‘LUST FOR LIFE’ + WALKER AND THE BROTHERHOOD OF THE FRAPE – THE PIPER, ST. LEONARDS-ON-SEA 10.3.23
At the height of punk rock back 1977, when the world was changing fast, many bands had suddenly overnight become dinosaurs and banished to the side-lines! The world in and out of music needed a shake-up and never in the history of music has there been such a transformation. A transformation that at the time was perceived as scary and a threat to the system and the way we lived and thought. Our brains would in effect have to be rewired. Like in business, it’s a case of adapting to survive, and in music there was none better at achieving this than Mr Chameleon himself…David Bowie!
Across the 26 official studio albums, here was an earthling that was the master of reinvention, from the Anthony Newley copyist right through to the sound of Trent Reznor. Often he would come at you leftfield, which is arguably a punk trait, and sometimes others would get swept along on his latest whim. And only once or twice could it be said that Bowie was equalled and even chose to have a back seat.
The first of these would be the Thin White Duke’s life saving journey away from the USA in the second half of the 1970’s. Away from a lifestyle of new heavier and more dangerous drugs. A decamp back Europe to France and Berlin was the result, and what a result! In 1976, when Bowie was touring his ‘Station To Station‘ album, he was joined by his dear friend Iggy Pop and they both fled the States.
They moved into the Château d’Hérouville in Hérouville, France, and Bowie decided to produce Iggy’s first solo album, ‘The Idiot’, which was recorded from June to August 1976, This was Iggy’s first release since the breakup of his former band the Stooges in 1974. The majority of the music was composed by Bowie, while Iggy wrote most of the lyrics. Due to Bowie’s major influence on its creation, ‘The Idiot’ marked a departure from the proto-punk sound of the Stooges, in favour of a style more akin to art rock.
After the completion of ‘The Idiot’, Bowie recorded his own album, ‘Low’, (the first of his famed ‘Berlin Trilogy’) in a style reminiscent of ‘The Idiot’. Bowie’s label RCA Records released ‘Low’ in January 1977 and due to its commercial success, Bowie persuaded RCA to release ‘The Idiot’ in March. The album became the biggest commercial success involving Iggy up to that point, reaching the top 40 in both the US and the UK charts. Clearly, they duo were on a roll, but amazingly Bowie declined to promote his own ‘Low’ album and instead opted to support Iggy Pop on a tour of his own.
Thus Bowie was taking a back seat with him on keyboards, Ricky Gardiner on guitar, with brothers Tony Sales and Hunt Sales on bass and drums and Iggy out front. Tony and Hunt would later feature as part of Bowie’s second back seat the Tin Machine outfit.
The Iggy tour ran in March and April 1977 and Bowie was adamant about not taking the spotlight away from Iggy, often staying behind his keyboard and not addressing the audience. The success earned Iggy fame and success greater than he ever achieved with the Stooges. The next chapter of Iggy’s life was just beginning. He had a ‘Lust For Life’!
Iggy and Bowie set up shop a mere 150 metres from the Berlin Wall in a building that was erected as a guildhall in 1913, the Hansa Tonstudio recording studio. It is here that the magic was born at the end of May 1977 and into early June. The life changing ‘Lust For Life’ album was born and unleashed on 9th September 1977. It was their last official collaboration until the mid-1980s. The Iggy-Bowie collaboration ‘Lust For Life’ was the right album at the right time!
Across the pond in June 1977, a certain ‘Plastic Letters’ album was being recorded by a 22 year old drummer going by the name of Clement Burke, along with his bandmates James, Chris and Deborah. Contained within the album was ‘Denis’ a tune that would catapult the band to number one across Europe and number two here in the UK. Blondie had arrived!
Meanwhile, back in Dear Old Blighty, at the same time ‘Lust For Life’ was born, a certain earth shattering 7” vinyl single with its distinctive blue cover was dropped on 27th May 1977, the world would never be the same again and history would remember Queen Elizabeth II’s Silver Jubilee in a totally different light. Glen Matlock’s co-written ‘God Save The Queen’ was born!
Back across the pond, a 14 year old girl in Virginia going by the name of Katie Puckrik was starting off her way in life, on a journey that would eventually see her as one of the presenters of one young culture’s most memorable tv shows. One which in its time would possibly equal if not surpass Glen Matlock’s encounter with Bill Grundy. A show that included full frontal nudity (Donita Sparks of L7), Nirvana frontman Kurt Cobain declaring Courtney Love to be “the best f*ck in the world”, and former Hollywood A-lister Oliver Reed being absolutely paralytic…ladies and gentlemen I give you ‘The Word’.
Meanwhile, back in Kent, a certain Kevin Armstrong was just 19 years old when Iggy’s ‘Lust For Life’ album was released back in 1977. He could have trekked across Kent to the brand new ‘Fives Records’ in Southend or headed into Ladbroke Grove to the first Rough Trade shop which had been opened less than a year, in order to purchase a copy. Our paths would cross for the first time a handful of years later when he played with Thomas Dolby at The Marquee. Within three years he was playing live to 72,000 folks at Wembley Stadium as part of David Bowie’s band for Live Aid. Bowie introduced Kevin to Iggy as guitarist on the 1986 album ‘Blah Blah Blah’ and Kevin became Iggy’s bandleader in 1986/87.
It’s likely that back in 1977 that Luis Correia, the Portuguese man not the place in Northwest Brazil, was just a twinkling in his parents eyes. Life would see Luis pick up the guitar, move to London and work with the likes of David Bowie associates Earl Slick and Erdal Kizilcay.
London based, via Boston, Ghent and Brussels, keyboardist Florence Sabeva was very likely also just a twinkling back in 1977 and has also worked with Earl Slick amongst others.
Wind the clocks forward 46 years on from the release of Iggy’s ‘Lust For Life’ and this brings us to the present day. The planets have all aligned and the six stars above (Burke, Matlock, Puckrik, Armstrong, Correil and Sabeva) have been drawn together this evening in St. Leonards-on-Sea of all places, where they will perform their recreation of Iggy’s ‘Lust For Life’ album and other selected numbers, to an honoured small audience gathered on the compact first floor music room of The Piper pub. A room that in size is smaller than The Hope & Ruin’s first floor venue and yet slightly larger than The Prince Albert’s first floor venue.
Tonight will be one of those truly memorable experiences, possibly a once in a lifetime affair, where you get to stand literally no more than three feet away from a former Sex Pistol and around seven feet away from Blondie’s drummer! Epic!
At 9:12pm The Piper’s PA system bellows out ‘Che Gelida Manina’ by Kabaiwaisika Laina, and at the allotted 9:15pm slot the sextet grace the stage for the next 101 minutes, until 10:56pm and they perform the whole the nine song ‘Lust For Life’ album in the correct running order. The place is rammed, so much so that I can’t hardly move my feet.
From our left to right we have Luis Correia on striking green Fender Telecaster guitar and backing vocals; Glen Matlock on Fender Precision bass, backing vocals and then main vocals; Clem Burke on drums; Katie Puckrik on lead vocals; Kevin Armstrong on Gibson Les Paul guitar and backing vocals; and Florence Sabeva on Nord Electro 6 an Roland keys plus backing vocals.
They open with the album title track which certainly gets everyone in the room moving. My first observation is how animated Katie is during the song, this is something that does not diminish throughout the set.
Song two ‘Sixteen’ follows and it’s already becoming a sweatbox in here. This is something that Clem picks up on, and so his leather jacket is discarded after this second song and his drum kit a little worse for wear. Glen meanwhile just oozes cool and Katie states that she loves the closeness of the venue and that it feels like we are in a cult. She added that “you guys are sassy!”. Everyone is assisting Katie on backing vocals bar Clem, who is far too busy, as he leads the band through ‘Some Weird Sin’, ‘The Passenger’, ‘Tonight’, and ‘Success’ which incidentally was composed by David Bowie and Ricky Gardiner.
Another Bowie composition followed in the form of ‘Turn Blue’ which he composed with his friend Warren Peace. I had by now observed that of the two keyboards being utilised by Florence, the Nord Electro 6 was more audible than the Roland, which sadly from where I was standing was down in the mix.
After ‘Neighborhood Threat’ we had the album closing number of ‘Fall In Love With Me’ which was written by David Bowie and brothers Hunt Sales and Tony Sales, who would both turn up a few years later in Tin Machine. This live version obviously had a rocky edge, but at the same time it was tinged with a disco vibe like ‘Heart Of Glass’ and benefitted with some funky guitar work from Luis.
Behind the band there was a backdrop which had continued with words ‘Lust For Life’ as well as some random films, but to be honest I hadn’t really noticed anything as my gaze was cemented on the players. This was about to change as the band stopped at the conclusion of the album and the sound was turned up for the film and we were greeted by a special message from the smiling face of Glenn Gregory from Heaven 17 announcing himself and then introducing “the best keyboardist in the world” Florence Sabeva (sorry Martyn Ware). The connection being that Florence is a touring band member of Heaven 17.
The other band members’ introductions follow, with Luis Correia being introduced by a special message from Steve Norman of Spandau Ballet whom he will be touring with later in the year. Kevin Armstrong is introduced via a previously recorded live footage introduction by David Bowie. Katie Puckrik was introduced by a special message from Sparks with obviously Russell Mael doing the talking as opposed to Ron Mael, the connection here being that Katie sang in Sparks’ opera ‘The Seduction of Ingmar Bergman’. Glen Matlock was introduced via previously recorded live footage by Debbie Harry of Blondie, and finally, as far as I recall, Clem Burke was introduced live by Katie Puckrik. These led us into the rest of the set.
The next instalment began with a trio of tracks culled from Iggy’s 1977 ‘The Idiot’ album, the first of these being ‘Sister Midnight’, which I have previously had the great fortunate of witnessing live being performed by David Bowie on his final tour, when he played the NEC Arena in Birmingham on 20th November 2003. That night he also played ‘China Girl’, which is another Iggy composition. The other two tunes performed from ‘The Idiot’ this evening were ‘Nightclubbing’ (which The Human League successfully covered) and ‘Funtime’.
For me, the surprising highlight of the set was up next in the form of their rendition of The Stooges 1969 classic ‘I Wanna Be Your Dog’. The set had suddenly got a whole lot heavier and dirtier and the better for it.
The sole Blondie number was up next in the form of ‘Rip Her To Shreds’ from their 1976 ‘Blondie’ album. This was almost as enjoyable as its predecessor.
On 19th October last year we were looking forward to seeing a rare concert performance from trailblazing act Television, who were to be performing their famous ‘Marquee Moon’ album in its entirety as special guests of Billy Idol. This would have been quite something, but unfortunately Television cancelled and the reason for this was soon evident as Tom Verlaine was ill and passed away shortly afterwards. I had to just stick with listening to my gold vinyl edition of the album instead. We did attend the concert and their slot was admirably filled by the legendary Killing Joke. You can read our account of that day HERE.
Clem and Tom obviously go way back, Blondie even supported Television at the Hammersmith Odeon in 1977. Thus this evening as tribute to Tom’s passing they played ‘Kingdom Come’ from Tom’s 1979 solo self-titled album.
According to some of the setlists the Tin Machine song ‘Run’ (from 1989 ‘Tin Machine’ album) was to be next with no doubt with Kevin Armstrong on vocals. But I must confess that I have a total blank here and do not recall him singing it, although he did later on in the set tell us an interesting story of his very first meeting with David Bowie, around the time of ‘Absolute Beginners’, which entailed a little shopping trip! My inkling was that the song was dropped from the set, probably because of the 11pm curfew.
Katie then briefly left the stage to let the boys do their own thing, whilst she took the opportunity of a little costume change as Glen Matlock took centre stage on lead vocals for ‘Ambition’, which is from Iggy’s 1980 ‘Soldier’ album. The connection here being that it was written by Glen, who then shared his brand new ‘Head On A Stick’ tune which will be found on the forthcoming 2023 ‘Consequences Coming’ album, out 28th April. This was dedicated to 62 year old Gary Lineker OBE who is in the news at the moment for something not football related.
Moving on and Katie returned with a sparkling number and the sextet launched into ‘Five Foot One’ from Iggy’s 1979 ‘New Values’ album. This was reminiscent of early Blondie numbers to me and an enjoyable listen.
It was handclaps a plenty for the main set finale of ‘No Fun’ (from 1969 ‘The Stooges’ album), with Glen lifting up his leg and rockin’ up as he rested it atop Clem’s drumset. It goes without saying that this was very well received by everyone present.
After a failed attempt to leave the stage by five of the team, Clem knowing better and simply sat on the front of his drumkit, they were all back in place to play us out with four numbers, the first of these being ‘Be My Wife’ which was penned at the same time as the ‘Lust For Life’ album and appears on Bowie’s 1977 ‘Low’ album.
Iggy’s earworm cover classic of ‘Real Wild Child (Wild One)’ from 1986’s ‘Blah-Blah-Blah’ album was given a most welcoming airing next. This was followed by the sole Sex Pistols number of the night (not counting their version of ‘No Fun’) in the form of ‘Pretty Vacant’, which is actually my favourite Pistols track. The crowd were really up for this one and showed their approval with the only mosh of the night. The night concluded with 1973’s Iggy And The Stooges ‘Search And Destroy’ from their ‘Raw Power’ album. To make it absolutely clear that there was no more music tonight, Clem picked up one of his drums and threw it across the stage!
Tonight has been special beyond belief and the memory of which will stay with me for the rest of my days! A Mount Everest size thank you to all the performers, the venue and the sound and light engineer and especially to Clem Burke who we were guests of.
Lust For Life:
Glen Matlock – bass/backing vocals/vocals
Clem Burke – drums
Katie Puckrik – vocals
Kevin Armstrong – guitar/backing vocals
Luis Correia – guitar/backing vocals
Florence Sabeva – keys/backing vocals
Lust For Life setlist:
(Intro tape) ‘Che Gelida Manina’ (by Kabaiwaisika Laina)
Part One: Iggy Pop’s 1977 ‘Lust For Life’ album in correct running order:
‘Lust For Life’ (Iggy Pop cover composed by David Bowie)
‘Sixteen’ (Iggy Pop cover composed by Iggy Pop)
‘Some Weird Sin’ (Iggy Pop cover composed by David Bowie)
‘The Passenger’ (Iggy Pop cover composed by his friend Ricky Gardiner)
‘Tonight’ (Iggy Pop cover composed by David Bowie)
‘Success’ (Iggy Pop cover composed by David Bowie & Ricky Gardiner)
‘Turn Blue’ (Iggy Pop cover composed by David Bowie & his friend Warren Peace)
‘Neighborhood Threat’ (Iggy Pop cover composed by David Bowie & Ricky Gardiner)
‘Fall In Love With Me’ (Iggy Pop cover composed by David Bowie & later Tin Machine brothers Hunt Sales & Tony Sales)
Band introductions film in order were:
Florence Sabeva introduced by Glenn Gregory of Heaven 17
Luis Correia introduced by Steve Norman of Spandau Ballet
Kevin Armstrong introduced by David Bowie
Katie Puckrik introduced by Russell Mael (with Ron Mael) of Sparks
Glen Matlock introduced by Debbie Harry of Blondie
Clem Burke introduced live by Katie Puckrik
Part Two other Iggy Pop songs etc:
‘Sister Midnight’ (Iggy Pop cover from 1977 ‘The Idiot’ album)
‘Nightclubbing’ (Iggy Pop cover from 1977 ‘The Idiot’ album)
‘Funtime’ (Iggy Pop cover from 1977 ‘The Idiot’ album)
‘I Wanna Be Your Dog’ (The Stooges cover from 1969 ‘The Stooges’ album)
‘Rip Her To Shreds’ (Blondie cover from 1976 ‘Blondie’ album)
‘Kingdom Come’ (Tom Verlaine cover from 1979 ‘Tom Verlaine’ album)
‘Run’ (Tin Machine cover from 1989 ‘Tin Machine’ album) (might not have played)
‘Ambition’ (Iggy Pop cover from 1980 ‘Soldier’ album) written by Glen Matlock
‘Head On A Stick’ (Glen Matlock cover from forthcoming 2023 ‘Consequences Coming’ album out 28th April)
‘Five Foot One’ (Iggy Pop cover from 1979 ‘New Values’ album)
‘No Fun’ (The Stooges cover from 1969 ‘The Stooges’ album)
(encore)
‘Be My Wife’ (David Bowie cover from 1977 ‘Low’ album)
‘Wild One’ (Johnny O’Keefe And The Dee Jays cover from 1958 ‘Shakin’ At The Stadium’ EP) Iggy Pop version recorded as ‘Real Wild Child (Wild One)’ in 1986 from ‘Blah-Blah-Blah’ album)
‘Pretty Vacant’ (Sex Pistols cover from 1977 ‘Never Mind the Bollocks, Here’s the Sex Pistols’ album)
‘Search And Destroy’ (Iggy And The Stooges cover from 1973 ‘Raw Power’ album)
Support this evening for this sold out gig came from New York outfit Walker And The Brotherhood Of The Grape which tonight are a duo consisting of Walker Hornung (vocals/guitar) and Eddy Joe McCabe (bass/backing vocals). The flyer just refers to them as ‘Brotherhood Of The Grape’. Their website also lists R.J. Puckhaber as their drummer, but clearly this person didn’t make it on this tour. Thus we get the seated duo of spokesperson Walker (stage left, out right) and Eddy on Walker’s right, our left. Their 48 minute set ran from 8:15pm until 9:03pm
Our group was stationed in front of the quieter Eddy, who was using a Fender Kingan acoustic bass, and one of the first things we noted was his choice of typically American boots, which were more than likely in a former life a snake, alligator or crocodile, clearly an arguably outdated acquired taste.
It’s fair to say that Walker did almost all of the talking in between tunes and clearly the lads were enjoying the tour. Walker was polite throughout the set, unlike a majority of the excited crowd, many of whom were in full discussion throughout the performance. One could be tempted to utter “just shut the f*ck up”, but our American cousins didn’t seem perturbed by it. In fact the only “shut the f*ck up” was jokingly said by Eddy towards Walker when he was possibly going on a bit.
Walker was using a Epiphone Dove Pro Electro Acoustic which is easy to spot as it has a custom pickguard design with a dove on it. The guys entertained us with a dozen crisp sounding numbers which spanned across 21 years of work, although Walker said that they have been playing together since 1988. As they said, they had hot-footed it from Colchester last night to be with us.
It was, I would guess, a standard country music affair with Walker occasionally sounding like Mike Stipe of REM. All the numbers were original compositions, although ‘It’s OK (To Be Happy)’ did contain four lines from The Beatles ‘Got To Get You Into My Life’. They were something that I wouldn’t normally listen to, but they appeared to be nice people. We’ve tried to work out their setlist as best as we could.
Walker And The Brotherhood Of The Grape:
Walker Hornung – vocals/guitar
Eddy Joe McCabe – bass/bv’s
Walker And The Brotherhood Of The Grape setlist:
‘Perfect’ (from 2004 ‘The One And Lonely’ album)
‘Something New’ (from 2022 ‘The Beekeeper’ album)
‘Expectations’ (from forthcoming 2023 ‘Euphoria’ album out in April)
‘Cheap Whiskey (In A Brown Paper Bag)’ (from 2004 ‘The One And Lonely’ album)
‘All The Things Between Us’ (from 2004 ‘The One And Lonely’ album)
‘Walk You To The Door’ (from 2022 ‘The Beekeeper’ album)
‘Manhattan’ (from forthcoming 2023 ‘Euphoria’ album out in April)
‘Long Gone’ (from 2002 ‘Almost Homeless’ album)
‘It’s OK (To Be Happy)’ (from 2020 ‘A Sacred Thing’ album)
‘Walk Through The Fire’ (from forthcoming 2023 ‘Euphoria’ album out in April)
‘Mr Happy Harry’ (from 2020 ‘A Sacred Thing’ album)
‘I Need To Be Loved’ (from 2002 ‘Almost Homeless’ album)
