iggy

Iggy Pop
Sydney Opera House
Monday, April 15, 2019
Lisa Doust photo

Firstly, you have probably all heard that Iggy still has it and he does. But the damage is there. You can see how fucked his leg is. And when rugby prop forward size fans manhandle him, you see that he's actually a five-foot-one man* in his 70's who may have shrunk an inch or two.

Stage security takes much greater care of him. Iggy also takes more care of himself, adapting the old poses into well timed rest breaks. Once or twice, he lives on his back. He feigns leaps into the crowd only to step back. He has learnt how not to be dragged off stage. He makes robot like motions to cover the limp. He uses the stairs.

The first look at the tracklist for the James Williamson album "Re-Licked" is public and it's a dizzying reflection on the backlog of Iggy & The Stooges material that's been bootlegged over the years.

There's also a track - an inciendiary version of "I'm Sick Of You" featuring Mario Cuomo from Chicago band The Orwells - being promo'd on the Net for your listening pleasure. 

In case you hadn't heard, Williamson is releasing the album of re-recorded but largely not properly released Stoogesongs on his own Leopard Lady label on October 29 with an array of guest vocalists.

_{James Williamson in 2011 - Robert Matheu photo}

James Williamson staked his claim to rock'n'roll immortality based on just eight songs, but what songs they were...the ones comprising Iggy & the Stooges' epochal 1973 "Raw Power" album, still cited as a prime influence by purveyors of Rock Action from Stockholm to Seattle to Sydney.

The first record I ever reviewed was "Kill City". That was back in 1977 for Self Abuse fanzine. I wish I had a copy of the article so I could compare how I felt then and how I feel now. I wrote that review because everyone I knew was slagging this off at the time. West Coast bland was the popular consensus. I didn’t agree and I wanted it down for the record.

Despite an increasing lack of consistency with his official album releases, it's fair to say Iggy Pop continued to reign supreme in the live setting throughout the eighties.  You could always guarantee he wouldn't actually sound like the horror that was "Blah, Blah, Blah" in the flesh.

This disc emerges from around the period of the equally undigestable "Party" LP.   Fortunately, despite sharing two guitarists, it sounds nothing like that.

Along with other companies, Easy Action has recently all but flooded the market with a seemingly endless slew of concert releases from this period.  The "Where the Faces Shine" box sets proved more than worthy but they alone bought us more than 12 hours of live Pop music.

"Will you nail yourself on to a cross for me? Will you blow your fucking brains out with a gun for me?"

James King and the Lonewolves have a reputation that precedes them; evolving out of the Glasgow punk scene in the late '70s and early '80s, the band quickly became renowned as hard-drinking sociopaths whose mercurial live shows featured a punked-up Velvets' approach.  Curiously, their singles tended to showcase the catchy pop side of their repertoire, which die-hard fans felt was unrepresentative of the band.

Detroit Renaissance 79 - Matt Gimmick (HoZac Records)

The penny dropped somewhere on the Road to Damascus exit, just off I-94, but there was no need for a conversion. The revelation that this band Matt Gimmick was a by-product of The Punks, a Detroit outfit active in the mid-‘70s whose overlooked recordings have been posthumously released a coupla times over, sparked a run to the shelves to dig out their release. If you don't own a copy of The Punks' "The Most Powerful Music On Earth" CD, or subsequent re-releases on vinyl, your life is diminished.

The Punks were unashamedly in the thrall of the Stooges. If solo Iggy had sounded like The Punks we would have been spared “Party” and the Pop would have ended up a rich man much earlier in life for delivering what fans of his old band expected all along. Or so the fantasy goes, because for most of the '70s, nobody actually cared.

This is part two of Michelle Dawn Saint Thomas's LSD-fuelled re-iiving of the notorious final Iggy & the Stooges show at the Michigan Palace in 1974. Part one is here.

The entire theater had become a massive downpour of flying objects. Everything from cans, bottles and coins were being thrown up onto the stage. The situation became contagious; soon random missiles were airborne everywhere throughout the hall.

The Palace now was half vacant and nearly everyone that remained was either clamoring to get closer to the stage for purposes of their own agendas, or rapidly exiting the venue. The stage itself looked a terrible sight, unsuitable for even the most daredevil of performers to be upon it at all.

Total chaos reigned supreme.

Iggy & The Stooges Onstage 1967-74 by Per Nilsen (Sonic Bond Publishing)

Cutting to the chase: This is an amazing book and an essential item for any Stoogephile. Swedish author Per Nilsenhas pedigree – he wrote the world’s first Iggy Pop biography, “The Wild One”, way back in 1988 – and he’s an academic, so you know it’s going to be researched to, er, within an inch of its pretty face going to hell.

The concept is simple: Nilsen divides the original lifespan of the Stooges into logical chunks, provides contextual information and then lists every show played, accompanied by as much information as is available. Yes, every show. He draws on a mix of primary sources and published interviews. He relies heavily on advertisements and reviews from local papers, underground press like The Fifth Estateand Natalie Schlossman’s fan magazine “Popped”. 

You can’t beat great research. Nilsen picks up inaccuracies published elsewhere and rules out advertised gigs that were never played. He even calls out a minor error in Paul Trynka’s definitive “Open Up and Bleed” book. I’m not sure the road crew accounts here of the alleged Goose Lake shutdown tally with the Third Man Records record of the same show, but they make fascinating reading.

The roll-call of first-hand accounts is impressive. Early manager Jimmy Silver is a big catch. James Williamson’sbad guy rap for poisoning the band is shown to be the ill-considered myth that it is, with tour manager John Adam (aka The Fellow) confirmed as the real catalyst for various members’ heroin habits.

The Decline Years of the Stooges, post-Mainman, hold a certain fascination for hardcore fans. Part of it is voyeurism – a peek into the on-the-road medicine cabinet and the approval-seeking, self-insulating excesses that it fuelled in a damaged singer – and the other part is wondering why the band kept going on its march of death.

The Golden Age of the Stooges is upon us and the onetime "biggest joke in SW Michigan" (so described by more than one person who saw them in their original incarnation) now has almost universal critical respect. From derided to celebrated and the latest news is that Easy Action's latest offering, "Popped", does them justice.

At this stage of his storied life he’s probably entitled to put out any damn thing he likes, but that doesn’t mean glued-on Stooges fans have to buy it. In fact why “Preliminaires” is billed as an Iggy record is beyond me. It should have come out under Jim Osterberg’s name.

Photographer, chronicler of New York City's punk scene and onetime minder for Iggy & the Stooges and manager of Johnny Thunders and The Heartbreakers, Leee Black Childers, has died.

You probably know the back-story about the core package (the straight re-issue of the Bowie mix with live disc appended) so let’s cut to the chase and talk about the Deluxe Ediiton.

The last couple of years have been a bonusburger for Stooge aficionados who just have to own every last artifact (which presumably you are if you're reading this). Easy Action brought us live documentation of the original Pop-Asheton-Asheton-Alexander unit (the deluxe "Popped" and pristine "A Thousand Lights"), as well as the seldom-heard Pop-Asheton-Asheton-Williamson-Recca lineup ("You Want My Action") and even James Williamson's waters-testing stand with his guitar tech's y'allternative band the Careless Hearts. Rhino contributed recordings of the hitherto undocumented Pop-Asheton-Asheton-Cheatham-Zettner configuration "(Have Some Fun: Live At Ungano's"). "Kill City" got the whole reissue-and-revisionist-history treatment. Even Williamson's reform school band, the Coba Seas, have a release.

Okay.  Let's get one thing straight.  This album is great.  Here's your six bottles, James.  (Last time I tried to give you six bottles for something, the Barman turned me down but now we seem fine with that kind of thing).  Now, if the Barman would do a quick edit we could be three for three.  Six.  Six.  Six. Apt.



Of course there are elephants in the room.  Great hulking elephants and the occasional five foot one elephant.  I guess we'll just have to tackle them head on.  (Can I pun my way through this whole review? ) As a spoiler, I've read Robert's review because I know he'll have a different take to me.  I haven't read the Barman's because it is always funny how often we write the same review.  There could be some overlap.



This one's just for the fans. By which I mean, if you're new to the Stooges, don't buy this record. Instead, buy "Fun House", then "The Stooges", then "Raw Power".

_{Eddie Spaghetti (left) of The Supersuckers thinks it's all a bit loud but Frank Meyer begs to differ. Ed Culver photo.} 

Los Angeles musician, author and filmmaker Frank Meyer is a surprisingly talented singer songwriter and a highly skilled, captivating raconteur. He seems like a genuinely all around good guy, so I'm a little embarrassed I did not get that hip to his extensive discography much sooner.

I first became aware of both Frank Meyer and fellow feature article subject John 5 way back in the hazy distant past-maybe like, 23 years ago, in the pages of a glossy punk ‘n’ roll bible, “Pop Smear”, with both my boyhood idols, Evil Knievel and David Lee Roth on the cover. I was workin' at a news stand in the Midwest where long lines of unhappy barflies flooded in front of my cash register all day, incessantly wanting to buy the scratch off lotto tickets. "I'll take ten Lucky Pots Of Gold and five Leprechaun's Rainbows".

Frank seemed to have won the rock ‘n’ roll lotto when he got to hang out with John 5 and David Lee Roth, live, and in-person, on multiple occasions, and then, went on to write books and form his own bands that criss-crossed the country. He was playing bills with all the other bands I liked at the time and releasing a long and prolific stream of records I never really heard.

Sometimes I think I’m a bastard instead of being just somewhat scatterbrained. See, I put this order in to Easy Action and they sent a couple of other CDs as well. Generous of them. And I never thanked them.

Alright, I’d had a couple of man-flu health ishoos, and there were other inconveniences. But I never fucking thanked them. And they’re a generous, intelligent company. I feel like a small limp dick confessing this. But you should know some of the circumstances.

Been waiting for this for some time so expectation levels were primed. If the prospect of another Igdisc doesn’t fill you with rabid anticipation after the ups and downs of the last two decades, the prospect of four tracks reuniting him with the Asheton brothers certainly should…

One of our favcourite punks, Sonny Vincent of Testors and solo band fame, is packing a new album for release in November with a band made up of Glen Matlock (Sex Pistols), Rat Scabies (Damned) and Steve MacKay (Iggy & The Stooges.) The project is called Spiteful and here's a taste.