Ticket Stub for John Cale on Saturday, 19th of February, 1977 at the New Yorker Theatre, Toronto, Ontario, Canada - Late show.

1.5"H x4.5"W ticket stub, Cdn) 1977 (almost complete original ticket stub for Cale’s 1977 Animal Justice Tour - the first post-Velvets solo tour in North America - ticket is for 5th row centre right on the floor. Also a second, but partial ticket stub seated 3rd row dead centre on the floor.

Handbill for John Cale on Saturday, 19th of February, 1977 at the New Yorker Theatre, Toronto, Ontario, Canada

The New Yorker Theatre as it looked around that time:

The set list for a known existing tape of the show:

John Cale
1977-02-19, - Late show
New Yorker, Toronto, Ontario, Canada

AUD - 2 cdr
Tape (aud/generation unknown) > TotalRecorder 24/192000 + splitting > PSP
MasterComp remastering in SoundForge + Volume adjustment + SoundForge
depth conversion to 16/44,100 + Waves L3 MultiMaximizer in SoundForge >
dbAmp flac encoder (level 6)

"This show has the sound of a metal band recorded in a large, booming arena.
The drums are explosive and the guitar wails. I've tweaked the sound to get
past the incredible muddiness of my source tape, but the sound is still murky
in places and since levels on the source are generally too high, there's still a
bit of crunch at one end and hiss at the other."

Disc One
1. Memphis
2. I'm Waiting For The Man
3. Hedda Gabler
4. Darling I Need You
5. You Know More Than I Know
6. Guts
7. Buffalo Ballet
8. Child's Christmas in Wales
9. Paris 1919
10. Leaving It Up To You
11. Fear Is A Man's Best Friend
12. Don't Know Why She Came
13. Gun
14. Heartbreak Hotel

Disc Two
1. Cable Hogue
2. (I Keep A) Close Watch
(cut at the beginning of track)

=========================================================================================

The following is from the very nice Last Pogo Jumps Again site at http://www.thelastpogo.net/ and three of the above images
were borrowed from that site.

"John Cale would play the New Yorker (Gary Topp's new venue) theatre in February of 1977, fanning the flames that the Ramones
had sparked four months earlier when they kick-started the "punk" scene in Toronto on September 24, 1976 on the very same stage.
Cale was (and still is) a living legend, and did not disappoint. He ended his blistering set on his hands and knees, gathering up mike
and amp chords in his mouth, crawling off the stage, hundreds of pounds of amps and mikes falling and trailing behind him, pure
anarchic and hilarious theatrics, feedback humming and screeching, until finally hiding behind the curtain stage right.
The Wizard of Fucking Oz. And the packed house might have collectively thought: "Whoa. We're definitely not in Kansas anymore."
The first encore was Cable Hogue, and then This Heart of Mine. The Ballad of Cable Hogue was a 1970 movie directed by bad-ass
genius Sam Peckinpah that was also shown often at The Original 99 Cent Roxy. Cale would later write Honi Soit (qui mal y pense),
which could be translated, more or less, as "Do unto others as you would have others do unto you," the cut-line of the movie.
Or more accurately, "Evil be to him who thinks Evil." - Colin Brunton © 2009 – All Rights Reserved.

===========================================================================================

The following review of the gig, a snippet of a Newspaper article, and a handwritten lyrics sheet for Jack the Ripper at the Moulin Rouge
have been borrowed from Hans Werksman's fine Fear Is A Man's Best Friend site:

http://www.xs4all.nl/~werksman/cale/live_reviews/cale_in_canada_ny.html

"The first time Cale played Toronto was at the New Yorker Theatre on Yonge Street, february 19, 1977. It was a 500 seater,
not a bad one in the house. There was a big buzz around town that the legendary Welsh madman was coming to our city.
I was 21, and a fan of Cale since '69: in "free school" in grade eight, our craziest teacher told us that most rock music was crap,
but if you had to, the only band that was worth listening to was the Velvet Underground.
We had a thing amongst the staff of the New Yorker whereby whoever was the biggest fan of the artist would get to meet them
at the airport, and so I was chosen to pick up Cale. I head out to the airport, trying to think of what I was going to say when I met
my musical hero. I was nervous as hell. And I arrived probably a good hour-and-a-half early, which only gave me more time to
sweat and be nervous, and the more aware I became of my nervousness, the more I'd sweat, etc. Probably lost five pounds just
waiting there. I'm staring at the "Arrivals" turnstiles, when I finally see them: band members dressed in black, pure New York cool,
lead by a striding Jane Friedman, and bringing up the rear, Mr. Cale. I met Jane and said hello, and when she introduced me to Cale,
I quickly swiped my hands on my pants so I wasn't so sweaty, and meekly uttered a line to Cale that to this day I have no idea what
I was thinking. Cale sticks out his hand and shakes mine and rather than say "Glad to meet you Mr. Cale" or "Welcome to Toronto,
Mr. Cale", I utter the idiotic and less-than-memorable "Welcome to Toronto, Mr. Cale. We have a very modern city here. I think you'll
like it".
But I don't think I was as idiotic as my buddy was. It's just after a soundcheck, and there's John Cale, Jane Friedman, and the John
Cale band in the make-shift dressing room with us, and everyone's smoking black hash and drinking beer. And my friend turns to
Cale and says: "So ... do you think you and Lou Reed will ever get the Velvets back together?" Cale gives him a sidelong glance and
a once-over and if looks could kill my friend's entire family would've died right there on the spot. Cale says, "You've got a clean shirt
there, boy. Who cleans your shirts? Your mother? Does your mother do your laundry?" My buddy turns blood red, mutters that no, he
did his own laundry thank you, and doesn't say another word the rest of the night. At least he didn't ask Cale about writing "After Midnight".
The show itself was astonishing, first-rate, a killer. To quote Gary Topp: "Every girl wanted to get in his pants; every guy wanted to be in
his shoes".
Cale ended the main set by getting on his hands and knees, putting every wire or cord on stage into his mouth, and crawling off stage while
the band continued, dragging amps and monitors and mike stands and debris with him as he went. There was a big gap between that and
the first of three encores, 'cause we had to get everything hauled back on stage and rewired. He did three encores. Great, great stuff.
After the midnight show, as I cleared the stage of the amps and speakers and stuff, I found the yellowed piece of paper that had Cale's
handwritten lyrics to "Jack the Ripper" on it. For a moment I considered giving it to him, but I was shy, and he was surrounded by people
having him sign autographs, and so I just slipped it in my back pocket. And then got it posted on Hans' site." - Review by Nigel Walkey.

Bit of newpaper announcing the gig.

Handwritten lyrics sheet for Jack the Ripper at the Moulin Rouge

Another poster...