corneredcat
600 Club - QQ All-Star
so tragic...recently watched a bunch of videos about the last day..news footage..interviews....an emotional roller coaster of info..interesting..great..sad..some things i didn't know...
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so tragic...recently watched a bunch of videos about the last day..news footage..interviews....an emotional roller coaster of info..interesting..great..sad..some things i didn't know...
corneredcat
600 Club - QQ All-Star
while i'm in this thread....also tragic..in a few ways. i'm sure some may already know this..i didn't..and just thought it was interesting
http://kernelmag.dailydot.com/features/report/6498/the-tragic-tale-of-a-legendary-concert-taper/
The tragic tale of a legendary concert taper
By James Cook on October 30th, 2013
Reclusive, genius, paranoid, obsessive, legendary…
Mike Millard earned his “Mike the Mike” nickname by taping now-legendary shows by some of the biggest names in 1970s rock music. For Millard, taping concerts was his life. A perpetual recluse, Mike obsessed over his tapes and their destinies. But in 1990, it all came to a tragic end. The tale of Mike Millard is one that has been whispered in underground circles for decades, perhaps now it’s time for him to receive the recognition he never saw in his lifetime.
–
Little is known about Millard’s early life in California. The story begins in the early 1970s, when the biggest rock acts of the time would play the LA Forum as part of their West Coast stadium tours. For a music fan such as Mike, a concert was a glorious, fleeting moment – but one that should be captured and cherished. Taking his inspiration from generations of people who sneak audio recorders into concerts, Mike developed an ingenious method to make the best recordings of all time.
Mike Millard rarely worked alone. To smuggle recording equipment into the secure arena, he needed someone to help him. Unlike other recorders, he discovered a nefarious way to sneak past security: a wheelchair. A helper would wheel Mike into the venue. In his prop wheelchair he sat upon a large and expensive Japanese cassette recorder. He also carried a bag of clothes with him. When challenged by security, he claimed that they were there in case he soiled himself.
A Nakamichi 550, the expensive Japanese tape deck that Mike Millard used for his recordings.
Once inside the building, Mike would be wheeled to the handicap area. He would wire up his hat with microphones and connect them to the cassette deck. When the house lights went down, the weighty tape deck was transferred to the bag and Mike got out of his wheelchair and walked to the front of the venue. It was this elaborate set-up combined with his network of willing helpers that led to the legendary Millard tapes.
Recording these performances was not, by any means, free of risk. One terrifying figure that Millard and his friends had to watch out for was Peter Grant. Led Zeppelin’s giant-size manager was known to patrol stadiums, personally destroying recording equipment and administering on-the-spot beatings to ticket touts. Grant had begun his show business career in wrestling, using the stage name “Count Bruno Alessio of Milan”. His fearsome reputation followed him out of the ring and into the stadiums where his band played. The man who hated bootleg recordings was so prone to violence that in 1977 the City of Oakland had to dispatch a SWAT team to arrest Peter Grant after a particularly savage backstage beating.
Peter Grant, the enemy of tapers such as Mike Millard.
Despite the dangers, the list of live performances captured by Millard is expansive: Led Zeppelin, The Rolling Stones, The Who, Pink Floyd, Eric Clapton, Yes, Rush, Wings, Kansas, Robert Plant, Crosby Stills Nash & Young, Genesis and likely many more. Mike Millard wasn’t just there to witness these legendary shows; he went to great efforts to save them for himself and music fans around the world.
Mike Millard tapes are considered some of the best live recordings of all time. They are so good, in fact, that even the bands themselves released his recordings officially. Jimmy Page, guitarist of Led Zeppelin, personally selected a Millard recording as part of an official DVD release. But what made his recordings sound “better than professional”, as one internet commentator put it?
The Kernel spoke to Dave Lewis, journalist, former music retailer and the man behind the long-running Tight But Loose Led Zeppelin magazine.
“Mike got that ‘right here, right now’ feel with his taping. He was always in the right spot to capture a real full band sound.”
And for Millard, he found that right spot after years of visiting the same venue using the same trick. Usually he could be found eight rows back from the front, throwing pennies at loud fans to discourage them from shouting or screaming.
Once the tape was made, Millard would select a handful of friends to share a copy with. However, Mike Millard was deeply untrusting of the people he shared his tapes with. Because of this, he purposely “marked” copies with volume fluctuations and other small blemishes. Every copy made was entered into his log book. That way, if a bootleg recording was ever made using one of his recordings, Millard could track it to whoever had sold his tape on.
Despite his paranoia, Millard’s love for music kept him returning to the LA Forum to record more bands. His passion for his craft shows in the richly decorated tapes he would send out. According to friends, Millard would spend hours colouring and decorating tape covers to make them look extra special. He even included photocopies of his concert ticket in with the cassettes.
An original Mike Millard tape, from his friend Barry Goldstein.
Millard struggled with depression throughout his life. Living with his elderly mother in their California home, his health worsened. He still taped concerts, but less and less of his tapes were ever shared. His job at the nearby San Antonio College tided Millard over, but he began a deep spiral into the throes of depression.
In 1990, Mike Millard destroyed almost all of his tapes. Original concert recordings of legendary rock bands, worth tens of thousands of dollars, were gone. Shortly afterwards, Mike Millard committed suicide.
After Millard’s death, his friends contacted his elderly mother and offered to help her organise his possessions. She refused. For years Mike Millard’s bedroom stayed filled with his recording equipment, and most probably the few remaining tapes. Sadly, that’s the last the world ever heard of Mike Millard and his beloved tapes.
News of Mike Millard’s death took years to reach his friends and fellow music-lovers. Letters were left unanswered, trade requests seemingly ignored. Eventually the word got out to the collecting circles: Millard is dead, his tapes are gone, don’t bother trying.
When you listen to professional concert recordings, it’s easy to take the stereo sound for granted. For Mike Millard, he managed to produce a stereo sound through taping microphones to his hat. Millard recordings are known to frequent the homes of the most rich and famous rock stars, keen to listen again to themselves in their prime. This ingenious man, who faked disability in order to sneak audio equipment into venues, is responsible for some of the world’s most valuable sonic recordings.
Unfortunately, it seems that music fans will never know who Mike Millard was. Whenever his recordings have been officially released, his name never appears in the credits. Hidden from history because of his illegal recordings, Mike the Mike lives on only in the underground music communities to which he originally belonged.
http://kernelmag.dailydot.com/features/report/6498/the-tragic-tale-of-a-legendary-concert-taper/
The tragic tale of a legendary concert taper
By James Cook on October 30th, 2013
Reclusive, genius, paranoid, obsessive, legendary…
Mike Millard earned his “Mike the Mike” nickname by taping now-legendary shows by some of the biggest names in 1970s rock music. For Millard, taping concerts was his life. A perpetual recluse, Mike obsessed over his tapes and their destinies. But in 1990, it all came to a tragic end. The tale of Mike Millard is one that has been whispered in underground circles for decades, perhaps now it’s time for him to receive the recognition he never saw in his lifetime.
–
Little is known about Millard’s early life in California. The story begins in the early 1970s, when the biggest rock acts of the time would play the LA Forum as part of their West Coast stadium tours. For a music fan such as Mike, a concert was a glorious, fleeting moment – but one that should be captured and cherished. Taking his inspiration from generations of people who sneak audio recorders into concerts, Mike developed an ingenious method to make the best recordings of all time.
Mike Millard rarely worked alone. To smuggle recording equipment into the secure arena, he needed someone to help him. Unlike other recorders, he discovered a nefarious way to sneak past security: a wheelchair. A helper would wheel Mike into the venue. In his prop wheelchair he sat upon a large and expensive Japanese cassette recorder. He also carried a bag of clothes with him. When challenged by security, he claimed that they were there in case he soiled himself.
A Nakamichi 550, the expensive Japanese tape deck that Mike Millard used for his recordings.
Once inside the building, Mike would be wheeled to the handicap area. He would wire up his hat with microphones and connect them to the cassette deck. When the house lights went down, the weighty tape deck was transferred to the bag and Mike got out of his wheelchair and walked to the front of the venue. It was this elaborate set-up combined with his network of willing helpers that led to the legendary Millard tapes.
Recording these performances was not, by any means, free of risk. One terrifying figure that Millard and his friends had to watch out for was Peter Grant. Led Zeppelin’s giant-size manager was known to patrol stadiums, personally destroying recording equipment and administering on-the-spot beatings to ticket touts. Grant had begun his show business career in wrestling, using the stage name “Count Bruno Alessio of Milan”. His fearsome reputation followed him out of the ring and into the stadiums where his band played. The man who hated bootleg recordings was so prone to violence that in 1977 the City of Oakland had to dispatch a SWAT team to arrest Peter Grant after a particularly savage backstage beating.
Peter Grant, the enemy of tapers such as Mike Millard.
Despite the dangers, the list of live performances captured by Millard is expansive: Led Zeppelin, The Rolling Stones, The Who, Pink Floyd, Eric Clapton, Yes, Rush, Wings, Kansas, Robert Plant, Crosby Stills Nash & Young, Genesis and likely many more. Mike Millard wasn’t just there to witness these legendary shows; he went to great efforts to save them for himself and music fans around the world.
Mike Millard tapes are considered some of the best live recordings of all time. They are so good, in fact, that even the bands themselves released his recordings officially. Jimmy Page, guitarist of Led Zeppelin, personally selected a Millard recording as part of an official DVD release. But what made his recordings sound “better than professional”, as one internet commentator put it?
The Kernel spoke to Dave Lewis, journalist, former music retailer and the man behind the long-running Tight But Loose Led Zeppelin magazine.
“Mike got that ‘right here, right now’ feel with his taping. He was always in the right spot to capture a real full band sound.”
And for Millard, he found that right spot after years of visiting the same venue using the same trick. Usually he could be found eight rows back from the front, throwing pennies at loud fans to discourage them from shouting or screaming.
Once the tape was made, Millard would select a handful of friends to share a copy with. However, Mike Millard was deeply untrusting of the people he shared his tapes with. Because of this, he purposely “marked” copies with volume fluctuations and other small blemishes. Every copy made was entered into his log book. That way, if a bootleg recording was ever made using one of his recordings, Millard could track it to whoever had sold his tape on.
Despite his paranoia, Millard’s love for music kept him returning to the LA Forum to record more bands. His passion for his craft shows in the richly decorated tapes he would send out. According to friends, Millard would spend hours colouring and decorating tape covers to make them look extra special. He even included photocopies of his concert ticket in with the cassettes.
An original Mike Millard tape, from his friend Barry Goldstein.
Millard struggled with depression throughout his life. Living with his elderly mother in their California home, his health worsened. He still taped concerts, but less and less of his tapes were ever shared. His job at the nearby San Antonio College tided Millard over, but he began a deep spiral into the throes of depression.
In 1990, Mike Millard destroyed almost all of his tapes. Original concert recordings of legendary rock bands, worth tens of thousands of dollars, were gone. Shortly afterwards, Mike Millard committed suicide.
After Millard’s death, his friends contacted his elderly mother and offered to help her organise his possessions. She refused. For years Mike Millard’s bedroom stayed filled with his recording equipment, and most probably the few remaining tapes. Sadly, that’s the last the world ever heard of Mike Millard and his beloved tapes.
News of Mike Millard’s death took years to reach his friends and fellow music-lovers. Letters were left unanswered, trade requests seemingly ignored. Eventually the word got out to the collecting circles: Millard is dead, his tapes are gone, don’t bother trying.
When you listen to professional concert recordings, it’s easy to take the stereo sound for granted. For Mike Millard, he managed to produce a stereo sound through taping microphones to his hat. Millard recordings are known to frequent the homes of the most rich and famous rock stars, keen to listen again to themselves in their prime. This ingenious man, who faked disability in order to sneak audio equipment into venues, is responsible for some of the world’s most valuable sonic recordings.
Unfortunately, it seems that music fans will never know who Mike Millard was. Whenever his recordings have been officially released, his name never appears in the credits. Hidden from history because of his illegal recordings, Mike the Mike lives on only in the underground music communities to which he originally belonged.
Watching Palladia tonight...
Rush - Behind The Lighted Stage. Yeah, I already have it on blu....but I just was bored and there it was. It's such a wonderful story, great disc with LOTS of great stories, great music...super footage from back in the day.
Guess what? Seeing this has inspired me - and it makes me realize how important Rush has been in my life and I've been dying for a much better sounding disc of all their releases.....so....
I'm now 100% on board to buy all of the blu-ray audios of Rush as they are released. I started with Fly By Night and any from the 70's, I will buy. I love that music and this is the very best it's gonna sound. I know that.
Rush - Behind The Lighted Stage. Yeah, I already have it on blu....but I just was bored and there it was. It's such a wonderful story, great disc with LOTS of great stories, great music...super footage from back in the day.
Guess what? Seeing this has inspired me - and it makes me realize how important Rush has been in my life and I've been dying for a much better sounding disc of all their releases.....so....
I'm now 100% on board to buy all of the blu-ray audios of Rush as they are released. I started with Fly By Night and any from the 70's, I will buy. I love that music and this is the very best it's gonna sound. I know that.
Hee!
I guess my copy of the "highly anticipated" Blood Sweat/Tears shipped yesterday via Import CD's. YES!!! No clue how long it takes to arrive....seems they can't give you that info....in that sense....they are lacking the play by play that Amazon gives...lol
I guess my copy of the "highly anticipated" Blood Sweat/Tears shipped yesterday via Import CD's. YES!!! No clue how long it takes to arrive....seems they can't give you that info....in that sense....they are lacking the play by play that Amazon gives...lol
Yes, you really do.....I too am trying to branch out and buy from other sites. I think it's a good thing to do anyway.
LOL! wow...forgot about this song......we need some Four Seasons in Quad!!!
Four Seasons - Who Loves You...1975
[video=youtube;s8MNLUpJDZk]https://www.youtube.com/watch?v=s8MNLUpJDZk[/video]
Four Seasons - Who Loves You...1975
[video=youtube;s8MNLUpJDZk]https://www.youtube.com/watch?v=s8MNLUpJDZk[/video]
Killing me....
Bring on the Bee Gees in QUAD!!
[video=youtube;F2SDf42guB4]https://www.youtube.com/watch?v=F2SDf42guB4[/video]
Bring on the Bee Gees in QUAD!!
[video=youtube;F2SDf42guB4]https://www.youtube.com/watch?v=F2SDf42guB4[/video]
The guitar player in my band was begging us to do this one. I kept resisting but eventually gave in. Once I learned it, I fell in love with it and now can't get it out of my head! At the end we segue into the guitar solo from "Another Brick in the Wall part 2" which surprisingly works really well. I'm sure a surround mix of this could be great.
Since Gos 2.0 opened up the subject of the Bee Gees...let's kick that door down..I can't tell you how many times I sang this song in the shower...back in the day...
[video=youtube;I_izvAbhExY]https://www.youtube.com/watch?v=I_izvAbhExY[/video]
[video=youtube;I_izvAbhExY]https://www.youtube.com/watch?v=I_izvAbhExY[/video]
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A lot of people try to distance themselves from Disco...you know what I mean...like it just wasn't cool to like that music....I still liked my rock music..but I loved disco too..and the whole disco scene...what's not to like about getting stoned and going to a club with flashing lights and women...
[video=youtube;_JoZS6LgqYI]https://www.youtube.com/watch?v=_JoZS6LgqYI[/video]
[video=youtube;_JoZS6LgqYI]https://www.youtube.com/watch?v=_JoZS6LgqYI[/video]
Shades of Samurai Night Fever!
Just as I can do Alvin (OK!), I can sing like Barry's falsetto.
Just as I can do Alvin (OK!), I can sing like Barry's falsetto.
Staying alive has the best bass groove I ever heard.
And Beyonce's song "Blow" I heard often the last days.
After that some Voivod or the new Neil Morse album.
I see no reason why not to integrate disco and dance music in my life.
And Beyonce's song "Blow" I heard often the last days.
After that some Voivod or the new Neil Morse album.
I see no reason why not to integrate disco and dance music in my life.
Today Peter Gabriel is 65...Happy Birthday...
On a side note...US posters...be careful today...it's Friday the 13th...just saying...keep alert:slap:
On a side note...US posters...be careful today...it's Friday the 13th...just saying...keep alert:slap:
Doug G.
2K Club - QQ Super Nova
I agree about disco. It had gotten pretty depressing all the singer/songwriters writing and singing D) about all those depressing subjects for years and so it was refreshing for something else to come along. I guess it was a little return to the 65-69 period with the dance music.
Anyway, my wife and I enjoyed it very much.
Oh, and I will guarantee that if there are a lot of people sitting around a bar, to this day, and "Stayin' Alive" or "Rock the Boat" comes on, at least half the people will start moving to the beat.
Doug
D) about all those depressing subjects for years and so it was refreshing for something else to come along. I guess it was a little return to the 65-69 period with the dance music.Anyway, my wife and I enjoyed it very much.
Oh, and I will guarantee that if there are a lot of people sitting around a bar, to this day, and "Stayin' Alive" or "Rock the Boat" comes on, at least half the people will start moving to the beat.
Doug
Doug G.
2K Club - QQ Super Nova
I don't know. I think it takes a real MAN to sing that falsetto.
From The Marx Brothers' "Horse Feathers": "...I know. I have a falsetto voice" (Thelma Todd). "That's-a funny, my last pupil had a false set o' teeth." (Chico).
Doug
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