March 25, 2022 – 6:47 am

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Inglewood 1973 [Mike Millard Master Tapes via JEMS, 2CD]

The Lost and Found Mike the MICrophone Tapes Volume 100. Live at The Forum, Inglewood, CA; November 23, 1973. Very good audience recording.

Thanks to Mike Millard; Rob, Jim R; Barry G; JEMS; BK; Goody; and mjk5510 for sharing the show at Dime.

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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.

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.

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The Lost and Found Series At 100

Seven years ago, August 5, 2014 to be exact, JEMS posted Vol. One of the Lost and Found Mike the MICrophone Tapes and began a series that hits the Volume 100 today. Initially, the recordings appeared sporadically; for the last year and a half, they show up like clockwork every week thanks to the extended JEMS family.

The impetus to launch Lost and Found was the re-discovery of a box of tapes Mike Millard made for the late, great Stan Gutoski of JEMS, which had been missing in action for 26 years. Stan, the patriarch of JEMS who passed away in early 2020, met Millard in person on two occasions after being introduced by their mutual friend JA.

At one of their meet-ups in the early ’90s, they agreed to an exchange of cassettes and, in what I believe is the only known example of this, reel to reel copies of Millard masters. Those tapes went missing and were found in 2014. Little did we know the discovery of that box would set in motion a chain of events that ultimately led to the discovery of Millard’s even more famously missing master tapes.

On that journey, we learned so much about Mike from those who knew him personally, overturning years of Internet myth, rumor and speculation about this complex man. Best of all, we were able to speak to the very people who went to these famous shows with Mike and helped him record, men who I am now happy to call my friends.

First it was Barry G, who shared key information and eventually first-generation tapes Mike copied for him. Barry also provided the names of other Millard comrades, through which I was able to track down Jim R. Volume 11 in the series was Jim’s first-gen copy of Linda Ronstadt at Universal Amphitheatre, March 10, 1977, a revelation at the time as a heretofore unknown Millard recording. Today it stands as the second-most downloaded show in the program (just behind Pink Floyd).

Jim’s tapes proved to be a booster rocket for the series, expanding the known Millard canon significantly with major additions like Jethro Tull at Dorothy Chandler Pavilion, January 16, 1977 and Rush, Anaheim Convention Center, June 12, 1981. But the best was yet to come as Jim joined our quest to answer the question: What happened to Mike’s master tapes after he died?

Over the years I compiled a list of people who spent time with Mike at various points in his taping career to which Jim added a few more. He had a hunch about one in particular, Rob S, who Jim met at Mike’s house and at shows. A little Internet sleuthing led to a message sent, replied to and then a phone call. Rob told Jim he was sitting on Mike’s tapes for almost 20 years, waiting for the right person to reach out and help him figure out what to do with them.

Volume 18 became the tape heard round the world, as we presented Mike’s extraordinary recording of Pink Floyd at the Sports Arena, April 26, 1975, transferred from his original cassettes, the first of Millard’s true masters to ever surface. “Heard round the world” may sound hyperbolic, but word of the discovery of Mike the Mike’s master tapes continues to spread.

Rolling Stone recently wrote a story praising Mike’s recording of the Pink Floyd ‘75 show and strongly suggesting it be released:

“If Pink Floyd ever decides to create a Bootleg Series, they should get their hands on Millard’s master tapes - starting with this 1975 Los Angeles gig. It’s the band at the peak of their abilities as a live act and deserves to be heard as widely as possible.”

That final sentence could serve as the mission statement of the Lost and Found series. Mike Millard recorded many of the greatest rock bands and artists of all time at the peak of their powers. His high-quality recordings of these performances, otherwise lost to history, merit wider dissemination on cultural merit.

Just this week (mid-August 2021), it was announced that a “private recording” of John Coltrane performing his seminal work A Love Supreme had been found and is set for release this fall. The taper was a musician himself. Until the discovery of his reel-to-reel audience tape, there was only one known recorded live performance of A Love Supreme. “Its release is as significant an event in jazz-historical terms” wrote NPR, “as any archival gem unearthed in the last decade or so.” The NPR story goes on say the taper “preserved the tapes for nearly half a century, as if guarding the Holy Grail.”

Shouldn’t the same be said for the work of Mike Millard?

We’re often asked what Mike would make of all this. Undoubtedly we are guilty of some degree of wishcasting when we suggest that Mike would condone DIME distribution given he 1) often shared his recordings with friends 2) was against the profiteering of bootleggers and 3) intentionally developed his own brand by calling himself Mike the Mike and labeling his tapes as he did. Millard had a reputation he was proud of, something that couldn’t be built if he had simply kept his tapes to himself.

We wrote this in the notes for Volume One and we stand by it now: “Sadly we can’t request Millard’s permission, given his untimely passing in [1994]. But we hope enough time has passed that we can honor his work by sharing it in a manner he could have never dreamed would be possible three decades ago.” To which I would add, in Mike’s absence, we can partner with his friends - the guys who were there, pushing the wheelchair–to serve as de facto stewards of his work and his legacy.

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The Who - The Forum, Inglewood, CA; November 23, 1973

To celebrate this milestone, we have selected Mike’s very first recording as our 100th release: The Who playing the second of two shows at The Forum on the Quadrophenia tour.

Jim thinks Mike may have attempted or tested concert recording even earlier, but this Who show is tape number one on his list and likely his first successful attempt at recording a complete concert. As you’ll see in Jim’s notes, Mike was pretty hard on his early work, and like the Moody Blues last week, The Who ‘73 may not be the sonic marvel so many of his later recordings are (have you heard Edgar Winter Vol. 94 yet? Damn.), but is a gem in its own right.

Judged by the standard of most 1973 audience tapes, especially of The Who and their deafening PA, Millard’s capture is highly listenable, albeit with a few caveats.

Mike talks frequently throughout the recording, not yet learning as all tapers do the importance of staying quiet when you are the closest person to the microphone. He recorded the first 80 mins of the show on a TDK D-180 cassette (as I did myself the first time I tried to tape a show), the rest on a D-90. D-180 tape is as thin as it gets and after 48 years, it took some effort to get the tape to play through properly and even then there were considerable pitch issues.

Professor Goody spent considerable time addressing those and getting the pitch of the recording to an acceptable place. He has been a stalwart partner in the Lost and Found series and this one really needed his expertise.

Mike’s masters also had a lot of dropouts, starting at the end of the first tape and occurring more frequently across the second tape. Many are short, less than a second, but there were some much longer gaps of several seconds. Upon close examination, we recognized that the dropouts were not silent; the audio was still there, only -25-35db lower than the surrounding material. Rather than leave these in as cuts or silence them, we have attempted to restore the missing parts by amplifying the low signal.

That sounds simple, but doing so creates a massive increase in noise and hiss which then require more fixes and corrections. You will notice every one of the dropouts, but you will also hear the music that was previously lost through the fuzz. That compromise to preserve as much music as possible, even if it sounds crappy, felt like the right one for this recording.

In its best moments, which include nearly all of the first 80 minutes and long stretches of the final 70 minutes when it isn’t dropping out, Mike’s recording is good. There is mild distortion which was unavoidable given the gear he was using and the volume of the concert, but the music comes through. The fidelity of the tape is on the narrow side, but Entwhistle’s bass is there as is Keith Moon’s ever-ringing cymbal once you tune your “bootleg ears” to the sound.

And what a show it is. The Quadrophenia tour setlist is outstanding, featuring what is ostensibly a full performance of the album (free of any backing-tape playback issues this night as sometimes occurred in 1973), plus slices from Tommy, Who’s Next (though curiously not “Baba O’Riley”), a long, jammy “Magic Bus,” the rareish “Let’s See Action” and “Naked Eye,” and two romps through “My Generation.” Online setlists for this show have “Baby Don’t You Do It” as the final song of the set, but it seems pretty clear from Mike’s recording that the show ends with “Naked Eye,” as his tape keeps rolling for a few minutes and we clearly hear lights-on, go-home music playing.

Just before he shuts down the deck, the recording captures this exchange between Mike and a nearby fan:

Fan: “Did you get it all on tape?”
Mike: “Want my number?”
Fan: “What?”
Mike: “My number is 528-8308, 528-8308, 528-8308″

That’s the same phone number Jim’s mother wrote down in a phone message when Mike called after meeting Jim at a Yes show four months later.

We hear one more comment from Mike before the recording runs out: “I think we’re done now. I’m turning off the power. Don’t tell anybody.”

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Here’s what Jim R recalled about The Who at The Forum, November 1973:

Volume 100. We finally made it. A special show has been set aside for this week: The Who at The Forum, Friday, Nov 23, 1973, Mike’s first recording.

Mike often referred to this tape as “The Dark Ages,” but there is no getting around its historic significance. It was the start of an era and, to borrow a baseball analogy, victory number one for a future 300 win pitcher.

Allow me to set the scene.

On the Quadrophenia Tour, The Who played The Forum on Thursday, Thanksgiving Day, November 22, and Friday, November 23. Mike and I separately attended the same show on Friday, the day after Turkey Day. Living at home, my mom would not approve of us going to a concert on Thanksgiving, a family event. So the Friday show was my only choice. We did not know each other yet. That would come at a Yes show in early 1974.

I have come to learn Mike attended the first night, which was meant to be his debut recording, but he had technical issues with his recorder. It was at that show that he met Barry G, who would become another member of Mike’s inner circle for a time. Millard also shot photos that first night, two of which are featured on the included artwork.

The Who’s label mates Lynyrd Skynyrd opened the concerts. Their debut album featuring “Freebird” had come out a few months earlier so that was an added bonus in hindsight. At the time I did wonder: Who are these guys and what’s with four guitarists?

The Quadrophenia Tour was extremely popular and there was super high ticket demand. With only two SoCal dates, The Who surely could have sold out additional Forum concerts. But at the time, two nights in an arena was the de facto maximum for major acts like Jethro Tull, the Rolling Stones and Led Zeppelin. Over the next couple of years, that would expand to multi-night stands, with the Stones, Zeppelin, Tull and Pink Floyd all playing longer runs in LA in 1975. That same year, Elton John took it to the next level by moving up from arenas to playing Dodger Stadium.

Even at the time, I knew we were witnessing a special show and it was privilege to be there. The Who had reached superstar status. The previous tour behind Who’s Next was their breakout. I remember talking to someone who attended the Long Beach December 1971 show and how blown away he was. It took almost two years for them to return, a long time in that era of concert touring.

Pete Townshend had already built a reputation as someone who smashed up guitars and amps, and on this night he didn’t disappoint. Of course Keith Moon was not far behind in obliterating his drum set. Then you have Roger Daltery swinging his microphone around with maybe 20-feet of cable.

The Who performed with an edge. High energy. Explosive. Dynamic. With great songs to boot.

As far as the recording, you’ll notice Mike is talking quite a bit, having not quite figured out proper tapers decorum. Because you can hear so much of his voice, Mike referred to his first recording as “amateur hour.” In fact, it is the only tape on his list rated “Bad,” which presumably places it lower than “Poor,” a rating given to a handful of other tapes. But we have already established that Mike was his own worst critic. The Who show is quite listenable, and hearing Millard on his own recording 48 years later now feels like an historic artifact. “Mike The Mike” Show No. 1. History in the making.

It was my honor to pen this. Cheers to my buddy Michael G. Millard.

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Several remarkable and generous people make the Lost and Found series possible. They are the reason we get to listen to Mike’s incredible recordings after all these years.

To Jim R, beyond the tapes, the photos and the memories, I am thankful to have found such a great partner and friend. Your generosity, passion and kindness are deeply appreciated. You are a good man and I have come to understand why you and Mike were such good friends for all those years.

Rob S, I can say the same about you, but I would add to the list how much I value your trust, faith and desire to play such a hands-on role in this effort. Transfer more tapes, please! We were meant to do this together.

Professor Goody, the one part of the analog transferring process that has vexed me since JEMS’ Jared Houser passed away is pitch correction. You solved that for us, and when needed on special shows like this one, you go above and beyond to polish these recordings up a notch or three. Thanks.

Barry G, Ed F, Bill C, Jim L, Robert C, Carl S, Matt J, the other Jim R, Mark A, and Carol have all contributed in their own ways. Also shout out to the rest of the extended JEMS family: slipkid68, Mark S, Jess R, slowburn, Brother KM, ExitClub and AMorg (the catalyst to me meeting Jared and Stan, who I miss every single day) and anyone else I have forgotten.

Let it be known that mjk5510 has officially joined JEMS at this point. Yes, it started as Jared, me, Stan and Mark, but like the bands we all love who must replace departed members (Rest In Peace, Charlie Watts), JEMS carries on. No one has done more to bring the Millard tapes to DIME than mjk5510. His loyalty, stamina, attention to detail, unwavering commitment, talent, artistic eye and decency fuel the work JEMS does. Thank you, brother. I could not do this without you.

Finally, cheers to the late, great Mike Millard. His passion for live music drove him to serve as one of rock music’s greatest documentarians. He preserved what the bands themselves couldn’t recognize as valuable: their live performances. I’m not joking when I say he should be recognized in the Rock and Roll Hall of Fame. In this taping hobby, he is the G.O.A.T.

May he rest in peace knowing his legacy is more meaningful and appreciated than ever.


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(Probably) Shure microphone > Sony TC-152SD Cassette Recorder
JEMS 2021 Transfer: Mike Millard Master Cassettes > Nakamichi RX-505 (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

Click on the highlighted tracks to download the MP3s (320 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later.

Kindly email us if you encounter persistent problems downloading the files. Also email us if you have any rarities you’d like to share with our readers.

Disc 1
Track 101. Audience And Introduction 2:46
Track 102. I Can’t Explain 2:44
Track 103. Summertime Blues 4:10
Track 104. My Wife 6:05
Track 105. My Generation 5:43
Track 106. I Am The Sea 1:16
Track 107. The Real Me 5:26
Track 108. The Punk And The Godfather 5:50
Track 109. I’m One 2:46
Track 110. Helpless Dancer 3:11
Track 111. 5-15 8:49
Track 112. Sea And Sand 7:03
Track 113. Drowned 10:51
Track 114. Bell Boy 5:32
73 mins

Disc 2
Track 201. Doctor Jimmy 8:04
Track 202. Love Reign O’er Me 3:16
Track 203. Won’t Get Fooled Again 9:22
Track 204. Pinball Wizard 2:54
Track 205. See Me, Feel Me 7:11
Track 206. My Generation 6:29
Track 207. Let’s See Action 3:05
Track 208. Magic Bus 13:44
Track 209. Naked Eye 12:02
67 mins

   Click here to order Who releases.

  1. 50 Responses to “THE WHO - INGLEWOOD 1973 [MILLARD TAPE]”

  2. hhh,,nelson,derrick-what a shame man. a great band like the who and this recording is such poor quality. at least i saw them do tommy and the who’s next tour. wont get fooled again wasnt the last song

    By The AntiChrist on Mar 25, 2022

  3. SHUT THE FUCK UP ANTI!! Nobody gives a FUCK about anything you say!

    By Derrick on Mar 25, 2022

  4. Derrick’s right, Anti. You’re a fucking boring loser.

    By HHH on Mar 25, 2022

  5. Same here, Anti. Don’t type my name again, asshole.

    By Nelson on Mar 25, 2022

  6. Rumor has it The AntiChrist gots a Lil Un

    By U L E on Mar 25, 2022

  7. Rumor has it Anti’s a nice fella. Anyone have his number?

    By U L E on Mar 25, 2022

  8. How can you rate this as a “very good audience recording”? This is, barely, a fair recording.

    By Sneadhurn on Mar 25, 2022

  9. Not me above anti , more motherfuckin, Dic suckin , Coon and hi yeller lovin jew Bastard name hijackers , they suck big fat coon elephant dics and take them up the ass I garuentee it

    By Derrick on Mar 25, 2022

  10. They should all get what Joe Pesci got in Casino

    By Derrick on Mar 25, 2022

  11. Or what dirty laundrie got in the Florida swamp

    By Derrick on Mar 25, 2022

  12. The gators doin the honors

    By Derrick on Mar 25, 2022

  13. Anti , I fuckin love The Who , this was the real who wit Pete , Roger , Keith and Ox Etwhistle in their primes

    By Derrick on Mar 25, 2022

  14. A shame the recording sucks . I got better recordings of the quadrophenia tour than this . Who’s next and Quadrophenia was their best two albums in my opinion, better than Tommy

    By Derrick on Mar 25, 2022

  15. Thanks, BigO!

    Jim R (Reinstein) who whote part of the article above and Mike Millard appear in this article about a Yes concert that was cancelled in Long Beach.

    By Wally on Mar 25, 2022

  16. I know it wasn’t you Derrick . We are the same person you retard

    By The AntiChrist on Mar 25, 2022

  17. I suck big fat coon elephant dics and take them up the ass I garuentee it

    By Derrick on Mar 25, 2022

  18. Me too Derrick . I forgotted that we is the same fat , stupid , lonely moron

    By The AntiChrist on Mar 25, 2022

  19. They should all get what Christopher Plummer got in my all time favorite movie ever, The Sound Of Music.

    By HHH on Mar 26, 2022

  20. Two above twernt me more fakes

    By U L E on Mar 26, 2022

  21. Rumor has it this was a band of Big Uns

    By U L E on Mar 26, 2022

  22. With Roger and Keith being the Biggest Uns

    By U L E on Mar 26, 2022

  23. Pete and the ox not far behind though , all Big Uns

    By U L E on Mar 26, 2022

  24. So U L E , by not far behind, do you mean Roger and Keith had 12 inches and Pete and Entwhistle had 11 3/4 . ? That being pretty precise . Groupies must have brought tape measures backstage.

    By T J on Mar 26, 2022

  25. I thought Mike Millard tapes were supposed to sound great . What’s with this crappy sounding shit ? Are you sure it’s Millard ? A shame because The Who are in fine form here . They weren’t geezers yet . Why is it the shows that sound great are people who are old and over the hill , and the in prime shoes when they are young sound like shit .

    By Pat Grooms on Mar 26, 2022

  26. They really suck on Lets See Action…..Roger is off key

    By Nigger Lover AKE Swappers on Mar 26, 2022

  27. Anti, comments were not from me. these fuckin name stealing bastards. I just shit my pants typing this. I apologize

    By HHH on Mar 26, 2022

  28. Same here Anti, that was not my post as you probably know. name hijacker everywhere.

    By Nelson on Mar 26, 2022

  29. No worries triple h .

    By The AntiChrist on Mar 26, 2022

  30. I was there! First concert I attended, I went to see my favorite band. Thanks, BigO.

    By aking on Mar 26, 2022

  31. Pat is right , this show sounds terrible. The crowd is much louder than the band . Millard recordings aren’t first class . There is no way that this is Millard .

    By John on Mar 26, 2022

  32. Correction, Millard recordings are first class , no way that this is Millard .

    By John on Mar 26, 2022

  33. Taylor Hawkins dead at 50
    v sad loss
    Fine fine drummer of the Foo Fighters dies (and no cause given as yet)

    Big O - any good Foo Fighters ROIOs around on Dime?

    By swappers on Mar 26, 2022

  34. O ye Yankee coc ksuckers, bow down before the might of British rock. Stones, Who, Zep, Floyd, Tull, Mac… and it took Britain to bring the best out of St Jimi. And the colonial response? Pretty boys like Bon Jovi, copyists like Tyler and hip hop… and this recording, Jeez, some West Coast space cadet could never record the mighty ‘Oo. Keep it British, guys.

    By British is Best on Mar 27, 2022

  35. O ye Yankee coc ksukkers, bow down before the might of British rock. Stones, Who, Zep, Floyd, Tull, Mac… and it took Britain to bring the best out of St Jimi. And the colonial response? Pretty boys like Bon Jovi, copyists like Tyler and hip hop… and this recording, Jeez, some West Coast space cadet could never record the mighty ‘Oo. Keep it British, guys.

    By British is Best on Mar 27, 2022

  36. Mr B is B, don’t forget America had Cactus.

    By Derrick on Mar 27, 2022


    By T J on Mar 27, 2022


    By T J on Mar 27, 2022




    By TJ on Mar 27, 2022

  40. Poor T J can’t figure out how to undo the cap lock feature on his keyboard. Very sad.

    By Mark on Mar 27, 2022

  41. You degenerates could ruin a “typically normal” gay man attracted to finding a similar partner. You are perverted scum who contribute nothing to society and are annoying to humans, muskrats and the rest of mankind.

    By George Martini on Apr 30, 2022


    By TJ on Apr 30, 2022

  43. Pat Grooms, you lowlife fuckin coc ksucker, listen to this you bag of dog cum.

    By The Anti Christ on May 1, 2022

  44. I’m a lowlife fuckin coc ksucker, I eat bags of dog cum. Arf.

    By The Anti Christ on May 1, 2022

  45. So does your mother, the truckstop blowjob queen

    By The Anti Christ on May 1, 2022

  46. You’re right, she does!

    Why am I talking to myself???

    By The Anti Christ on May 1, 2022

  47. I suppose cos I haven’t got any friends to talk to.

    By The Anti Christ on May 1, 2022

  48. George, is your mother a 3 hole input whore. Sounds like your gay. How bout u suck on some beef jerky I have between my legs

    By swappers on May 1, 2022

  49. George, is your mother a 3 hole input whore. Sounds like your gay. How bout u suck on some beef jerky I have between my legs

    By swappers on May 1, 2022

  50. You’re right again! Everyone hates me, except the guys who love my blowjob technique.

    By The Anti Christ on May 1, 2022


    By TJ on Apr 30, 2022…. Thanks, I was in foster homes until I was 16 and went to prison for impersonating a veterinarian. Some people call euthanasia murder, but I call it mercy for sick people like you. Unfortunately I never met my biological mother.

    By George Martini on Jun 9, 2022

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