Tom Petty and The Heartbreakers
Los Angeles, CA
July 29, 1989
Mike Millard First-Generation Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 106
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2021 Transfer: Mike Millard First-Generation Cassettes > Nakamichi RX-505 (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > MBIT+ resample to 1644 > Audacity > TLH > FLAC
- I’ll Feel A Whole Lot Better
- Don’t Do Me Like That
- American Girl
- Free Fallin’
- The Waiting
- I Won’t Back Down
- Ben’s Boogie
- Don’t Come Around Here No More
- Even The Losers
- Milk Cow Blues
- A Face In The Crowd
- Something Big
- Yer So Bad
- You Got Lucky
- Should I Stay Or Should I Go?
- Keep Your Hands To Yourself
- Runnin’ Down A Dream
- Here Comes My Girl
- Jammin’ Me
- How Many More Days
-Rebels: start cut
Introduction to the Lost and Found Mike the MICrophone Series
Welcome to JEMSí 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 Millardís original master tapes.
Yes, you read that correctly, Mike Millardís 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 1993.
The reason the rediscovery of his master tapes is such a revelation is that weíve 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 Mikeís mental state was troubled he would do something rash WITH HIS LIFEíS WORK. Thereís also a version of the story where Mikeís family dumps the tapes after he dies. Why would they do that?
The truth is Mikeís masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millardís 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 Mikeís work.
The full back story on how Mikeís 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 Millardís original master tapes:
Tom Petty and The Heartbreakers, Universal Amphitheatre, Los Angeles, CA, July 29, 1989
After last week’s Bob Dylan show from the Greek Theatre in LA, we stay in 1989 for Tom Petty and The Heartbreakers, playing the first show of a three-night stand at the Universal Amphitheatre. Petty was riding high on the release of his first credited solo album, Full Moon Fever, and the hit single “Free Fallin’.” Follow-up singles “I Won’t Back Down” and “Running Down a Dream” also became hits, cementing Full Moon Fever as one of Petty’s most successful albums.
Though he was supporting what was officially deemed a solo album, the Full Moon Fever tour featured the Heartbreakers and served as a showcase not only for the new album and key catalog cuts, but several choice cover versions.
The show opens with The Byrds’ “Feel A Whole Lot Better,” and later in the set Petty assays the first Elvis record he ever owned, “Milk Cow Blues” (written by Kokomo Arnold). There’s also a fun double shot of The Clash’s “Should I Stay Or Should I Go,” and, joined onstage by members of The Georgia Satellites, their hit “Keep Your Hands To Yourself.”
While most sets on the Full Moon Fever tour concluded with “Jammin’ Me,” Petty elects to play one more tune, the rare “How Many More Days” from Let Me Up I’ve Had Enough. If Setlist.fm is to be at least directionally trusted, Petty played the song less than a dozen times.
Mike’s recording is probably closer to his very good work than his best work, but that’s only by his high standards. The first 40 or so minutes of the show the crowd around Mike is frustratingly participatory, which means a lot of close clapping, whistles, yelling and chatter. Things improve somewhat the rest of the night, and the whole performance proves quite enjoyable.
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 canít thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mikeís 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 Jimís memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mikeís incredible audio documents.
Lending an essential hand as always are Professor Goody, who weighed in to help us adjust pitch, and mjk5510, who prepped this one for your ears and, through his always-welcome cover art, your eyes, too.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS