Tuniver.se - Your music. Discovered.
Get TuneUp Companion!

Artist: Iggy Pop

Iggy Pop

Bio

Iggy Pop (born James Newell Osterberg, Jr.; April 21, 1947) is an American singer, songwriter, musician, and actor. Though widely known as an innovator and "godfather" of punk rock, Pop's music has encompassed a number of styles over the years, including pop, hard rock, jazz and blues. Pop became known as 'Iggy' in high school, during which time he served as drummer for local blues band The Iguanas. He is vocalist of influential proto-punk band The Stooges (Pop and the other surviving members of the group reunited in 2003), having become known, since the late 1960s, for his outrageous and unpredictable stage antics. Though his popularity has fluctuated through the years, many of Pop's songs have become well-known, including "Lust for Life", "The Passenger", "Real Wild Child", "Candy" (a duet with Kate Pierson of The B-52's), "China Girl", "Nightclubbing", "Search and Destroy" and "I Wanna Be Your Dog". In 2010, The Stooges were inducted into the Rock and Roll Hall of Fame. Pop was the lead singer of The Stooges, a late 1960s/early 1970s band that featured brothers Ron and Scott Asheton and Dave Alexander and was highly influential in the development of hard rock. The debut album was produced by the Velvet Underground's John Cale. The band's "I Wanna Be Your Dog" is a garage punk standard. Raw Power was first released in1973, perhaps the first record that could truly be called punk. It was the confluence of The Stooges ages, hormones, creativity, ability, experience, tastes, lack of supervision, contempt for authority and ambition that has made Raw Power one of the most influential albums of all time. The Stooges were infamous for performances in which Pop leapt off the stage (hence, the "stage dive"), smeared raw meat or peanut butter over his chest and cut himself with broken bottles. A glimpse of the vibrating intensity of Iggy live can be seen in the Ramones movie "End of the Century." Guitarist James Williamson became a key collaborator, a partnership documented on the 1978 album Kill City. In 25 years as a solo artist, Pop's best-known songs have included the thumping Lust for Life, to be heard on the soundtrack of the find-a-vein, shoot-it-up movie Trainspotting, I'm Bored and The Passenger (the latter based on a poem written by Jim Morrison). David Bowie played a key role in r
More at Last.fm

Concert Dates

No content available.

News

No content available.

Articles

Iggy Pop: Roseland, New York, NY Newsday, Apr 1996

View Original

In 1967, when The Doors released their first LP, a young ex-drummer named James Osterberg formed the Psychedelic Stooges to voice the primal urges of grungy, downwardly mobile, mid-western white kids.

View Original

If Jim Morrison was the Lizard King, then Jimmy Osterberg was the Iguana Stooge – a leather-skinned, cynical, self-invented ‘loser’ neither duped nor encouraged by the hippie era’s overly optimistic mysticism. Calling himself first Iggy Stooge, then ultimately Iggy Pop, Osterberg made raw, angry, libidinous rock and roll.

The Stooges’ 1969 debut album is now thought of as the first legitimate punk-rock album. Through the early ‘70s, Stooges tours were as popular for their violent, self-flagellatory stage antics as for their songs. Periodic collaborations with David Bowie further consolidated Iggy’s place in history as a lasting source of inspiration for some of the most honest and visceral songwriting in postmodern pop.

Monday night at Roseland, Iggy Pop’s opening acts telegraphed the two halves of his core persona: the dark, moody mojo of Junior Kimbrough’s country blues, and the hyper, sexually ambiguous energy of the young glam-punk outfit Psychotica.

Iggy himself hit the stage full-tilt with ‘I Wanna Live’, naked and rippling from the waist up as if dressed for crucifixion. Between stage dives that bloodied his brow and tore his pants, Iggy sang a mixture of old and new material that proved beyond any doubt to a crowd of old and young fans that this is one 49-year-old rocker who regrets nothing but the fact that he can’t live at peak velocity.

The new music comes from Naughty Little Doggy, (Virgin) his tightest collection of tunes since 1973’s Raw Power, only more reflective and overtly funny. On ‘I Wanna Live’ the aging hell-raiser admits: "I’ve got no choice but careful now/ Thank God I’ve done my crime." On ‘Shoeshine Girl’ he extols the biker-chick charm of "a comely Goth girl/ with tattoos on her form."

Iggy Pop: The Idiot ZigZag, Apr 1977

View Original

IT'S TWO O'CLOCK in the morning and I'm playing The Idiot for the fifth time running. Can't stop, it's so compelling...but very VERY strange.

View Original

I wish I'd heard it before seeing Iggy on his recent UK tour. I mean, the last offering I'd heard from Iggy was the Metallic KO live album, recorded when he was still the demented daredevil from Detroit, dodging bottles and getting bashed in the face over high speed, pounding riffing from his Stooges.

On the last tour we got half new music and half new treatments of old faves, performed by a straightened-out Ig with his new band. He concentrated on singing and kept to the arrangements rather than taking off on self-destructive wildman diversions.

First time I saw the revamped Iggy – at Friars Aylesbury on the opening night – I have to confess I was disappointed, along with a number of other people. It was like he was trying to pull something out of the bag with little help from an unbroken-in band. But there was still something great about the bloke, like supressed dynamite.

A week later on the last night of the tour at the Rainbow Iggy was fantastic...the geezer I'd wanted to know and love, (I'd never seen him before this tour). And those new songs sounded much better the second time around, 'specially the one about "my dead girlfriend". But that still didn't prepare me for The Idiot.

This new Iggy is far removed from the screaming demon on Fun House and Raw Power. I love those albums, but a bloke has got to move on, and Iggy has.

"Yeah, I'm almost like him", he screams in the final seconds of 'Mass Production', the closing cut. You sure are, Ig. Very much like "him" – if you take "him" to be David Bowie, the bloke who handled keyboards on the tour. This album half belongs to David – he co-wrote all the tracks, arranged and produced it, as well as being featured on various instruments, (though it don't say so on the cover).

It's another Mott The Hoople job. When Bowie wrote and produced 'All The Young Dudes' it was like he was projecting himself through Ian Hunter and the group...like he'd sucked them in and spat them out as miniatures of himself.

Same thing's happened here. Sometimes Iggy sings just like David, especially when he goes down deep. The backings could be straight off Low (which was recorded later at the same studios – The Chateau and Hansa in Berlin). Ain't nothing wrong with that, 'cos I think Low is great...I love that dense, pounding, scarey sound which also characterises this album. But it's Iggy's show, and I'm glad it's back on the road.

This is a very strange album, morbid, obscure and unsettling. Like Low it's aimed squarely at the cold, mechanical future. An attempt to recycle the 'Search And Destroy' style on record might have sounded posed and hackneyed in the light of the New Wave. Iggy was unique in 1972. Now he's moved on.

Wrap your coat around your shoulders, and we'll take a walk with The Idiot.

Side One pumps into life with 'Sister Midnight', a song he did live. Multilayers of overdubbed Ig intone the repetitious lyrics over a hovering stop-go riff which, like many of the tracks, gets more frenzied and swamped in sound as it goes along. Stretched, distorted guitar (a fave sound of Bowie's) hangs over the top. Ig's lyrics are like some kind of Oedipal nightmare/plea for help, 'cept at the end where he's just mewing and moaning like a tortured kitten. Good stuff.

Strange about lyrics. On many tracks Iggy will sing "we" instead of "I", which in stark black and white under the co-composers' credits on the lyric sheet sleeve heightens the feeling of a shared persona. On 'Nightclubbing' our heroes are doing the town, learning "Brand new dances like the nuclear bomb". This is the bleak sound of the 1985 disco, as ghostly electronic washes sky-write phrases over an unsettling, distorted disco pulse.

'Funtime' reminds me of 'White Light White Heat' with its call-and-response vocals. The metronomic drumming remains unstopping and unstoppable throughout.

'Baby' is set to an electronic walking beat and seems to plead for a girl to stay pure and "clean".

If 'Sound And Vision' was the obvious (only) choice for a single on Low, 'China Girl' is the one here. The only really 'up' track, it starts off innocently enough as one of those "I'm a mess without you" love songs, but soon degenerates and disintegrates musically and lyrically. Iggy starts singing about "visions of swastikas" in his head, and turns nasty on his little China Girl – "You shouldn't mess with me, I'll ruin everything you are". He displays uncharacteristic emotion before giving way to a long, distended instrumental fade which is pure Bowie – the man's string synthesiser, electronics and sax building an impenetrable Berlin Wall over the bedrock drumming.

If side one makes you shiver, side two will pop you into the fridge...and you can't even dance to keep warm.

'Dum Dum Boys' opens with a "Whatever happened to me mates" rap before diving into another oppressive riff, which pulls and claws under great slabs of noise for the whole seven minutes.

The words are about Iggy's old gang – probably the Stooges, although if it is he wants to get playing with them again! "Now I'm looking for the dum dum boys/ Where are you now when I need your noise".

Draw your own from that, but I think this is autobiographical at least: "They looked as if they put the whole world down...", "People said we were negative".

'Tiny Girls' is a tiny ballad sandwiched between the other two tracks. If you want to hear Bowie break out on sax and Iggy singing the tune from 'If You Go Away', then this is the one. A mystery.

'Mass Production' is the closing killer epic. Fun House is a hazy memory by now, obliterated by a malevolent, monolithic riff, teutonic in the extreme. Bowie's loopy synthesiser break in the middle is how I would imagine a musical police siren in the nightmare of a cold turkey case. It's almost suicidal – "Though I try to die, you put me back on the line", and the personality crisis reaches a peak: "And I see my face here/ And it's there in the mirror/And it's up in the air/And I'm down on the ground". Does Iggy know who he is? Out he goes shouting: "Won't you get me that girl/ Yeah she's almost like you/And I'm almost like him", into the chilling air-raid sirens again. BRRR!

I've had this album for two days and can't be bothered to dissect it anymore. I just think it's great, although it chills me to the marrow. "The walls close in and I need some noise". I'll put it on again, like an idiot.

Auctions

No content available.

No content available.

No content available.

Top Albums

Lust For Life cover art

Lust For Life

Buy Amazon.com     Buy iTunes    

more
less
The Idiot cover art

The Idiot

Buy Amazon.com     Buy iTunes    

more
less
Brick By Brick cover art

Brick By Brick

Buy Amazon.com     Buy iTunes    

more
less
more
less
Post Pop Depression cover art

Post Pop Depression

Buy Amazon.com     Buy iTunes    

more
less

Top Songs

The Passenger cover art

The Passenger

Buy Amazon.com     Buy iTunes    

Lust For Life cover art

Lust For Life

Buy Amazon.com     Buy iTunes    

Nightclubbing cover art

Nightclubbing

Buy Amazon.com     Buy iTunes    

Candy cover art

Candy

Buy Amazon.com     Buy iTunes    

China Girl cover art

China Girl

Buy Amazon.com     Buy iTunes    

Sister Midnight cover art

Sister Midnight

Buy Amazon.com     Buy iTunes    

Some Weird Sin cover art

Some Weird Sin

Buy Amazon.com     Buy iTunes    

Video

No content available.

Recommended Albums

more
less
more
less
more
less

Recommended Songs

Perfect Day cover art

Perfect Day by Lou Reed

Buy Amazon.com     Buy iTunes    

London Calling cover art

London Calling by The Clash

Buy Amazon.com     Buy iTunes