Guns N' Roses
Memorial Coliseum
Los Angeles, CA
Mike Millard Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 228
16/44 Edition
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2024 Transfer: Mike Millard Master Cassettes > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Sound Devices USBPre2 > 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 It's So Easy
03 Mr. Brownstone
04 Out Ta Get Me
05 Move To The City
06 Patience
07 My Michelle
08 Rocket Queen
09 Sweet Child O' Mine
10 Welcome To The Jungle
11 Knockin' On Heaven's Door
12 Paradise City
Known Faults: 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.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
Guns N' Roses, Memorial Coliseum, Los Angeles, CA, October 18, 1989
Same time, new network.
The Lost and Found series originating on TTD kicks off with a truly infamous show, Guns N' Roses opening for the Rolling Stones at the mammoth Memorial Coliseum in Los Angeles. This was the first of four extremely high-profile performances for many reasons, not the least of which was the Stones hadn't played LA in eight years.
But GN'R made this bill the hottest ticket in town because they themselves hadn't played a gig in ten months save for two warm-up sets the week before the Stones run. They wouldn't play another proper show until the start of 1991, so effectively these were the only Guns N' Roses gigs for nearly three years. The issues behind their inactivity are well documented elsewhere, but one need only listen to this recording to get some idea as to why.
Axl Rose addresses the crowd on numerous occasions and if you didn't like Rose already, listening to his ignorant blather here will no doubt confirm that belief. Before a note is played, he offers a long, narcissistic diatribe venting his frustration about the press questioning his lyrics to the song "One in a Million." It's not a particularly effective plea and by 2024 standards pretty fucking tone deaf.
Before the second song, "Mr. Brownstone," Rose calls out unnamed members of the band as addicts and suggests unless they "get their shit together" these four shows will be the band's last. By the end of the night, Rose declares this to be THE final show as he won't be returning.
In his LA Times review, Robert Hilburn wrote, "It was both a troubling and fascinating display--one that will probably go down as a storied moment in LA rock [history].
If what Axl says isn't enough, he also falls off the stage during "Patience."
Yet despite all that, the set GN'R performs sounds remarkably good or at least true to form, contrary to some reviews of this performance. For me, there's always been something about their sonic signature compared to the classic rockers that came before them that sounds like it is being pumped through some kind of cheap digital processor to smooth out all the edges. Drum triggers or at least heavy gating only add to the unnatural tone of the proceedings. But whatever it is GN'R does, there's no denying they do it well at this show.
This was Millard's first GN'R recording and from the third row of the massive stadium, he nails the capture, which is punchy and up close. Samples provided. "Move To The City" also features Matt McKagan (brother of Duff) and the Suicide Horns.
Needless to say, Axl didn't make good on his threat and GN'R would go on to play three more times in front of the Stones in LA in 1989, two of which Millard also recorded. We'll get to those down the road here on TTD.
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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.
Helping to make our first week on TTD a success are Rob S who did the transfer from Mike's original master cassette; our resident pitch expert Professor Goody; and mjk5510 who took care of post production and CD artwork.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS