Yes
Long Beach Arena
Long Beach, CA
June 23, 1975
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 217
2496 Edition

Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder

JEMS 2023 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 > xACT 2.50 > FLAC

01 Firebird Suite
02 Sound Chaser
03 Close To The Edge
04 To Be Over
05 The Gates Of Delirium
06 Your Move
07 Mood For A Day
08 Long Distance Runaround
09 Patrick Moraz Solo
10 The Clap
11 And You And I
12 Ritual
13 Roundabout
14 Sweet Dreams

Jon Anderson - Vocals
Chris Squire - Bass
Steve Howe - Guitar
Alan White - Drums
Patrick Moraz - Keyboards

Known Faults:
-Sound Chaser: splice

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: [Link]

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:

[Link]
[Link]

Yes, Long Beach Arena, Long Beach, CA, June 23, 1975

Volume 217 of the Lost and Found Series marks a thrilling return to Mike "The Mike" Millard's heyday. Millard purchased his Nakamichi + AKG rig in March 1975. Within the first four months of owning his new cassette deck and microphones he would make seminal recordings of Led Zeppelin, Pink Floyd, The Rolling Stones and Yes, just to name a few.

This Yes concert recorded in Long Beach on June 23, 1975 is the companion to Lost and Found series Vol. 59, which preserved Yes' Hollywood Bowl performance two days prior. Both feature identical setlists that were standard on the Relayer tour and feature Patrick Moraz taking over on keyboards in the place of Rick Wakeman.

But the similarities between the two recordings stop there. If the Hollywood Bowl captures Yes in SD, the Long Beach Arena is glorious HD. Mike's 6/23/77 tape has to be among his very best. It doesn't just sound close, it sounds like he is standing nose to nose with Jon Anderson inside the PA.

There is so much musical information pouring forth it's a miraculous that Millard's gear could hold it all. But Mike Millard isn't the G.O.A.T. for nothing and he walked (or rolled as Jim notes below) out with an extraordinarily rich and full-bodied recording. If it sounds like I'm describing a delicious Amarone, the word choice is intentional.

The instrument separation on Mike's capture is outstanding and the power of Alan White's kick drum and Chris Squire's bass comes through gloriously. Yet when it all goes quiet for Steve Howe's solo turn in "Mood For A Day" the room is nearly silent and you can hear the pick on his strings. Even Patrick Moraz acquits himself in his own solo section and in several spots throughout the show. Anderson's voice does show a little wear (it was his seventh show in a row without a day off!), but he is more than up to the task. This recording has always been lauded as one of Millard's more "soundboard like" achievements and now it sounds even clearer. Samples provided.

While the setlist for these shows didn't vary as noted above, there are standout performances including Rob S favorite "Ritual." And much as I like "Starship Trooper" as the band's common closer, "Sweet Dreams" ends the evening on a high note.

Here's what Jim R recalled about seeing Yes in Long Beach in 1975:

I attended the Yes concert at the Long beach Arena with Mike Millard on June 23, 1975, two days after the Hollywood Bowl show.

Being a summer of '75 gig meant I pushed Mike into the LB Arena in his wheelchair. In fact we were in the midst of the "Wheelchair Era": Led Zeppelin was three months before, and the Stones were the following month. Quite the Rock and Roll sandwich. Basically the age of innocence i.e. no payoffs required yet to get the gear in.

In 1975, 35mm SLR cameras were still allowed in, so the wheelchair playbook called for me to smuggle in extra D cell batteries in a fake lens case; if Mike got busted he would offer up his batteries knowing all the while I had a backup set.

Yes was one of our favorite groups, but this tour featured Patrick Moraz on keyboards. I know he is considered an excellent musician but I and many others prefer Rick Wakeman. What can you do? Well, you have all heard of "Bootleg Ears," I listen with "Patrick Moraz Ears" to shows from this tour.

Yes had an elaborate stage set and an excellent sound system by Clair Brothers. The band was tight as usual. We sat on the Floor in the 7th row, a bit off center. Long Beach Arena allocated the vast majority of the good seats to the LA area ticket brokers and that was the avenue we were forced to use to procure our tickets.

I hope you enjoy Yes at the Long Beach Arena as much as Mike and I did.

RIP Mike Millard, Chris Squire and Alan White.

###

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.

At your service this week were Jim R who wrote notes and provided original photos from the show for our cover art, Professor Goody who made sure our pitch was true and mjk55110 who massaged this one during post production and created the CD covers.

Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.

BK for JEMS