Lossless Bootleg Bonanza: Van Morrison – San Diego, CA (12/01/73)

Van Morrison 1973 San Diego FRONT

Van Morrison featuring the Caledonia Soul Orchestra
Sports Arena
San Diego, CA
December 1, 1973
JF Archive Series Vol. 22 via JEMS

Download: FLAC/MP3

Taper: JF

Source: unknown recorder > unknown microphones (mono)

JEMS 2016 Transfer: master cassette > Nakamichi CR-7A (azimuth adjustment) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX6 > iZotope Ozone 6 > Audacity > TLH > FLAC

01 Instrumental
02 Instrumental
03 Moondance prelude (instrumental) > Van Intro
04 Come Running
05 Ainít Nothiní You Can Do
06 Warm Love
07 Into The Mystic
08 Iíve Been Working
09 I Just Want To Make Love To You
10 Here Comes The Night
11 Hard Times
12 I Believe To My Soul
13 Help Me
14 Boogie Chillení
15 Domino
16 Caravan
17 Gloria
18 Brown Eyed Girl

Known Faults:
– Hard Times: end cut
-I Believe To My Soul: start cut
-Gloria: start slightly cut

Sid Page – violin
Jack Schroer – saxophone
Bill Atwood – trumpet
Bill Bridges – guitar
David Hayes – bass
David Shaw – drums
James Trumbo – piano, organ

JEMS is thrilled to return to the JF Archive series, presenting another one of the nine Van Morrison performances recorded in and around Southern California circa 1973-74. For further details and backstory on JF, his tapes and the extraordinary lost Van performances from 1975 that started the series, please refer to the notes in Vol. Three:

http://www.dimeadozen.org/torrents-details.php?id=524853

Unlike the initial Lost California tapes, JFís 1973-74 recordings have long been in circulation among collectors. However, this series marks the first-ever digitization and dissemination directly from JFís cassette masters. The recordings were made with low-end equipment but yielded surprisingly listenable results.

The San Diego show is yet another significant performance and recording and happens to be one of JFís favorites as youíre about to read.

JF writes:
The next night after San Bernardino, Van traveled down to San Diego and we followed him. This was a period when he was really playing a lot in California. He said it perfectly in “I’ve Been Working” (recorded well before these shows, of course):

I been up the thruway,
Down the thruway
Up the thruway, down the thruway
Up the thruway, down, up down, back
Up again

There may never have been a greater time or place for Van fans. In particular, this San Diego show has always been one of my favorite memories. Likely still smarting over the horrible sound system and PA issues the night before in San Bernardino, at one point this night Van seemed to lose interest. He just up and walked off the stage, leaving the band to jam in his absence. In real time, it seemed like he left for 20 minutes, although of course it was shorter than that. But still, Iím pretty sure I remember one of the musicians leaving the stage, too, after awhile, presumably in an effort to get Van to come back out. Which he did eventually and carried on in great form.

The San Diego incident, along with another I witnessed at a concert in Anaheim nearly a year later (11/16/74, coming up later in our series), give me license to have my say about a lot of nonsense that has been written over the years about Vanís temperament and the so-called ìunevenî quality of his performances. Van may not do what you expect him to do. He may not do what anybody else does. He may do exactly what young performers are taught NOT to do in schools and conservatories. But he always engages his muse, no matter how rough or how unorthodox his method may be. That is what I love Van Morrison for.

***

San Diego repeats the same set list as San Bernardino save for one major change, the last known performance of Ray Charlesí “Hard Times” until its momentary resurrection for two appearances in Leipzig in 2002. The song debuted at the Shrine shows earlier in the month. This is also the second to last performance ever of John Lee Hookerís ìBoogie Chilleníî (or as some call it, ìHarmonica Boogie Chilleníî). Van would play it in Montreux the following year then never again.

Despite taking place in a large sports arena, the sound quality is much improved. In fact, given JFís gear and the venue, it is a pretty impressive capture for 1973. A bit distant, but rich and clear with little-to-no audience interference. Samples provided.

Like the preceding shows, Van is mixing recent material, covers and classics. The show begins with two unknown instrumental numbers (if you can identify the tunes, please do let us know) which lead to an instrumental ìMoondanceî intro before someones say, ìAnd now ladies and gentleman, here is Van Morrison,î at which point ìMoondanceî stops and the band immediately launches into ìCome Running.î

ìCome Runningî sets the pace for a lively and largely up-tempo set. As at all the late í73 shows, Van again dips heavily into blues and R&B covers, including ìAinít Nothiní You Can Do,î made famous by Bobby ìBlueî Bland and penned by Don Robey and Joe Scott; the aforementioned ìBoogie Chilleníî and ìHard Timesî; along with Willie Dixonís ìI Just Want To Make Love To You.î The rest of the show is loaded with crowd-pleasing material, including ìInto the Mystic,î ìDomino,î ìCaravan,î ìCypress Avenue,î ìHere Comes The Nightî and ìGloria.î

Once again, our gratitude goes to JF, who reached out on DIME (you should be next!) and offered us his archive, which had been sitting in boxes for over 20 years, 6000 miles away from where he lives today. Like so many early tapers, he had great stories to tell and the memories flooded back as we sorted through tapes. We are pleased to be able to bring his work to all of you. Please let him know through your comments that you are, too. We also appreciate the unnamed Van collectors who helped get JFís masters back in his control. JF was also kind enough to include scans of his ticket stubs for this show which are included in the artwork.

We want to acknowledge the value and work of http://ivan.vanomatic.de, the definitive Van Morrison setlist archive on the web. It has been a constant reference tool for this entire series. Of course kudos as well to mjk5510, who continues his essential role as JEMSí post-production and quality-control supervisor. He is as much a part of JEMS at this point as I am.

BK for JEMS

Lossless Bootleg Bonanza: Bob Dylan – Los Angeles, CA (06/07/78)

bob Dylan - Los Angeles - 1978 millard_june_7_1978_nak_reel

Bob Dylan
Universal Amphitheater
Los Angeles, CA
June 7, 1978

Download: FLAC/MP3

A Hard Rain’s A-Gonna Fall *
Love Her With A Feeling *
Baby Stop Crying *
Mr. Tambourine Man
Shelter From The Storm
Love Minus Zero/No Limit
Tangled Up In Blue
Ballad Of A Thin Man
Maggie’s Farm
I Don’t Believe You (She Acts Like We Never Have Met)
Like A Rolling Stone
I Shall Be Released
Going, Going, Gone
Rainy Day Women # 12 & 35
One Of Us Must Know (Sooner Or Later)
You’re A Big Girl Now
One More Cup Of Coffee (Valley Below)
Blowin’ In The Wind
I Want You
Senor (Tales Of Yankee Power)
Masters Of War
Just Like A Woman
Don’t Think Twice, It’s All Right
Simple Twist Of Fate
Oh, Sister (Bob Dylan‚ Jacques Levy/Bob Dylan)
All Along The Watchtower
All I Really Want To Do
Band Introduction
It’s Alright, Ma (I’m Only Bleeding)
Forever Young
The Times They Are A-Changin’**

*Missing from Source 1
** Missing from Source 2

Source 1:

LB- 11702
Mike Millard first gen via JEMS
The Lost and Found Mike the MICrophone Tapes Vol. Three

Recording A Info: AKG 451E mics (CK-1 capsules) > Nakamichi 550

JEMS 2014 Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > pitch correction > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (Edit / Index) > xACT 2.21 > FLAC

JEMS is pleased to release the third in a series of recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin in and around LA circa 1975-77. For further details on how these tapes came to be lost and found again, as well as JEMS’ history with Mike Millard, please refer to the notes in Vol. One http://www.dimeadozen.org/torrents-details.php?id=500680

Our third installment is from the final performance of Dylan’s seven-night residency at the Universal Amphitheater in June 1978 (imagine playing a 27-30 song set for seven consecutive nights without a day off). Once again, the recording is not quite complete. Millard’s notes state, “Missed first song and most of second song.” In truth he missed the first three songs (the show-opening “A Hard Rain’s A-Gonna Fall,” “Love Her With a Feeling” and “Baby Stop Crying”) before he gets his trusty Nakamichi 550 up and running during “Mr Tambourine Man.”

Lossless Bob has no fewer than five entries for this show, though only identifies two distinct recordings, both of which are complete from the start, so, like its predecessors, it is likely this Millard master is uncirculated. And like nights one and three, what Millard did record is impressive. Samples provided.

We’ve marked this Recording A as, remarkably, Millard sent SG two different recordings of the show, done with two different tape decks and two different sets of microphones. The notes on each clearly state that Mike himself made both recordings, so while there is no other known case where Millard ran two rigs, we can only assume that on this night he did or perhaps he did so with an uncredited partner, as we know he frequently had helpers. Recording B will be Vol. Four in our series.

Bobtalk is particularly rich this night, including a highly entertaining moment towards the end of the show where Dylan says hello to some celebrities in the crowd, among them Joni Mitchell, Raquel Welch and Tom Petty. The transcription on Olof’s invaluable Still On The Road website also notes that Dylan offers that his favorite band is “a band I saw play with Bobby Blue Bland, 1968 I recall in New York. And this band comes as close to that band as I can find.” OK, now we know.

The June 7 set also includes three songs not featured in the sets on the other two Millard recordings from this run, “Don’t Think Twice, It’s All Right,” “Simple Twist of Fate” and “Oh Sister.”

If you’d like to learn more about Mike the MICrophone, the links below offer a glimpse of his story.

Millard’s Wikipedia page
http://en.wikipedia.org/wiki/Mike_Millard

The best article written about Millard has been deleted from the original website but is reprinted here:
http://www.classicrockforums.com/forum/f6/led-zeppelin-official-thread-6185/index164.html

Thanks again to WG for finding the tapes and to SG for providing JEMS with another fascinating chapter of taping history. Also, JEMS is greatly appreciative of the work of mjk5510 for his continued assistance in getting these recordings into your hands. He is a vital part of the process at this point.

Here’s to the late, great Mike the MICrophone and to finding more lost tapes.

BK for JEMS

Source 2

LB-11720

Mike Millard first gen via JEMS
The Lost and Found Mike the MICrophone Tapes Vol. Four

Recording B Info: Nakamichi CM-50 microphones > Uher CR-240 cassette recorder

JEMS 2014 Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > pitch correction > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC

Seamless transfer, suggested break for CD burning above…

JEMS is pleased to release the fourth in a series of recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin in and around LA circa 1975-77. For further details on how these tapes came to be lost and found again, as well as JEMS’ history with Mike Millard, please refer to the notes in Vol. One http://www.dimeadozen.org/torrents-details.php?id=500680

Incredibly, our fourth installment is an alternative SECOND Millard recording from the final performance of Dylan’s seven-night residency at the Universal Amphitheater in June 1978. That’s right, the same performance as Volume 3 of our series, but a different recording made by Millard with a completely different rig. In addition to his familiar AKG 451E mics (CK-1 capsules) > Nakamichi 550 set up, Millard ran a pair of Nakamichi CM-50 microphones into a Uher CR-240 cassette recorder. We believe this is the first verified example of Millard recording on different gear and he uses the same set up for future shows in our series.

Nakamichi CM-50 photos http://www.nakmics.com/nak-cm50.htm
Uher CR-240 photo http://commons.wikimedia.org/wiki/File:Uher-cr240_hg.jpg

This recording also marks the first time in the run that Mike was able to capture the show from the very start, the instrumental version of “A Hard Rain’s A-Gonna Fall.” So we get the beginning of the show, but not the full encore, as the last song of the night, “The Times They Are A-Changin’,” is omitted. (Note: It can be found on the Vol. Three recording of the same performance.)

The question you are probably asking yourself right about now is: OK, that’s all interesting minutiae, but which recording is better? I would give the nod to this one, which sounds just a tad sharper, clearer and fuller. Samples provided.

Lossless Bob has no fewer than five entries for this show, though only identifies two distinct recordings, both of which are complete, so, like its predecessors, it is likely this Millard master is uncirculated.

We’ve marked this Recording B to distinguish it from Mike’s other tape from the night. The notes on each reel (see image in the comments) clearly state that Mike himself made both recordings, so while there is no other known case where Millard ran two rigs, we can only assume that on this night he did or perhaps he did so with an uncredited partner, as we know he frequently had helpers.

Speaking of those helpers, JEMS’ Millard series has sparked a lot of comments and dialogue. A fellow taper we’ve gotten in touch with was one of those helpers who attended many shows with Mike. He wanted to let folks know that despite what you may have read, Mike was no loner. He had several close friends, many of whom shared his passion for music. Whoever drew that conclusion and perpetuated the loner profile was mistaken.

If you’d like to learn more about Mike the MICrophone, the links below offer a glimpse of his story.

Millard’s Wikipedia page
http://en.wikipedia.org/wiki/Mike_Millard

The best article written about Millard has been deleted from the original website but is reprinted here:
http://www.classicrockforums.com/forum/f6/led-zeppelin-official-thread-6185/index164.html

Thanks again to WG for finding the tapes and to SG for providing JEMS with another fascinating chapter of taping history. Also, JEMS is deeply appreciative of the work of mjk5510 for his continued assistance in getting these recordings into your hands. He is a vital part of the process at this point.

Here’s to the late, great Mike the MICrophone and to finding more lost tapes.

BK for JEMS

Lossless Bootleg Bonanza: Led Zeppelin – Long Beach, CA (03/11/75)

led zeppelin - long beach 1975

Led Zeppelin
1975-03-11
Long Beach, CA
Long Beach Arena

Download: FLAC/MP3

Source: Audience
Lineage: 1st gen cassettes(TDK SA 90)x3>Nakamichi 670 pitch & azimuth-adjusted playback deck>Nakamichi Outboard Dolby B Unit>Wavelab 96/24>Izotope 44.1/16>flac
Taping Gear: AKG mics, Nakamichi 550 cassette deck
Taped By: Mike Millard
Transferred By: JEMS

Setlist:
01. Intro
02. Rock And Roll
03. Sick Again
04. Over The Hills And Far Away
05. In My Time Of Dying
06. The Song Remains The Same
07. The Rain Song
08. Kashmir
09. No Quarter
10. Trampled Underfoot
11. Moby Dick
12. Dazed And Confused
13. Stairway To Heaven
14. Whole Lotta Love
15. Black Dog

Length: 162:49

Notes:
Previously uncirculated set of unmarked tapes for this show transferred with Dolby B on as per Mike’s notes on the tape labels using an adjustable outboard Dolby B unit. This is the 1st time (May 2010) these tapes have ever been digitized. The sound is completely unaltered except for pitch correction during playback and fades added for each of the tape flips.