Browse Collections Artists Sources   Search Dates

Add Show    List Management    Help


James Taylor 05/16/70
Capital Theater, Port Chester, NY
Add Source    List Collectors    Add to Collection    I Was There    Add to Want List    Wanted By    History    Edit Show
Set I
With A Little Help From My Friends
Anywhere Like Heaven
Greensleeves
Okie From Muskogee
Blossom
Sunny Skies
Up On The Roof
Brighten Your Night With My Day
Tube Rose Snuff Commercial
Hallelujah, I Love Her So
Rainy Day Man
Something In The Way She Moves
Riding On A Railroad
Country Road
Carolina In My Mind
Machine Gun Kelly
Isn't It Nice To Be Home Again?
Mescalito
Set II
 
Set III
 
Comment
The Late Show. Began after midnite
Last Changed By Shawnee
Click 'Edit Show' or the 'Set I(II)(III)' or 'Comment' text to make corrections.
If this is a duplicate or incorrect entry and should be merged, use the Request Merge page.

Collectors With This Show

1 - 30 | 31 - 38    Next >>

User (active/rating) Media / # Show Sound Details DB Source User Source
buc2220 (5/5) CDR / 1 B+ View   AUD
michael kass (5/5) cdr / 1 View  
chris payment (5/3.4) CDR / 1 View  
Notes: #126
Gary (5/4.3) CDR / 1 View  
Notes: AUD:MC>CD [Ken Lee} PCRP
PeaceTrader (5/0) CDR / 1 View  
stephen (5/4.8) FLAC / 1 AUD View  
JPW (5/5) CDR / 1 A+ A View   AUD
Notes: 1. (intro) [1:29] 2. With A Little Help From My Friends [3:27] 3. Anywhere Like Heaven [4:33] 4. Greensleeves [2:09] 5. Okie From Muskogee [2:54] 6. Blossom [2:34] 7. Sunny Skies [3:54] 8. Up On The Roof [3:35] 9. Brighten Your Night With My Day [2:20] 10. "Tube Rose Snuff Commercial" [1:54] 11. Hallelujah, I Love Her So [3:28] 12. Rainy Day Man [2:48] 13. Something In The Way She Moves [3:20] 14. Riding On A Railroad [2:21] 15. Country Road [5:41] 16. Carolina In My Mind [4:10] 17. Machine Gun Kelly [4:52] 18. Isn't It Nice To Be Home Again [3:35] 19. Mescalito [2:04]
Matt Gerry (5/5) CDR / 1 A- View  
Notes: AUD
Thomas Sera (4/0) / 1 View  
Freebird 63 (4/5) cdr / 1 View   aud
Brad Foster (4/4.9) FLAC / 1 View   AUD; Sony dynamic mics (25-30' balcony spread) > Sony TC-124 > MC > Tascam 122 MK-III > Lucid...
Notes: Late show
Savoir Faire (4/5) CD-R / 1 A A- View   AUD > Sony TC124 > Tascam 122 MK-III > Lucid ADA1000 > Tascam CDRW 700
Notes: Port Chester Resurrection Project
Roger Osburn (3/5) CDR/FLAC / 1 View  
TTDaddy (3/0) FLAC / 1 View   AUD
Notes: Converts to 2 audio discs
courtney (3/5) cdr, flac / 1 A B+ View   AUD
Bob (3/0) CDr / 1 A- View  
Notes: From the excellent PCRP series ex aud
Barry Smith (3/5) CDR / 1 View  
Mike Redondo (3/0) flac / 2 View   Aud > Port Chester Resurrection Project > cdr > EAC > Sound Forge 6.0 > CDWave...
CMFrolio (2/5) flac / 1 View  
Notes: good-quality aud, late show
eburgian (2/0) CDR / 1 View  
Jeff Swenson (2/5) CDR / 1 A- View   AUD
Private Stock (2/5) / 1 View  
Notes: A very nice AUD recording of early JT.
Richard D. Jordan (2/5) flac / 1 A- View   Aud > Port Chester Resurrection Project > cdr > EAC > Sound Forge 6.0 > CDWave > flac/cdr
Eddie Dunn (2/0) / 0 View  
AAA Audio (2/4.8) flac / 1 View  
blewsman (2/5) flac / 1 View  
Notes: rock dvd 014
Mike Kelly (1/4.3) cdr / 1 A View   Audience recording.
Notes: This is the second set to a gig which started on 5/15. This set started after midnight.
mike (1/5) Flac / 1 View   Aud > Port Chester Resurrection Project > cdr > EAC > Sound Forge 6.0 > CDWave...
Stuart Ferguson (1/4.3) CDR / 1 View   Audience
Notes: DVD 2671; lineage:
datdork (1/5) flac / 0 View   Aud > Port Chester Resurrection Project > cdr > EAC > Sound Forge 6.0 > CDWave > flac/cdr
Notes: James Taylor May 16, 1970 Capitol Theater Port Chester, NY 1. Introduction 2. With A Little Help From My Friends 3. Anywhere Like Heaven 4. Greensleeves 5. Okie From Muskogee 6. Blossom 7. Sunny Skies 8. Up On The Roof 9. Brighten Your Night With My Day 10. Tube Rose Snuff Commercial 11. Hallelujah, I Love Her So 12. Rainy Day Man 13. Something In The Way She Moves 14. Riding On A Railroad 15. Country Road 16. Carolina In My Mind 17. Machine Gun Kelly 18. Isn't It Nice To Be Home Again 19. Mescalito NEVER FOR SALE / Ebay will be monitored Comments: Very minor editing was performed, as follows: 1) applied fade-in to beginning of T1, 2) added audience applause at end of T14 to smooth tape flip transition, and 3) removed a number of very small digital gaps most likely due to the age of the master tape. ALS, May 2005 Source: Aud > Port Chester Resurrection Project > cdr > EAC > Sound Forge 6.0 > CDWave > flac/cdr The original audience master cassette was recorded on a Sony TC124 with unknown Sony dynamic mics, spread approx. 25-30 ft. across the balcony, by Ken & Judy Lee. The cassette was baked, processed and transfered via Tascam 122 MK-III > Lucid ADA1000 > Tascam CDRW 700 (CDR) by John Jay Hance. The Port Chester Resurrection Project story... Ken and Judy Lee didn't think anyone would be interested in hearing their recordings... Between the years 1970 and 1971, Ken worked security at The Capitol Theatre in Port Chester, New York, while his girlfriend Judy ran movie projections between sets. One of a few live music taping enthusiasts of the time, Ken was granted exclusive permission by club promoter Howard Stein to record the shows at the theatre for his own personal use. Judy was on hand to perform the tape flips while Ken was busy doing his job. In 1968, the couple took Judy's brother Mark, who was nine years old to his first concert at "Cafe Wha?" in New York City. The Monkees were on tour and Jimi Hendrix was along for the ride as their opening act. Several years later, Mark was introduced to the music of the Grateful Dead at the Nassau Coliseum on March 19th, 1973 in Uniondale, Long Island. This single event marked the beginning of a life long odyssey of musical experiences with the band that affected him most deeply. Along with his good friend, John Jay Hance, who Mark met at a Dead show in 1979, the two traveled around the United States with the band in search of the ultimate musical experience, attending over 350 shows together. The two also shared a common interest in seeing live music of a wide variety of genres, and during the 23 years that they knew each other attended more than 1000 total concerts together, until Mark's untimely death in November of 2002. Mark knew of brother in-law Ken's recordings from the Capitol Theatre, and had a strong interest in having the shows circulated; however, being true to his word to Howard Stein, Ken kept the recordings under wraps and the tapes never saw the light of the trading domain (One noteworthy bending of this rule occurred when Ken agreed at Mark's request to circulate the late show that the Grateful Dead did on June 24th of 1970. This show is highly regarded as an all-time magical performance by the Dead during their 30 year history as a band). It was not until John Jay, who also knew Ken Lee, and of the Port Chester tapes, ran into Ken at Mark's funeral in 2002 that the fateful discussion of having the recordings released occurred. At that time, Ken didn't think anyone would have any desire to listen to his tapes. They had been sitting up in the attic of his present home for over 20 years going through the early stages of decay. Because such a great deal of time had elapsed since Ken made his agreement with Howard Stein, and the fact that John Jay was insisting that there was an overwhelming interest by music lovers to hear these recordings, Ken agreed to open the flood gates and the Port Chester Restoration Project began, which is ultimately a tribute to Mark Cohen's passion for live music. By fortune and coincidence, John Jay Hance, a master at the art of recording and restoring live music himself had already developed his own method for preserving fragile, decaying audio tapes with a heating method commonly known as "baking." The process of restoring Ken's recordings presents an even greater challenge, however. The cassette shells which encase the audio tapes first have to be removed and replaced because they are too fragile to be played. This is extremely difficult, being that these cassettes were glued together during manufacturing (as opposed to the use of screws, today). The halves of the shell must be carefully removed without doing damage to the tape inside. Once the analog tape is restored and rebuilt, it must then be then played back one time through an analog to digital converter onto a cd, which is then cleaned of hiss and other extraneous noises. Then it can be replicated and introduced to the world of music trading. For the cleanup job, John Jay enlisted the help of "Sound Forge" software guru Peter G to help make what exists from the master tapes sound just exactly perfect. Keep in mind that Ken and Judy recorded nearly EVERY show at the Capitol during '70 and '71, on an estimated 300-500 cassettes (one box of cassettes is believed to be missing). While many are labeled with correct dates and the music they contain, much of what exists is still a mystery. Several gems containing long forgotten performances and musical collaborations have already surfaced. Expect some nice surprises in the years to come. Enjoy Ken and Judy's recordings from the Capitol Theatre and appreciate the great care and quality of craftsmanship that went into their creation and is currently going into their preservation. The following was written by Rob Berger and helps explain why this show is so engaging (I found this on the web and have included only the relevant portion of his comments): "I was fortunate to have grown up in a neighboring town of Port Chester and the Howard Stein era concerts at the Capitol Theatre were actually not legendary, but rather more of a rock n roll rumor by the late 70's. Unlike Bill Graham's fabled Fillmore East a mere 35 minutes away, a gig at Port Chester's Capitol Theatre was considered a fill-in date. Not high profile by any means. But, as anyone who has seen a show at the Capitol at any point in time can attest to, that room generates an energy that is truly charged and special. Very East Coast. Rowdy, but attentive and knowledgeable. Shows at the Capitol were all marked by a freedom of the artist to let loose and take chances without being scrutinized by the New York City press and jaded big city audience. Most groups really seemed to thrive off the boisterous enthusiasm of the crowd."