Rick Wakeman
Convention Center
Anaheim, CA
November 11, 1975
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 70

Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder

Transfer: Mike Millard Master Cassettes > Yamaha KX-W592 Cassette Deck > Sony R-500 DAT > Analog Master DAT Clone > Focusrite Scarlett 6i6 > Sound Forge Audio Studio 13.0 capture > Adobe Audition > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

01 Intro
02 The Journey
03 Recollection
04 Catherine Howard
05 Lancelot & The Black Knight
06 Down And Out
07 Anne Boleyn
08 The Forest
09 Arthur & Guinevere
10 Merlin The Magician
11 Catherine Parr
12 Hungarian Rhapsody
13 The Battle

Known Issues:
-None

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

Rick Wakeman, Convention Center, Anaheim, CA, November 11, 1975

One of Millard's favorite bands was Yes, so when Rick Wakeman left to go solo, Mike was on board and wasn't going to miss his one LA-area date at the Anaheim Convention Center.

Wakeman did an extensive US tour that year, playing arenas in some markets and multiple nights at Winterland in San Francisco. Based on etree.org at least ten of those shows were recorded but they aren't easily found. There are currently no 1975 Wakeman shows on DIME and some of the other sites I checked. Dan Lampinski taped the Boston show and that's the only recording I found that seemed to be in wide circulation.

That should make the appearance of Millard's master from Anaheim a welcome addition. The Convention Center in Anaheim was a sporadic venue in terms of major rock concerts. Millard watchers will know he recorded David Bowie there the previous year, and battled the venue's acoustics which resulted in a strange sounding tape. In 1981, he famously recorded Rush in the same room, the results of which are so good, his Rush tape is sometimes referred to as the "Listen To This Eddie" for the Canadian trio.

We're happy to report the Wakeman recording is closer to Rush than Bowie. Despite sitting further back, or perhaps given the venue's acoustics, BECAUSE Mike and Jim were recording 16 rows from the stage, the recording is full and rich.

I might even say too rich in moments. As I wrote to mjk5510, this tape might have more sonic "information" on it than any other Millard. Some of the deepest synthesizer notes Wakeman plays reverberate on playback. At times it can be a bit cacophonous but I suspect this is what it sounded like. There are times when I wish it was slightly sharper or more defined but I think the cassette format could only hold so much of Wakeman's sonic onslaught.

The setlist draws heavily from three ambitious Wakeman solo albums: The Six Wives Of Henry VIII (1973), Journey To The Centre Of The Earth (1974) and The Myths And Legends of King Arthur And The Knights Of The Round Table (1975). Curiously, Wakeman mixes songs from these concept works instead of playing them in sequence, a rather refreshing approach given today's "full album in sequence" shows.

While I'm not a Wakeman fan and the pomposity of the music is not for everyone, Rick is clearly having a grand old time. As for Mike's recording, as noted above he is trying to capture an ocean of sound at times and does so admirably. This is an excellent if occasionally inconsistent capture sure to please any Wakeman fan. Samples provided.

Here's what Jim R recalled about Rick Wakeman in Anaheim:

I attended the Rick Wakeman concert with Mike Millard on Nov 11, 1975 at the Anaheim Convention Center. Being huge Yes fans, and mourning Wakeman's exit from the band, we decided to attend. We both had his current solo album so we were familiar with the new songs.

The Anaheim Convention Center was in our backyard. A very short drive. Getting our equipment in was extremely easy. Security was basically senior citizens and they would believe anything you told them. It's a bit ironic that I'm now the senior citizen.

For some reason that I can't remember, we sat way back (for us) in the 16th row on the Floor. We were in Section B, the center section. So that helps. So this is a PA tape. The sound was pretty good, most likely composed of Yes's sound system.

As far as taking pictures, I only took about 20. Shooting that far away (16th row) is difficult with all the pot and cigarette smoke. We had aisle seats, so I ran up closer to take a few.

I hope you enjoy the sights and sounds as much as Mike and I did.

###

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.

Professor Goody gave the Wakeman recording a once over and we thank him for that extra bit of help. Our own mjk5510 tackled the tricky tracking of this one and all the post-production finesse that makes every JEMS release just that little bit better.

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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