Listening to this not as a collector, you are continually impressed with James Williamson’s guitar playing, which is as near to free jazz metal as common sense will allow, with the relentless and also gleeful grind of the rhythm section (the Ashetons, sulking like they mean it), and of course Iggy himself. And there are Japanese 45 mixes of “Raw Power” and “ Search And Destroy” that are brilliantly rough. “Hey Peter” (“where you going with that sandwich in your hand?”) is a bit silly. “I’m Hungry” is, essentially, “I’m Bored” and “Five Foot One”’s granddad over the backing track to “Penetration”. The third CD is more of a grab-bag, but you won’t be bored. And it ends with the Raw Power out-take “Doojiman”, where Iggy sings made up-noises for quite a while. It’s like being there, except Iggy can’t hurt you. The live CD, which is the Georgia Peaches bootleg, sounds excellent, radio broadcast quality, and is notable for a) the frequency with which Iggy insults the audience and b) the length of some of the songs. (Some of Iggy’s ’90s mixes turn up right at the end, like weird relatives late for a wedding.) This is the best Raw Power has sounded since it was first humiliating people’s turntables in the 1970s. Bowie’s original, insane, “tell the guitar to get DOWN from there” mix is restored, as mad and non-linear as it always was, but sounding as clean as hell ever can. I am happy to relate that this new Raw Power is nothing like that. Good question how many times have we obsessives bought some hand-tooled tool of a boxed set or limited edition padded out with dance mixes and something horrible with Elton John on backing vocals? Too often. If you’re still reading this, you quite possibly have all of those items and are wondering what’s actually new in this collection. Perhaps you even have the Georgia Peaches live bootleg, from the October 1973 concert at Richards in Atlanta. You may have the original Bowie-produced vinyl, the “original” CD, or even the 1996 “violent” CD remixes by Iggy Pop. You’ve probably, if you’re reading this, already got Raw Power by Iggy & The Stooges, the 1973 album by Ann Arbor’s unfinest. We’ve all become used to acts releasing more records after death than when alive, but it now seems that the Stooges – unloved and unsuccessful in their addled heyday – are about to rival one-man heritage sausage machine Neil Young in their updated back pages. With seemingly every gig they ever recorded now available, and with a million comps, remixed LPs and officialised bootlegs out there, bands like the Stooges rival the then-even-more-unpopular likes of Throbbing Gristle and Suicide for posthumous prolificacy.
RAW POWER IGGY MIX ARCHIVE
Raw power, the album that almost single-handedly detonated the punk-rock movement in the next few years after its release - became the album against which all others were measured, where it remains to this day.ģ.Your Pretty Face Is Going to Hell ġ1.Is there some rock law about archive sets, where the less success you have, the more your work is catalogued, fussed over and released in luxury annotated collections? “Yes” would appear to be the answer, judging by the career of Iggy and/or The Stooges. Like a lot of albums ahead of their time, upon initial release Raw Power was embraced by the forward thinking 'disenfranchised youth' world-wide - the punks in training, rather than the mass pop culture. Produced by Iggy Pop and mixed by David Bowie, 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. First released on Columbia records in 1973, the savagely bombastic Raw Power by Iggy and the Stooges is perhaps the first record that could truly be called punk.
Nearly 45 year since the initial recording sessions began in the summer of 1972, the controversy surrounding Raw Power has never abated and has only added to the album's mythic status. This double LP version includes the originally released David Bowie mix of the album on the first LP and the latter remixed version by Iggy Pop himself on the second LP.
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