Of course, the period of The Stooges' career that Gimme Danger so often refers to, is a different entity than the one that preceded it. Their career is a micro study for all forms of aggression and rebellion in music, post-everything. The nightmarish calamity and lyrical desperation of “Fun House.” The scathing indictment of the Vietnam War through the (at the time) unbearably grating mixing job of “Search and Destroy.” The Stooges are much bigger than any one story that sees them as a beginning, a middle, and an ending. The three-chord riff of “I Wanna Be Your Dog,” forever cementing the cliché of the three-chord punk rock song. Particularly, the man who directed ‘Stranger than Paradise,’ an inversion of idiocy and comedy, and ‘Permanent Vacation,’ the meaning of life in New York, should be capable of detailing the minute intricacies of The Stooges more lovingly, and especially in his own voice. Band members come and go (and die) Pop's fruitful association with David Bowie in the Seventies gets discussed too cursorily.' (para. Should an actual fight break out, so be it.Īfter all, Raw Power is one superb soundtrack for a scrap.' The corny hyperbole … cute animation, drearily obvious era-setting archival footage. Iggy threatened his audience with a smirk – “Come up here, little Billy Boy… Suck my a**”. But consistency isn’t the name of this game: Stooges shows were about cutting loose, feeling free, fighting the tide, butting heads. His vocals distort and pop, his mouth too close to the microphone one moment and utterly absent the next. Thurston tinkles playfully during an intro otherwise dominated by fuzzed-up crunch from Williamson then, like a bolt of lightning against an ominous sky, Iggy sparks into brilliant life, stretching syllables against their will and catching the shortest breath whenever a break presents itself. The quality of Georgia Peaches is expectedly sketchy – but such is the energy conveyed that it’s tough indeed to not become caught up in the crackly cacophony. Cock in My Pocket and Open Up and Bleed are among the numbers that’d emerge on 1974’s live release, Metallic K.O., though neither would receive a studio treatment, as the band fractured again in 1974 and did not reconvene ‘til 2003, eventually releasing The Weirdness in 2007. The set’s not exclusively comprised of Raw Power cuts – though the album, the subject of much scrutiny from Iggy’s then management, who insisted that David Bowie clean up the street-walkin’ cheetah’s original mixes, was still fresh in the minds of these musicians, already attentions were turning to the future. Georgia Peaches is the bonus disc in question, and what a ride it offers – Iggy snarling, confrontational, caustic his band, featuring original Stooges (the late) Ron and Scott Asheton alongside new guitarist James Williamson, frothing itself into a frenzy to keep pace pianist Scott Thurston painting merry atop the mêlée with attractive abandonment. For this Legacy edition – two discs a deluxe edition, with additional rarities and a DVD, is also available – they’ve lapped against a recording of the band at Richards in Atlanta, October 1973. What’s not, though, are the ripples that continue to expand from its initial point of impact. Turn it over, again, and hit me with the flip.
Such is the legend of Raw Power, The Stooges’ third album, that more column inches have been devoted to it than the combined height of all the individuals who purchased it upon its original February 1973 release (it was widely ignored). Pack away your superlatives, sir, for they’ve all been said.
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