Fleetwood Mac - September 1,1980 - Los Angeles, CA - Hollywood Bowl torrent
 

http://www.dimeadozen.org/torrents-d....php?id=705751

Fleetwood Mac
Hollywood Bowl
Los Angeles, CA
September 1, 1980
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 80
1644 Edition

Contrast Clause: 2496 Edition located here:
http://www.dimeadozen.org/torrents-d....php?id=705750

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

Transfer: Mike Millard Master Cassettes > Nakamichi RX-505 (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC

01 Monday Morning
02 The Chain
03 Don't Stop
04 Dreams
05 Oh Well
06 Rhiannon
07 Over And Over
08 What Makes You Think You're The One
09 Sara
10 Not That Funny
11 Never Going Back Again
12 Landslide
13 Tusk
14 Think About Me
15 I'm So Afraid
16 Angel
17 You Make Loving Fun
18 World Turning
19 Go Your Own Way
20 Sisters Of The Moon
21 Songbird

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.dimeadozen.org/torrents-d....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 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.dimeadozen.org/torrents-d...d=667745&hit=1
http://www.dimeadozen.org/torrents-d...d=667750&hit=1

Fleetwood Mac, Hollywood Bowl, Los Angeles, CA, September 1, 1980

Volume 80 means 1980 and a significant show: the final night of Fleetwood Mac's Tusk tour at the Hollywood Bowl. This Monday night gig, the second of a two-show finale, warranted a write-up in Rolling Stone as it marked the end of a long album cycle and a run of 112 shows.

Tusk isn't everyone's cup of tea, but if you're a fan of the creative genius of guitarist Lindsey Buckingham, the album was his showcase. This particular recording puts a zoom lens (or microphone in this case) on Lindsey's playing.

According to Jim, he and Mike recorded from the front row of Section E, which is the second section back at the Bowl behind the Garden Boxes. That's far enough away that one wouldn't expect Millard to be picking up a lot of on-stage amplifier and monitor sound, but for whatever reason, the PA mix Mike grabs is heavily focused on Buckingham's guitar. You can hear every detail and nuance of his playing, which makes this a fascinating listen.

That being said the tape needed an extraordinary amount of work to pull up the rest of the instrumentation and especially the vocals. On some songs, the balance is pretty good; on others, voices are still low. You'll hear moments where Mike shifts the axis of his microphones and the composition of the mix changes significantly. Why there is so much guitar coming through the PA I can't explain but the tape doesn't lie.

If you love the sound of Lindsey's guitar you're in for a real treat. If you are more of a general Fleetwood Mac fan, there's still plenty to enjoy here. Samples provided.

Here's what Jim R had to say about Fleetwood Mac at the Hollywood Bowl 1980:

I attended the Sept 1, 1980 Fleetwood Mac concert with my buddy Michael G Millard.

We sat in Section E, Row 1. This is in the first row of the bench seats located to the sides of the Terrace Boxes, which is the second section of box seats. Our position corresponded with the 10th row of Terrace box seats.

Box Seat rows at the Hollywood Bowl are spread out with extra aisle ways to provide easier access. So instead of being 10th row distance wise, we were the equivalent of 25 rows back. In addition, being in Row 1 meant there was a wide aisle in front of us. In other words, we much farther back than we were accustomed to.

With a capacity of 17,500, the open air Bowl has seats that just seem to keep going further and further back up the hill. Those final rows of benches feel like a mile away. No thanks. There were a ton of people behind us.

Seating nuances aside, the Hollywood Bowl boasts excellent acoustics and has a much larger sweet spot than other venues. Regardless, I would say we were a little behind our desired taping position.

This was the very last night of the Tusk tour that started in October '79, the end of the third and final leg. Mike and I, being dedicated fans, attended and recorded a show in the first leg of the tour at The Forum in December 1979. We sat in the 5th row that night. Now that's more like it.

For some reason (maybe ego?), Lindsey dominated the rest of the band in the mix. He was very aggressive and his volume was way up. The highlight for me was hearing "Sisters of the Moon" from the Tusk album. My pictures suffer from being so far back. I hope you enjoy the artwork and music.

###

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.

Special thanks to Professor Goody for his pitch perspective and, as always, the chairman of our Lost and Found program, mjk5510, who helps so much on on the ones and twos and the pixels.

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

BK for JEMS

This really sounds excellent for an audience tape. Superb. This is the Fleetwood Mac that matters (and I’ll catch hell for saying that).

No hell from me! It's truth.

It would be amazing if there was still enough soundboard tape in the vault to compile a live compilation of nothing but May-September 1980 live material or release the Hollywood Bowl show in its entirety if it was recorded off the board.

Both nights at the Bowl were originally recorded for the LIVE album. In fact, they were going to be the LIVE album. I think the record company listened to the tapes and told the band they sounded way too rock and roll and likely to scare listeners (the way people used to walk out of shows halfway through because the band didn’t sound velvety smooth like the albums).

I think these Bowl recordings and dozens of others are still under lock and key, but they’re there. Little by little, stuff is getting released to us. Consider the unreleased live tracks on several of the deluxe sets, dribbles from dates we never expected:

• Wembley 1980
• Tucson 1980
• St. Louis 1979
• Oklahoma City 1977
• Little Rock 1977
• Omaha 1980
• Cleveland 1980
• LA 1977 and 1982
• Kansas City 1980

Interesting tid bit there. Didn't Mick say in his first book that this Hollywood Bowl show was his favorite Fleetwood Mac show ever? I seem to remember him saying how tight the band was and Stevie's somewhat tired vocals pulled out all the stops for the Hollywood crowd.
The 1980 Live album is incredible. But as this board has discussed before, its a random choice of songs from different years is odd at times. It would have been wonderful to make half the songs from this set the live album.

It's interesting that none of the bowl recordings have been released in any capacity. It makes me wonder if the tapes have been lost or are they holding onto them for a future release? You would think if they had anything, they would of included a single track on the deluxe edition of the live album.

The Hollywood Bowl shows on youtube are such great quality, I thought they were official and professionally recorded.

This is from the text file that was included in the original download file, when the newly surfaced audience tape surfaced. This person attended with the taper.


According to Jim, he and Mike recorded from the front row of Section E, which is the second section back at the Bowl behind the Garden Boxes. That's far enough away that one wouldn't expect Millard to be picking up a lot of on-stage amplifier and monitor sound, but for whatever reason, the PA mix Mike grabs is heavily focused on Buckingham's guitar. You can hear every detail and nuance of his playing, which makes this a fascinating listen.

That being said the tape needed an extraordinary amount of work to pull up the rest of the instrumentation and especially the vocals. On some songs, the balance is pretty good; on others, voices are still low. You'll hear moments where Mike shifts the axis of his microphones and the composition of the mix changes significantly. Why there is so much guitar coming through the PA I can't explain but the tape doesn't lie.

Here's what Jim R had to say about Fleetwood Mac at the Hollywood Bowl 1980:

I attended the Sept 1, 1980 Fleetwood Mac concert with my buddy Michael G Millard.

We sat in Section E, Row 1. This is in the first row of the bench seats located to the sides of the Terrace Boxes, which is the second section of box seats. Our position corresponded with the 10th row of Terrace box seats.

Box Seat rows at the Hollywood Bowl are spread out with extra aisle ways to provide easier access. So instead of being 10th row distance wise, we were the equivalent of 25 rows back. In addition, being in Row 1 meant there was a wide aisle in front of us. In other words, we much farther back than we were accustomed to.

With a capacity of 17,500, the open air Bowl has seats that just seem to keep going further and further back up the hill. Those final rows of benches feel like a mile away. No thanks. There were a ton of people behind us.

Seating nuances aside, the Hollywood Bowl boasts excellent acoustics and has a much larger sweet spot than other venues. Regardless, I would say we were a little behind our desired taping position.

This was the very last night of the Tusk tour that started in October '79, the end of the third and final leg. Mike and I, being dedicated fans, attended and recorded a show in the first leg of the tour at The Forum in December 1979. We sat in the 5th row that night. Now that's more like it.

For some reason (maybe ego?), Lindsey dominated the rest of the band in the mix. He was very aggressive and his volume was way up. The highlight for me was hearing "Sisters of the Moon" from the Tusk album. My pictures suffer from being so far back. I hope you enjoy the artwork and music.

Thanks for sharing. So much of this makes sense. During Sara, Lindsey's guitar totally overpowers Stevie's vocals. Also the first time I ever heard Lindsey curse on stage at the end of Go Your Own Way..he yells "F**king A!"
Lindsey was definitely on fire that night. I also remember Mick's book how proud he was playing these shows. I think he even called it an end to an era. It truly was. The 80s were upon us and the solo work and drugs were going to take completely over. Kudos to those that attended this show.

This is something I was thinking about today. How they sounded on every tour between 76-82 was never to be repeated again. I’ve always thought it was cool how you can tell the differences between a rumours, tusk, and mirage show almost entirely by the guitar tones and vocals.

There’s a really great audience recording of the Oakland CA Mirage show. They were really on fire that night and it made me stop and think what a shame it was that the rest of the 80s would largely be lost to drugs. It’s amazing that Tango came out as well as it did. We have Lindsey to thank for keeping that train on the tracks just long enough to make it to the station.

It is really sad. In the 80's (after Mirage and CMcVie shows). I was chasing that live magic they had in the era you speak of. Then, LB leaves after Tango, and when he gets back, they are quite muted and contrived.

I felt a little of that magic at the BuckVie show. But, it's gone forever. :(

It's gone for all major bands now. Everyone plays with tracks and backing singers(the tracks would be too obvious without them). 90% of major bands are phonies, now.

I'd like to kill whoever decided that bands had to sound exactly like the records. Probably that bastard Azoff! ;)

Hence my "I won't see Fleetwood Mac, Lindsey Buckingham, or Stevie Nicks again unless Christine McVie comes back! Jesus, is Robert Pollard playing anywhere around here..." moment of clarity.

I'd rather see a band suck than wonder if it was live or Memorex.

Funny cause I dont disagree with what anyone posted. However why is it just me that is not crazy about The Dance. Lindsey back and everyone back was a treat but the music was so studio like and I missed the raw, live sound. I would even paint with a broader brush and this is the same reason I am not crazy about Tango In The Night. Its just too programmed slick 80s sound.

I agree on both. Mirage is the last time they were a BAND. Then the FM orchestra took over.

Less is more.

This might be an unpopular opinion - I think The Dance tour was the last time that the band could have performed without all of the extra musicians.

From 2003 onward, I think some of the extra musicians helped round the rough edges that were clearly there and they helped keep the energy up. Could they still pare it down a little bit? Absolutely.

I agree. I think they were super worried about NOT sounding on par during the Dance. Instead of just going for it.

I love those dance rehearsal clips of them performing GYOW and YMLF, it appears to be just the 5 of them....and they sound great.

Are those the clips where Christine's hair is short?

I agree but this was an era of controlled sound. Many of us were shocked when Christine leaked several years ago that the Clinton inauguration ball was a pre-recorded track. They pretended to play instruments to the track but sung it live.
The technology of the 90s really took over and bands seemed to embrace the studio sound over the arena rock golden days. I was disappointed in 1987 when I saw Stevie's back up singers microphones being set up. Not one but THREE of them.
Speaking of unpopular opinions I probably have the biggest one. I preferred the 1990 concert to the Dance. Of course I prefer Lindsey over Billy and Rick but 1990 still had the arena rock sound vs the controlled studio sound of The Dance. I felt guilty leaving the Dance concert in 1997 to feel this way. Speaking of The Dance, I was watching Dont Stop with the USC Marching band. I have a hunch the band music was pre recorded and the band still played but mostly went through the motions. Anyone agree?

I give Stevie credit. I saw the 24K Gold tour and she sung every word and every line. She may flub here or there but its LIVE. Waddy was cranked up too during Crying In The Night. He blasted his guitar through the arena.

That’s why I dug the Time lineup shows. It was just six people of stage.

Going from that to the overly slick sound of The Dance felt like a regression.

To be fair...that was sort of what MTV was doing with all of the specials at that time. They scrubbed Joe Walsh up squeaky clean fresh out of rehab, in a sweater and glasses playing classical guitar on Hotel California for Hell Freezes Over :]

From my own personal experience seeing The Dance tour in Buffalo, NY - the sound mix was terrible from my seat in the nosebleeds. Deafening bass that I've never experienced since. You could see Lenny Castro hitting those bongos, but you couldn't hear a lick of it!

Yes, I believe so.

https://www.youtube.com/watch?v=KK37WT_B4tQ

Mick's backup drummer is actually playing behind him, so it's not quite just the 5 of them.

Tony Todaro played drums behind Mick on “Tusk” in 1980. He played behind a backlit curtain, allowing you to see his silhouette.

Yes—and I agree with BigAl84: on those clips, they sound like the actual band, minus extensions. The three-part harmonies are wholly in tact. I remember watching that in 1997 and getting tingles....

Did Tony play on every song, or just the heavy drumming songs?

Just that number, as I recall. Mick was on his own most of the set. Sova, Todaro, and Ray Lindsey played on only a few select numbers. It was pretty purely Fleetwood Mac most of the night, and no workstation extensions, modules, and MIDI sequencers (although other bands certainly used them), and certainly no singers in the back.

Truth to tell, I like the idea of singers in the back at a lot of concerts, and many of them I’ve seen added to the spirit — like the Talking Heads, Peter Gabriel, Van Morrison, Nick Cave, Dylan, Graham Parker, etc. But for some reason, the singers Fleetwood Mac usually uses are rather colorless in their harmony arrangements. There was one exception I recall: the Jamaican Elisecia Wright. She was gutsy, soulful and fun. It may have been her gospel background. Dylan used her before Stevie or Mac did.

If wishing made things so.... :o

You are correct Dylan used Wright. Wright toured with Stevie on RAL and Mac's Tango tour. Another black female Lynn Mabry was hired by the Mac for BTM and Stevie's Timespace tour. Mabry sang with Sly and the Family Stone. She was a powerhouse singer but too powerful Like you said, it was very powerful and gospel. If you watch Stevie's Timespace pro shot show on youtube, Mabry is overpowering everyone on Stand Back. What made the Eagles incredible was their harmony among themselves. Fleetwood Mac was the same. The harmony among the band members was incredible. When Stevie brought her back up crew to the Mac, it was a downer for me.
Did you see Joe Walsh with Stevie in 1983? Marilyn Martin was showing off her vocal ability and would over power Joe and the other back up singers. It was so annoying. Marilyn can sing for sure but she was doing Mariah Carey stuff in the songs and I wanted to tell her to SHUT UP. This is rock and roll girl not practicing for American Idol :lol:

Stevie seems to grab her backup singers from artists she toured with. She took Wright after doing shows with Dylan in Australia on her RAL tour. She took Martin after touring with Joe Walsh's band.

Tusk will always be my favorite tour and album. The way that they extended songs and improv and just jam the guitar licks, bass lines, and vocals is truly amazing. Stevie, while not at the top of her game vocally, never sang a song the same way twice, so it was like hearing it for the first time again every night. Makes me wish Lindsey would start improving the So Afraid solo again. He's been playing that same solo almost 20 years now.

It's exhausting.

Excellent analysis. I agree with you that I'm So Afraid on the Tusk tour is the best ever. That live album version is on fire.....literally. My CD player would smoke when that song was played.
Your point about Stevie was on point. Before klonopin she really always spontaneous but in the 80s it was because of drugs. During Tusk, her spontaneous singing was natural and organic.

The "Dreams" where she sings out of tune and the wrong lyrics are some of my fav. (On that tour)