladies And Gentleman.

Mike preserves ELP's first night at the Convention Center in what was only the third show he ever recorded, following The Who at The Forum in November 1973 (Vol. 100) and the Moody Blues (Vol. 99) and opening act Shawn Phillips (Vol. 113) also in Inglewood a mere two days before the ELP gig in Orange County.

These first-phase Millard masters were done before he purchased his legendary AKG-Nakamichi rig which resulted in a massive upgrade in recording quality. Mike himself rated this recording "Fair" on his tape list, and compared to his later work that's not unfair. But compared to the many early 1974 audies we've worked on over the years from other tapers, Millard's mono recording is better than most and certainly a solid listen. Samples provided.

If you're familiar with WBMFTTSTNELAG then you're familiar with the set here. Perhaps a true ELP expert will be able spot the differences. Strange as it sounds, it might be more of a compliment than a criticism to call their performance bloated and excessive. There is a certain charm and appeal in that to be sure, and while I'm not an ELP fan, I enjoyed listening to this show more than I expected. They just don't make 'em like that anymore.

Mike also recorded ELP's concert in Long Beach two days later, though it would appear technical issues plagued him that night as he only recorded part of the show, resulting in him giving the only "Bad" rating applied to any recording on his list, a level even below "Poor" which he did assign on a handful of occasions. While inferior to Anaheim, the partial Long Beach is still worthwhile. Look for it later in the Lost and Found series.

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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.

Thanks this week to Rob S for his original transfer and later DAT rip; Professor Goody for helping us sort out the pitch on a tricky show; and to mjk5510 who braved this flowing recording in post production and created our CD friendly artwork that features Jim R's photos of ELP from the aforementioned Long Beach show before he and Mike met later in 1974.

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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