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Janis Joplin 08/08/70
Capitol Theatre, Port Chester, NY
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Source # 40550 Other Sources
Entered by Jake Horner
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Source Summary Cassette Master > Soundforge 6.0 > cd > EAC > SHN Recorded by Ken & Judy Lee 
Source Information - Download Text | Download Zip
Janis Joplin & Full Tilt Boogie

Capiol Theatre
Port Chester, New York


Source: Cassette Master > Soundforge 6.0 > cd > EAC > SHN


disc 1
01. "Check" 0:16
02. Tell Mama 6:44
03. Half Moon 6:09
04. Mercedez Benz*  "Acapulco" 2:11
05. Mercedes Benz 1:54  
06. My Baby 7:57
07. Kozmic Blues 5:06
08. Maybe 5:09
09. Instrumental 6:18
10. ??? 7:05
11. Move Over 5:02
12. Piece of My Heart 4:37
Total: 58:35


* Janis mentions writing "Mercedez Benz" in the bar on the corner, right before the show.

Janis Joplin- vocals
Brad Campbell- bass
John Till- guitar
Richard Bell- piano
Ken Pearson- organ
Clark Pierson- drums

Notes: -Port Chester Restoration Project #1

-Recorded by Ken & Judy Lee on a Sony 124 cassette deck with Sony dynamic mics on a
TDK normal bias tape. Microphones were set up in the balcony with a 10-20 ft

-Original tape was baked in "Susie Q", shell replaced and transferred on a Tascam
122mk3 via a Lucid ADA1000 Analog to Digital Converter directly to disc on a Tascam
CDRW700 by John Jay Hance ([email protected]).

-Cleanup performed by Peter G with Soundforge 6.0.

-EAC performed with correct offsets.

-SHN conversion with MKW & extra tracking of soundcheck (track1) & retracking of
beginning of "Piece of My Heart"  (track 12) CD Wave and EAC by Evan Bellaff
([email protected]).

-Several instances of tape speed distortion exist on the master between:

-track 7  (1:39- 4:58)
-track 12 (3:22- 4:17)

This is Janis' last performance in New York and third to last performance, ever.


The Port Chester Restoration project

Capitol Theatre
Port Chester, NY

Audience recordings by Ken and Judy Lee 1970-1971

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 con-
cert 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 Nas-
sau 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 int-
erest 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 cir-
culate 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

    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 th
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