Raw Power - Knowledge

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much else to choose from, first-generation Iggyphiles charged just as indignantly that David Bowie had mixed the real thing way too thin--as Iggy observes, this classic-by-comparison always sounded "weedy" (although, not to insult a valued colleague, "David's" version was also "very creative"). So the pumped bass and vocals Iggy has uncovered on the original tapes, which were supposed to coexist with their high-end screech to begin with, are a quantum improvement. Plus you can finally hear the celeste on "Penetration"--sounds great! Only the slow ones, which like all of Iggy's slow ones are not as good as his fast ones, stand between a statement of principle and a priceless work of art.

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talked it out with me, I gave him what I thought it should have, he put that in its perspective, added some touches. He's always liked the most recent technology, so there was something called a Time Cube you could feed a signal into -- it looked like a bong, a big plastic tube with a couple of bends in it -- and when the sound came out the other end, it sort of shot at you like an echo effect. He used that on the guitar in "Gimme Danger", a beautiful guitar echo overload that's absolutely beautiful; and on the drums in "Your Pretty Face Is Going To Hell". His concept was, "You're so primitive, your drummer should sound like he's

487:, so he brought the 24-track tape in, and he put it up. He had the band on one track, lead guitar on another and him on a third. Out of 24 tracks there were just three tracks that were used. He said 'see what you can do with this'. I said, 'Jim, there's nothing to mix'. So we just pushed the vocal up and down a lot. On at least four or five songs that was the situation, including "Search and Destroy." That's got such a peculiar sound because all we did was occasionally bring the lead guitar up and take it out. 1041: 965: 1468:, he said "the pumped bass and vocals Iggy has uncovered on the original tapes" to be a "quantum improvement" over the original mix, but still found fault with the slower songs, "which like all of Iggy's slow ones are not as good as his fast ones, stand between a statement of principle and a priceless work of art." Nonetheless, he ranked it as the ninth best reissue of the year in his list for the 1997 1382: 1377: 1372: 1367: 1337: 1332: 1327: 1322: 1317: 1129: 1124: 1119: 1114: 1109: 1079: 1074: 1069: 1064: 1059: 1036: 1031: 1026: 1021: 1003: 998: 993: 988: 983: 960: 955: 950: 945: 903: 898: 893: 888: 870: 865: 860: 855: 850: 784:, peaking at number 183. The group continued touring for about a year, but Columbia dropped their contract. The Stooges were also dumped by MainMan – Tony Defries lost patience with the band after the large sum of money he advanced to them was spent on drugs. The Stooges broke up in February 1974. After spending time in a drug-fueled stupor in L.A. – and later rehab at the 619:

it originally had not gotten a lot of level on certain things, like the bass and drums, especially the bass, so he didn't have a lot to work with. Then Iggy, on his mix, he left a bunch of guitar stuff on there that probably shouldn't have been left in, and just odds and ends. Bowie's not my favorite guy, but I have to say that overall, I think he did a pretty good job.

570:], the position, and the expertise at my disposal to give this thing its due sonically, and I didn't have that before. So it's kind of like I'm finishing that off. I don't think you can beat David's mix, it's very creative. But this is just a simple, straight band mix of a powerful band. I feel like there's a closure on it and that's a nice thing. 509: 599:– felt that the new remix was as unfaithful to the material as the original 1973 mix, and further criticized the audible distortion in the new mix. Quine said, " one of the greats but I wonder about what he did to that record with the new remix, which is atrocious. 'With this remix, I think this can stand up with the latest 1165:, he called the album a "comeback of major proportions" and "monomaniacal fury so genuine" that it may be too overwhelming for listeners, concluding that, "whether you laugh at them or accept their chaotic rumble on its own terms, they're fascinating and authentic, the apotheosis of every parental nightmare." Reviewing 667:'s a good mix of a particular taste. It was very similar to the way David had his own records mixed around that era. It's peculiarly English. What I didn't know at the time was that it was disastrously mastered (after Bowie mixed it). By that time, we had no communication with management, who had decided to let us go. 454:, the head of Bowie's management company MainMan, informed Pop that the album would be remixed by Bowie. Pop agreed to this, saying that "the other choice was I wasn't going to get my album out. I think Defries told me that CBS refused to release it like that, I don't know", but insisted that his own mix for " 400:. Pop later recalled, "Very few people recognized the quality of the Stooges' songwriting, it was really meticulous. And to his credit, the only person I'd ever known of in print to notice it, among my peers of professional musicians, was Bowie. He noticed it right off." Having signed on as a solo artist to 603:.' Wow." In the reissued CD's liner notes, however, Pop points out that one of his intentions in doing the new mix was to keep audio levels in the red (which would deliberately cause such distortion) while at the same time making the music more "powerful and listenable". This new version is arguably the " 643:

Man, I sure loved that old David Bowie mix. Was it ever great." Basically, all that Iggy did was take all the smoothness and all the effects off James 's guitar, so his leads sound really abrupt and stilty and almost clumsy, and he just put back every single grunt, groan, and word he ever said on the

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has cited it as a major influence: "When I was fifteen years old, I remember Iggy and the Stooges' song 'Search and Destroy' reaching out from my speakers to me like my own personal anthem." "I got into the heavier guitar stuff I was going through that adolescent anger thing. It’s a common story but

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praised its uncompromising music and said, "for the first time, the Stooges have used the recording studio as more than a recapturing of their live show, and with David Bowie helping out in the mix, there is an ongoing swirl of sound that virtually drags you into the speakers". Longtime Stooges fans

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I personally think sucked. I gotta tell ya that I like the IDEA of what tried to do, and I talked to him about it, and there's a lot of factors involved, but at the time, none of us liked Bowie's mix, but given everything, Iggy, when he went in to mix it, he found out that the guy who had recorded

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Strict constructionists and lo-fi snobs charge indignantly that by remixing his own album Iggy has made a mockery of history and done irreparable damage to a priceless work of art. This is really stupid. Before it was anointed the Platonic idea of rock and roll by desperate young men who didn't have

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To the best of my recollection it was done in a day. I don't think it was two days. On a very, very old board, I mean this board was old! An Elvis type of board, old-tech, low-tech, in a poorly lit, cheap old studio with very little time. To David's credit, he listened with his ear to each thing and

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In retrospect, I think the little touches Bowie put on the mix helped and I think some of the things MainMan did helped, and more than anything else, what the whole experience did was to get me out of Detroit and onto a world stage. And also I learned a helluva lot being over there in England and I

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said that it was one of the albums that shaped his life and music: "That record sliced my head off. The aggression and psychosexual imagery were really mysterious and alluring. In a way, it brought me into all those other aspects of music and literature that were really intriguing, like William S.

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believed it rectified "one of rock's most exciting, but worst-recorded, audio assaults", and found it "as collar grabbing as the Stooges' skin-scratching rage itself", improving upon past releases of the album, in which "the guitars were too loud, the drums buried." Hilburn gave the remix a rave

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cited it as his all-time favorite record: "It gave me a path to follow as a guitar player. It was an opening into a world of rock & roll, sleaze, sexuality, drugs, violence and danger. That's a hard combination to beat". He also commented on Williamson's guitar playing on the album: "I'm his

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snobs charge indignantly that by remixing his own album Iggy has made a mockery of history and done irreparable damage to a priceless work of art." In Berman's opinion, "after spending the past 13 years having my ears ravaged by the '97 Iggy mix, I find it difficult readjusting to the leaner,

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It doesn't fall into the contemporary standards of records today that explode with a sonic flood all over your car, until you feel like you want to retch. But when you turn it up, the treble is really good. It's got a good character. There were certain production touches that come across; the

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with staff engineer Mike Ross-Trevor from September 10 to October 6, 1972. Pop produced and mixed the album by himself; unfortunately, his botched first attempt mixed most of the instruments into one stereo channel and the vocals into the other, with little regard for balance or tone quality.

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was – Fleming's going, "When you hear Iggy's mix, I guarantee you're gonna say, 'Man, remember that great mix that David Bowie did?'" So I heard it, I got the advance copy from his manager, and listened to it. Then I called Fleming and I'm going, "Gee, Don, I just listened to Iggy's mix of

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I did my remix...which I knew at the time in the '90s there was a muscle-bound rock metal thing going around, and I knew that people couldn't hear the record as it was originally mixed and mastered in that environment. So I thought if I make it unbearably loud, it would sell, and it did!

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started thinking differently. It led to a very ambitious piece of work, and that's fine. But the fact was that neither Bowie's mix nor my previous mix could do justice to the power of the band or even to the legibility of the vocal ... I feel that now I have the wherewithall [

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as one of his favorite albums, stating that it "seems like it's all done in one take. 'Let's do that one, leave it, just try something else'. With his energy on stage, it seems as if the studio was just destroyed after that album – or at least you'd like to believe that".

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assisted with post-production work, though the team were allotted only one day to mix the album and the resulting fidelity was poor. Later reissues have attempted to either correct or enhance the original mix, most notably Pop's 1997 remix, which became notorious for its

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on April 21, 2012. The release included two LPs (one containing the remastered 1973 Bowie mix and the other containing a remastered version of the 1997 Pop mix) and a sixteen-page commemorative booklet with quotes from the band, pictures of the band from photographer

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was released in 2010, they demonstrated that each individual instrument was indeed recorded on its own track on the original multi-track tapes, suggesting that Bowie was either mistaken or working with a copy that had mixed down the instruments on to the same track.

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In 1996, Columbia Records "invited" Pop to remix the entire album for re-release on CD. Pop said in the liner notes that had he declined, the studio would have remixed it without his blessing. Pop cited longtime encouragement from fans and peers, the existence of

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approach inspired by Williamson, who co-wrote the album's eight songs with Pop. Similarly, music critic Joe S. Harrington said that the hard rock album demonstrated a "totally overpowering" sound, "a sledgehammer attack of brutal ill will", while author

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fly over and participate in the recording sessions, leading to the band's reformation under the new name of "Iggy and the Stooges". Although he was the band's founding guitarist, the elder Asheton reluctantly agreed to switch to

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was released on February 7, 1973 under the moniker of "Iggy and the Stooges", in contrast to the band's first two albums, which were credited to "the Stooges". The cover is a photograph of Pop taken by rock music photographer

1448:, writing that it "simply presents greater instrumental clarity and definition" than previous mixes and concluded, "It may have taken all these years to get the album right, but it has finally arrived." Tim Stegall from 1159:' were invested for this group", while "the ferocious assertiveness of the lyrics is at once slightly absurd and indicative of a confused, violently defensive stance that's been a rock tradition from the beginning". In 2281:– lead vocals, celesta on "Penetration", piano on "Gimme Danger" and "Raw Power", tambourine on "Your Pretty Face is Going to Hell" and "Raw Power", backing vocals on "Raw Power", production and mixing for 1997 reissue 408:, who served as the Stooges' second guitarist from late 1970 until the band's initial dissolution in July 1971. When they failed to find a suitable English rhythm section, Williamson suggested that former Stooges 1494:

original version—even with the remastering, the '97 version far outstrips it in fidelity and sheer brute force, and remains a better entry point for younger listeners seeking to understand the album's impact."

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wrote that "it has since been acknowledged as one of the most influential records in rock history". Williamson's raw guitar sound deeply influenced acts of different music genres such as the

3438: 1251:, he praised Williamson's guitar playing while writing that the side-opening tracks "Search and Destroy" and the title song "voice the Iggy Pop ethos more insanely (and aggressively) than ' 1151:

called it "an experience so overpowering that it forces new definitions for even the most familiar things", arguing in March that it will undoubtedly be the album of the year. According to

1221:, Scott Isler credited Williamson's writing contributions with providing more musicality and structure to the band's songs, whose lyrics conflated sex and death. He regarded the album as " 1184:

later wrote of the original fan response, "first-generation Iggyphiles charged just as indignantly that David Bowie had mixed the real thing way too thin, before it was anointed the

586:, Christgau – who in the past had complained about how Bowie had mixed the original album "down till it's thin as an epicure's wrist" and inflicted "ruinous underbassing" – wrote, 652:

is "the version I still prefer over the later remix – it has more wound-up ferocity and chaos and, in my humble opinion, is a hallmark roots sound for what was later to become

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In 2023, both mixes of the album were once again remastered, free of clipping, along with the release of a new edition of the album to commemorate its fiftieth anniversary.

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whole fuckin' soundtrack. He just totally restored everything that was cut out of him in the first mix, and I thought, Damn, I really did like the old mix better.

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was his favorite album of all time. It tops a list of the top 50 albums he thought were most influential to Nirvana's sound, as entered in his journal in 1993.

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should be regarded as, at least, one of the greatest punk albums of all time, is the influence it has provided. Without it, punk may have never even happened."

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mine was also fuelled by a father and a mother that were gone, and not really knowing where I fit into society. That song really connected with me". Guitarist

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proclaimed that it was already "the best album of the '70s", as Pop had "summed everything up and it took him only nine songs to do it." Ben Edmunds from

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is the single most dangerous rock & roll album ever made. Before or since." Christgau remained qualified in his praise. Reviewing the reissue in the

776:. The songs "Search and Destroy" and "Shake Appeal" were both released as singles (the title track was released as a single in Japan only). According to 3537:"Album Reviews: 'Loaded: Fully Loaded Edition'; 'Sweetheart of the Rodeo'; 'Rawpower'; 'Who Are You'; 'Dr. Byrds & Mr. Hyde'; 'The Who by Numbers'" 1277: 3342:

Ignored at the time, the first three Stooges records are now seen as proto-punk landmarks: 1969's deadpan nihilistic debut; 1970's molten masterpiece

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James Williamson and Ron Asheton have both stated that they prefer Bowie's original mix of the album over Pop's remixed version. Williamson stated:

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also praised the record: "When you think about all the ways bands these days try and expand rock and roll, most of them look pretty silly next to

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Low-fidelity copies of Pop's original mixes circulated among fans for years. In 1993, a selection of these original mixes was released by

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from Atlanta in October 1973, and liner notes written by Brian J. Bowe, was released in 2010. On April 13, 2010, a deluxe version titled

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magazine's Lizzie Manno adds that it has "also been cited as a major influence on heavy metal and hard rock". According to Ted Maider of

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A remastered version of David Bowie's original mix along with a second disc of unreleased live tracks and soundchecks, including a live

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in 1996. The remixed edition was released on April 22, 1997. In the album's accompanying liner notes, Pop states the following:

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box", the remix is comparable to an atomic bombing and, "with its sonic gonads now fully restored, it can be further stated

384:(1970) were released to little commercial success, the Stooges were in disarray: the band had officially broken up, bassist 290:. The album departed from the "groove-ridden, feel-based songs" of the band's first two records in favor of a more anthemic 3750: 4558: 2609: 1797: 4019: 445:, one for each side of the album: "Gimme Danger" and "I Need Somebody". The album itself was recorded at CBS Studios in 4572: 4252: 4138: 3448: 3817: 4747: 4314: 4281: 4170: 2874: 2846: 1767: 1757: 2717: 4742: 4737: 4519: 3371: 2668: 3839: 3355: 3410: 1591:

to sound if he was in a band." Marr added that he considered Pop "the greatest rock'n'roll singer of all time".

709:, it abandoned the "groove-ridden, feel-based songs" of the band's first two albums in favor of a more anthemic 4226: 4203: 4112: 2474: 1773: 1720:. "Iggy is so easygoing and so unpretentious, he didn't care whether we did it or not," remarked GNR guitarist 1245:

tour de force ever summoned up in a recording studio". Christgau was somewhat less impressed. In his 1981 book

3066: 441:, with most of the songs rejected by the band's management. Pop said that Columbia executives insisted on two 4498: 4300: 4267: 4070: 1088: 1012: 380: 330: 191: 4349:

Four-part series podcast on how the album was made and how it influenced future generations of punk rockers

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was "another masterpiece-more heavy metal than punk", with songs more "structured but no less forceful".

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mix comes out, I'll bet you're gonna go – we always used to say how bad the original David Bowie mix of

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release, Pop has remarked that "what David and I came up with at these sessions was better than that."

430: 21: 3610: 3574: 3006: 4417: 4375: 3532: 3269: 2418: 1438: 1255:'", but felt that "the rest disperses in their wake" and that Bowie had mixed the record too thinly. 475:!" It's not a bad job that he did...I'm very proud of the eccentric, odd little record that came out. 385: 3936: 788:

Neuropsychiatric Institute – Pop re-joined Bowie's entourage, and emerged as a solo artist in 1976.

458:" be retained. Due to budgetary constraints, Bowie remixed the other seven songs in a single day at 1716: 463: 1771:. Additionally, a cover of the album's namesake track "Raw Power" was performed by Romeo Delta in 752:

at 275 Pentonville Road, London, marking the gigs of 14 and 15 July 1972 at which the Stooges and

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This article is about the Stooges album. For the band that took their name from this album, see

3667:"Iggy and the Stooges: Raw Power [Legacy Edition] / Raw Power [Deluxe Edition]" 3381: 3243: 2862: 1555: 715: 627: 3397: 3781: 3172: 1671: 1637:), calling it "America's greatest contribution to the hard rock scene", to compete with the " 1454:

said while the original mix "was so muted that it sounded like Vietnam being fought inside a

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as factors that led him to go through with the new mix, which was undertaken at New York's

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with a distaste for digital distortion". Christgau observed, "strict constructionists and

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without being sloppy. He's both demonic and intellectual, almost how you would imagine

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double LP by Kevin Gray and Mark Wilder, respectively; this remastering was free of

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overdubbed guitar treatment to "Gimme Danger" was Bowie's doing, and it's beautiful.

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of rock and roll by desperate young men who didn't have much else to choose from".

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named it the 83rd best album of the 1970s. In 2003, it was ranked number 125 on

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sounded, and the fact that Columbia would release the new mix on its subsidiary

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record in the years following its release. Writing of the album in retrospect,

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noted Pop's "nihilistic hard rock bellowing" throughout. In another analysis,

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has "Search & Destroy" tattooed across his shoulder blades. He said that

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writer James Stafford said, "One can make a reasonable argument for whether

4680: 4469: 4459: 4449: 4439: 4051: 3844: 3751:"Iggy & The Stooges' 'Raw Power': The Greatest Punk Album Of All Time?" 3144: 2546: 2479: 2253: 2221: 1785: 1642: 1152: 974: 604: 596: 528: 520: 451: 340: 308: 143: 3007:"Raw Power [Reissue] by Iggy & the Stooges Reviews and Tracks" 2196: 404:, Pop relocated to London, where he was to write and record an album with 4454: 4410: 4391: 4100: 4024: 3727: 3232: 3212: 2807:"Hear Iggy Pop Perform Songs From Raw Power, Released 46 Years Ago Today" 2721: 2514: 2309: 2290: 1707: 1679: 1654: 1646: 1604: 1596: 1588: 1571: 1563: 1559: 1527: 1490: 1204: 749: 702: 459: 409: 397: 357: 349: 345: 303: 283: 178: 163: 112: 94: 52: 4673: 4331: 3967:"Mötley Crüe's Nikki Sixx: 'I had a hangover for pretty much 15 years'" 3777: 3596: 3265: 3011: 2896: 2257: 1662: 1580: 1575: 1486: 1196: 1176: 1142: 815: 725: 720: 698: 389: 353: 279: 102: 2016:"Your Pretty Face Is Going to Hell" (originally titled "Hard to Beat") 1872:"Your Pretty Face Is Going to Hell" (originally titled "Hard to Beat") 4666: 4474: 4236: 2256:

show in the summer of 1972, and written pieces by British journalist

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Buskin, Richard (March 2011). "A-ha, 'Take On Me': Classic Tracks".

286:(credited as Iggy and the Stooges), released on February 7, 1973 by 4403: 4066: 3062: 3038: 2278: 1815: 1226: 842: 753: 472: 299: 168: 1431:

s 1997 remix also received positive reviews. Writing that year in

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Alternative Rock: Third Ear - The Essential Listening Companion

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Isler, Scott (1983). "The Stooges". In Robbins, Ira A. (ed.).

2639:""Iggy and the Stooges: Raw Power [Columbia/Legacy, 1997"" 2293:– bass guitar, backing vocals on "Penetration" and "Raw Power" 1261:

has appeared on professional listings of the greatest albums.

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writer Iain Ellis said the album can be seen in retrospect as

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in the years following its release and, like its predecessors

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believed that while the band's debut was "charged and brutal

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Agarwal, Manish (April 2007). "The Stooges: The Weirdness".

3944: 3868:"Thurston Moore on 9 albums that shaped his life and music" 2745:"Calling From The Fun House: Stooges guitarist Ron Asheton" 1653:

once described "Search and Destroy" as "great" and "a very

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were less receptive to Bowie's mix for the original album;

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in every sense" and "another masterpiece" from the group.

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in Wimbledon with sound engineer Gerry Kitchingham and at

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was more musically sophisticated "in its debauchery". In

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Pop and Bowie's mixes were both remastered in 2012 for a

566: 3723:"The Roots of Indie: Iggy and the Stooges – 'Raw Power'" 3091: 3089: 1736:, which tells the story of a character based on Bowie's 2617:

Search and Destroy: Iggy & The Stooges' "Raw Power"

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s Jonathan Hatchman wrote, "Above all, the reason that

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is "by far the most important punk record ever", while

547:, his distaste for how the original 1989 CD release of 4158:

Christgau's Record Guide: Rock Albums of the Seventies

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Moonage Daydream: The Life and Times of Ziggy Stardust

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Bruce Dickinson – executive production on 1997 reissue

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Live performance footage from Festival Planeta Terra,

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Christgau's Record Guide: Rock Albums of the Seventies

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addiction was escalating prior to the intervention of

3695:"Iggy & the Stooges – Raw Power (Legacy Edition)" 3152: 3086: 3067:"Pop On Pop: Iggy Rates His Own Music (And So Do We)" 1241:

remains "the greatest, meanest-eyed, coldest-blooded

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s Jarret Keene deemed it "garage-punk-metal" fusion.

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On the other hand, some fans – among them guitarist

3503:"Iggy and the Stooges: Raw Power (Columbia/Legacy)" 2759: 2339: 1562:once said that he learned to play guitar by taking 298:, who co-wrote the album's eight songs with singer 3236: 3108:Ross, Dalton (February 23, 2007). "Then and Now". 3035:"Raw Power – Iggy & the Stooges / The Stooges" 2475:"The world was not ready for Iggy and the Stooges" 2465: 2390: 302:. Pop produced the recording sessions himself and 2835:Sonic Cool: The Life & Death of Rock 'n' Roll 2415:"The Stooges Set the Stage for Punk 50 Years Ago" 1505:has been credited by many sources for pioneering 4714: 2235: 1141:received much praise from contemporary critics. 756:played; a photograph from one of these shows by 2718:"James Williamson talks: Raw Power 30 years on" 2531:: CS1 maint: others in cite AV media (notes) ( 2412: 611:of -4 dB, rare even by today's standards. 3818:"Rubber Rings: Johnny Marr's Favourite Albums" 1583:without being as studious, and the swagger of 314:Though not initially commercially successful, 4376: 2505: 2503: 2501: 2499: 2497: 1579:biggest fan. He has the technical ability of 1539:, lays claim to 'first punk record' status." 648:In 2002, Bowie said that his original mix of 466:in October 1972. Pop said of the production: 27:1973 studio album by Iggy and the Stooges 4644:You Don't Want My Name... You Want My Action 2152:Rarities, Outtakes & Alternates from the 1633:is his second favorite Stooges album (after 1364: 1314: 1106: 1056: 1018: 980: 942: 885: 847: 4215:The Trouser Press Guide to New Wave Records 3790:. Vol. 8, no. 1. pp. 42–44. 2939: 2693:. Chicago Mastering Service. Archived from 2368:. Chicago Mastering Service. Archived from 1218:The Trouser Press Guide to New Wave Records 515:, a collection of Pop's original mixes for 4383: 4369: 4186: 3361: 2832: 2494: 1191:Along with the Stooges' first two albums, 582:remix. Upon reviewing the 1997 edition of 38: 4147: 4049:(March 1994). "Call Me Mr. Extra Balls". 3934: 3660: 3658: 3630: 3302: 3095: 2742: 2287:– guitar, backing vocals on "Penetration" 2232:, a booklet, and a pack of photo prints. 1481:journalist Stuart Berman, Pop's remix of 4580:Raw Power Live: In the Hands of the Fans 4291:Seward, Scott (2004). "The Stooges". In 4121: 4045: 3748: 3720: 3562: 3556: 2861: 2800: 2798: 2352: 1280:" list, and 128 in a 2012 revised list. 744: 507: 3994:1,000 Recordings to Hear Before You Die 3964: 3815: 3749:Hatchman, Jonathan (February 7, 2013). 3500: 3333: 3148:. No. 287. June 2010. p. 140. 3131:. No. 199. June 2010. p. 112. 2974: 2613: 2578: 2461: 2459: 1690:The album's songs have been frequently 1497: 574:American music journalist and essayist 78:September – October 1972 4715: 4290: 4017: 3837: 3776: 3692: 3664: 3655: 3531: 3211: 3181:. Vol. 23, no. 3. p. 72 3158: 3057: 3055: 2980:"Iggy Pop Reaches Back to 'Raw Power'" 2970: 2968: 2966: 2964: 2561: 1710:'s covers of "Search and Destroy" and 740: 334:(1970), is considered a forerunner of 278:is the third studio album by American 4630:1970: The Complete Fun House Sessions 4364: 4261: 4212: 4099: 3527: 3525: 3496: 3494: 3377: 3298: 3296: 3294: 3292: 3231: 3199: 3170: 2917: 2889: 2804: 2795: 2765: 2715: 2661: 2067: 2056: 2045: 2034: 2023: 2012: 2001: 1990: 1956: 1945: 1934: 1923: 1912: 1879: 1868: 1857: 1842: 1761:. A cover of "Search and Destroy" by 1293: 828: 801: 791: 4235: 3990: 3865: 3840:"Johnny Marr: soundtrack of my life" 3721:Stafford, James (November 5, 2014). 3393: 3264: 3107: 2892:"Punk and Metal: Frenemies for Life" 2779:""Iggy Pop keeps Stooges raw, real"" 2456: 1730:covered "Gimme Danger" for the film 1600:Burroughs and the Beat Generation." 1195:came to be regarded as an important 4065: 3447:. December 11, 2003. Archived from 3142:"Iggy and the Stooges: Raw Power". 3125:"Iggy and the Stooges: Raw Power". 3061: 3052: 2961: 2869:. Miller Freeman Books. p. 3. 2743:Shimamoto, Ken (November 2, 1998). 2243:saw a limited vinyl re-release for 2182:"Your Pretty Face Is Going to Hell" 2086:Georgia Peaches (Live at Richards, 1808: 1765:also appeared on the soundtrack to 1747:"Gimme Danger" was also covered by 1678:. That is a definitive statement". 1278:The 500 Greatest Albums of All Time 429:Initial demo sessions were held at 294:approach inspired by new guitarist 13: 4733:Albums with cover art by Mick Rock 4262:Rubin, Mike (1995). "Stooges". In 4071:"Iggy Pop Keeps Stooges Raw, Real" 3890:"Kurt Cobain's 50 favorite albums" 3636:"Pazz & Jop 1997: Dean's List" 3522: 3491: 3411:"The 100 Best Albums of the 1970s" 3289: 3215:(June 1997). "Louder than bombs". 3032: 2805:Manno, Lizzie (February 7, 2019). 2581:"Tin Machine: Bowie & Gabrels" 2220:was released, consisting of three 2140:"Head On" (Rehearsal performance) 630:goes, "You know what? When Iggy's 503: 14: 4764: 4324: 4302:The New Rolling Stone Album Guide 4153:"Iggy and the Stooges: Raw Power" 3965:Simpson, Dave (24 October 2014). 3665:Berman, Stuart (April 14, 2010). 3601:"Wall of Sound Review: Raw Power" 3595: 3565:"Iggy and the Stooges: Raw Power" 3471:"500 Greatest Albums of All Time" 2391:The Stooges Review (1969-12-31). 2142:(from CBS Studios Rehearsal Tape) 1969: 1758:Ghost Recon Advanced Warfighter 2 1694:. Prominent versions include the 1366: 1316: 1108: 1058: 1020: 982: 944: 887: 849: 4345:on The Stooges' official website 4343:Stream the entire album for free 4182:– via robertchristgau.com. 2918:Keene, Jarret (March 22, 2007). 1803: 1380: 1375: 1370: 1365: 1335: 1330: 1325: 1320: 1315: 1127: 1122: 1117: 1112: 1107: 1077: 1072: 1067: 1062: 1057: 1039: 1034: 1029: 1024: 1019: 1001: 996: 991: 986: 981: 963: 958: 953: 948: 943: 901: 896: 891: 886: 868: 863: 858: 853: 848: 689: 4573:Have Some Fun: Live at Ungano's 4390: 4059: 4039: 4018:Hewitt, Ben (January 4, 2011). 4011: 3984: 3958: 3954:– via morrissey-solo.com. 3928: 3910: 3882: 3866:Yarm, Mark (18 December 2014). 3859: 3831: 3809: 3770: 3742: 3714: 3686: 3624: 3589: 3463: 3431: 3403: 3327: 3258: 3225: 3205: 3164: 3135: 3118: 3101: 3026: 2999: 2911: 2883: 2855: 2826: 2771: 2736: 2709: 2683: 2655: 2631: 2598: 2579:Horkins, Tony (December 1991). 2572: 2555: 2207: 1792:in its entirety as part of the 697:has often been classified as a 4728:Albums produced by David Bowie 3838:McLean, Craig (30 June 2013). 3816:Freeman, John (16 June 2015). 3501:Stegall, Tim (June 27, 1997). 2890:Ellis, Iain (April 27, 2020). 2720:. The I-94 Bar. Archived from 2662:Gross, Jason (November 1997). 2539: 2431: 2413:Troy Brownfield (2019-08-09). 2406: 2384: 2358: 2325: 2218:Raw Power: The Masters Edition 1978: 1900: 1830: 1780:In May 2010, Pop, Williamson, 1774:StarCraft II: Wings of Liberty 1768:Tony Hawk's American Wasteland 1714:' cover of the title track on 437:in Barnes with sound engineer 309:extreme volume and compression 1: 4269:Spin Alternative Record Guide 2319: 2236:2012 Record Store Day reissue 2192:Documentary by Morgan Neville 1283: 1089:Spin Alternative Record Guide 1013:The Rolling Stone Album Guide 372:After their first two albums 367: 4131:Wayne State University Press 3939:(Interview). Interviewed by 3563:Josephes, Jason (May 1997). 3346:and 1973's sleazy, volatile 2949:. Iggyandthestoogesmusic.com 2267: 424: 7: 4545:Live at the Whiskey A Go-Go 3693:Maider, Ted (May 7, 2010). 2833:Harrington, Joe S. (2002). 2260:and rock 'n roll historian 1698:', Red Hot Chili Peppers', 1155:, the "by-now banal words ' 578:wrote approvingly of Pop's 10: 4769: 4093: 3935:Morrissey (July 6, 1997). 3419:. June 23, 2004. p. 2 3221:. No. 1. p. 110. 3173:"Discography: The Stooges" 3171:Rabid, Jack (March 2007). 2443:Rock and Roll Hall of Fame 1814:All tracks are written by 1649:". Former Smiths frontman 431:RG Jones Recording Studios 63:February 7, 1973 22:Raw Power (disambiguation) 15: 4653: 4614: 4589: 4529: 4483: 4398: 2419:The Saturday Evening Post 1985: 1982: 1977: 1907: 1904: 1899: 1837: 1834: 1829: 1301: 1298: 836: 833: 809: 806: 267: 237: 226: 222: 185: 177: 154: 142: 126: 93: 82: 74: 59: 46: 37: 32: 4748:Legacy Recordings albums 4125:(2011). "4: Raw Power". 2614:Neville, Morgan (2010). 913:Christgau's Record Guide 760:appears on the cover of 392:, and singer Iggy Pop's 4743:Columbia Records albums 4738:Au Go Go Records albums 4692:Sonic's Rendezvous Band 4661:The Stooges discography 4266:; Marks, Craig (eds.). 4219:Charles Scribner's Sons 2839:Hal Leonard Corporation 2439:"The Stooges Biography" 2312:– mixing (1973 version) 1717:The Spaghetti Incident? 659:In 2010, Pop remarked, 495:'s documentary film on 464:Western Sound Recorders 4107:. Hardie Grant Books. 2585:International Musician 1794:All Tomorrow's Parties 765: 673: 646: 621: 593: 572: 524: 489: 479:Bowie later recalled: 477: 259:Released: 1973 (Japan) 20:. For other uses, see 3634:(February 24, 1998). 2669:Perfect Sound Forever 2132:from the session for 1784:, Scott Asheton, and 1672:Red Hot Chili Peppers 1603:Singer and guitarist 1566:and playing along to 748: 661: 625: 616: 588: 561: 511: 481: 468: 4697:Destroy All Monsters 4623:Night of Destruction 4307:Simon & Schuster 4241:Apathy for the Devil 4127:The Stooges: Head On 3922:The Vanishing Tattoo 3700:Consequence of Sound 3542:Entertainment Weekly 3508:The Austin Chronicle 3451:on December 20, 2010 3111:Entertainment Weekly 2920:"Rhythm & Views" 2724:on December 28, 2005 2551:(Documentary). 2016. 2304:Additional musicians 2214:soundboard recording 2111:"Search and Destroy" 1994:"Search and Destroy" 1617:numerous times that 1535:or its predecessor, 1518:Consequence of Sound 1498:Legacy and influence 1451:The Austin Chronicle 1434:Entertainment Weekly 1347:Entertainment Weekly 1309:The Austin Chronicle 925:Entertainment Weekly 797:Original mix ratings 705:album. According to 250:Released: June 1973 179:Iggy and the Stooges 53:Iggy and the Stooges 4598:I Wanna Be Your Dog 4069:(August 27, 2010). 3898:. November 15, 2012 3577:on December 5, 2004 3306:(January 6, 1998). 2527:cite AV media notes 2254:King's Cross Cinema 2123:"Open Up and Bleed" 2120:"Cock in My Pocket" 1896: 1826: 1290: 1253:I Wanna Be Your Dog 1211:was "lurid chaos", 798: 741:Marketing and sales 4753:The Stooges albums 4605:Search and Destroy 4354:2014-10-26 at the 4339:(list of releases) 4163:Ticknor and Fields 3991:Moon, Tom (2008). 2513:(CD liner notes). 2473:(March 11, 2010). 2252:at their infamous 1894: 1848:Search and Destroy 1824: 1289:1997 remix ratings 1288: 1237:said in 2010 that 796: 792:Critical reception 766: 605:loudest album ever 557:Sony Music Studios 525: 519:, was released by 456:Search and Destroy 245:Search and Destroy 4710: 4709: 4552:Open Up and Bleed 4245:Faber & Faber 4149:Christgau, Robert 4004:978-0-7611-3963-8 3782:"The Sex Pistols" 3641:The Village Voice 3632:Christgau, Robert 3535:(April 4, 1997). 3313:The Village Voice 3304:Christgau, Robert 3065:(July 22, 1990). 2985:Los Angeles Times 2697:on August 8, 2007 2521:. 1997. CK 66229. 2372:on August 8, 2007 2333:"Stooges singles" 2167:"I'm Sick of You" 2143: 2137: 2114:"I Need Somebody" 2078: 2077: 2049:"I Need Somebody" 1966: 1965: 1927:"I Need Somebody" 1890: 1889: 1740:during the 1970s 1445:Los Angeles Times 1423: 1422: 1404:The Village Voice 1359:Los Angeles Times 1148:Phonograph Record 1136: 1135: 601:Smashing Pumpkins 553:Legacy Recordings 271: 270: 218: 217: 4760: 4432:James Williamson 4385: 4378: 4371: 4362: 4361: 4320: 4305:(4th ed.). 4297:Hoard, Christian 4293:Brackett, Nathan 4287: 4258: 4232: 4209: 4188:Hodgkinson, Will 4183: 4181: 4179: 4144: 4118: 4088: 4087: 4085: 4083: 4063: 4057: 4056: 4043: 4037: 4036: 4034: 4032: 4015: 4009: 4008: 3988: 3982: 3981: 3979: 3977: 3962: 3956: 3955: 3953: 3951: 3932: 3926: 3925: 3914: 3908: 3907: 3905: 3903: 3886: 3880: 3879: 3877: 3875: 3863: 3857: 3856: 3854: 3852: 3835: 3829: 3828: 3826: 3824: 3813: 3807: 3806: 3804: 3802: 3774: 3768: 3767: 3765: 3763: 3746: 3740: 3739: 3737: 3735: 3718: 3712: 3711: 3709: 3707: 3690: 3684: 3683: 3681: 3679: 3662: 3653: 3652: 3650: 3648: 3628: 3622: 3621: 3619: 3618: 3609:. Archived from 3593: 3587: 3586: 3584: 3582: 3573:. Archived from 3560: 3554: 3553: 3551: 3549: 3529: 3520: 3519: 3517: 3515: 3498: 3489: 3488: 3486: 3484: 3467: 3461: 3460: 3458: 3456: 3435: 3429: 3428: 3426: 3424: 3407: 3401: 3391: 3385: 3375: 3369: 3359: 3353: 3352: 3340:. No. 161. 3331: 3325: 3324: 3322: 3320: 3308:"Consumer Guide" 3300: 3287: 3286: 3284: 3282: 3268:(May 10, 1973). 3262: 3256: 3255: 3253: 3251: 3240: 3229: 3223: 3222: 3209: 3203: 3197: 3191: 3190: 3188: 3186: 3168: 3162: 3156: 3150: 3149: 3139: 3133: 3132: 3122: 3116: 3115: 3105: 3099: 3093: 3084: 3083: 3081: 3079: 3059: 3050: 3049: 3047: 3045: 3030: 3024: 3023: 3021: 3019: 3003: 2997: 2996: 2994: 2992: 2972: 2959: 2958: 2956: 2954: 2943: 2937: 2936: 2934: 2932: 2915: 2909: 2908: 2906: 2904: 2887: 2881: 2880: 2859: 2853: 2852: 2830: 2824: 2823: 2821: 2819: 2802: 2793: 2792: 2790: 2789: 2775: 2769: 2763: 2757: 2756: 2754: 2752: 2740: 2734: 2733: 2731: 2729: 2716:Shimamoto, Ken. 2713: 2707: 2706: 2704: 2702: 2687: 2681: 2680: 2678: 2676: 2659: 2653: 2652: 2650: 2649: 2635: 2629: 2628: 2626: 2624: 2602: 2596: 2595: 2593: 2591: 2576: 2570: 2569: 2559: 2553: 2552: 2543: 2537: 2536: 2530: 2522: 2519:Columbia Records 2507: 2492: 2491: 2489: 2487: 2471:Petridis, Alexis 2467:Hodgkinson, Will 2463: 2454: 2453: 2451: 2449: 2435: 2429: 2428: 2426: 2425: 2410: 2404: 2403: 2401: 2400: 2388: 2382: 2381: 2379: 2377: 2362: 2356: 2350: 2337: 2336: 2329: 2285:James Williamson 2245:Record Store Day 2141: 2127: 1980: 1975: 1974: 1959: 1902: 1897: 1893: 1832: 1827: 1823: 1820:James Williamson 1809:Original release 1547: 1430: 1385: 1384: 1383: 1379: 1378: 1374: 1373: 1369: 1368: 1340: 1339: 1338: 1334: 1333: 1329: 1328: 1324: 1323: 1319: 1318: 1291: 1287: 1275: 1182:Robert Christgau 1132: 1131: 1130: 1126: 1125: 1121: 1120: 1116: 1115: 1111: 1110: 1082: 1081: 1080: 1076: 1075: 1071: 1070: 1066: 1065: 1061: 1060: 1044: 1043: 1042: 1038: 1037: 1033: 1032: 1028: 1027: 1023: 1022: 1006: 1005: 1004: 1000: 999: 995: 994: 990: 989: 985: 984: 968: 967: 966: 962: 961: 957: 956: 952: 951: 947: 946: 906: 905: 904: 900: 899: 895: 894: 890: 889: 873: 872: 871: 867: 866: 862: 861: 857: 856: 852: 851: 824: 802:Aggregate scores 799: 795: 736: 677:Record Store Day 623:Asheton stated: 576:Robert Christgau 406:James Williamson 402:Columbia Records 296:James Williamson 288:Columbia Records 260: 257: 251: 248: 187: 186: 138: 137: 133: 70: 68: 42: 30: 29: 18:Raw Power (band) 4768: 4767: 4763: 4762: 4761: 4759: 4758: 4757: 4713: 4712: 4711: 4706: 4649: 4610: 4585: 4559:Live in Detroit 4525: 4479: 4394: 4389: 4356:Wayback Machine 4327: 4317: 4284: 4255: 4229: 4206: 4177: 4175: 4173: 4141: 4123:Callwood, Brett 4115: 4096: 4091: 4081: 4079: 4076:Chicago Tribune 4064: 4060: 4047:Cavanagh, David 4044: 4040: 4030: 4028: 4016: 4012: 4005: 3989: 3985: 3975: 3973: 3963: 3959: 3949: 3947: 3943:. Los Angeles: 3933: 3929: 3918:"Henry Rollins" 3916: 3915: 3911: 3901: 3899: 3888: 3887: 3883: 3873: 3871: 3864: 3860: 3850: 3848: 3836: 3832: 3822: 3820: 3814: 3810: 3800: 3798: 3775: 3771: 3761: 3759: 3747: 3743: 3733: 3731: 3719: 3715: 3705: 3703: 3691: 3687: 3677: 3675: 3663: 3656: 3646: 3644: 3629: 3625: 3616: 3614: 3594: 3590: 3580: 3578: 3561: 3557: 3547: 3545: 3530: 3523: 3513: 3511: 3499: 3492: 3482: 3480: 3469: 3468: 3464: 3454: 3452: 3437: 3436: 3432: 3422: 3420: 3409: 3408: 3404: 3392: 3388: 3376: 3372: 3362:Hodgkinson 2006 3360: 3356: 3332: 3328: 3318: 3316: 3301: 3290: 3280: 3278: 3263: 3259: 3249: 3247: 3235:(August 1973). 3230: 3226: 3210: 3206: 3198: 3194: 3184: 3182: 3169: 3165: 3157: 3153: 3141: 3140: 3136: 3124: 3123: 3119: 3106: 3102: 3094: 3087: 3077: 3075: 3072:Chicago Tribune 3060: 3053: 3043: 3041: 3031: 3027: 3017: 3015: 3005: 3004: 3000: 2990: 2988: 2978:(May 9, 1997). 2976:Hilburn, Robert 2973: 2962: 2952: 2950: 2945: 2944: 2940: 2930: 2928: 2916: 2912: 2902: 2900: 2888: 2884: 2877: 2860: 2856: 2849: 2841:. p. 274. 2831: 2827: 2817: 2815: 2803: 2796: 2787: 2785: 2783:Chicago Tribune 2777: 2776: 2772: 2764: 2760: 2750: 2748: 2741: 2737: 2727: 2725: 2714: 2710: 2700: 2698: 2689: 2688: 2684: 2674: 2672: 2660: 2656: 2647: 2645: 2637: 2636: 2632: 2622: 2620: 2610:Wayback Machine 2603: 2599: 2589: 2587: 2577: 2573: 2560: 2556: 2545: 2544: 2540: 2524: 2523: 2509: 2508: 2495: 2485: 2483: 2464: 2457: 2447: 2445: 2437: 2436: 2432: 2423: 2421: 2411: 2407: 2398: 2396: 2389: 2385: 2375: 2373: 2364: 2363: 2359: 2351: 2340: 2331: 2330: 2326: 2322: 2270: 2238: 2230:7" vinyl record 2210: 2203:- November 2009 2164:"I Got a Right" 2094:, October 1973) 2079: 1972: 1967: 1957: 1891: 1811: 1806: 1798:Don't Look Back 1733:Velvet Goldmine 1704:Shotgun Messiah 1668:John Frusciante 1545: 1500: 1472:critics' poll. 1428: 1381: 1376: 1371: 1336: 1331: 1326: 1321: 1286: 1273: 1201:Will Hodgkinson 1128: 1123: 1118: 1113: 1078: 1073: 1068: 1063: 1040: 1035: 1030: 1025: 1002: 997: 992: 987: 964: 959: 954: 949: 902: 897: 892: 880:Chicago Tribune 869: 864: 859: 854: 822: 821: 794: 743: 734: 692: 506: 504:Alternate mixes 435:Olympic Studios 427: 370: 263: 258: 255: 254: 249: 242: 241: 213: 204: 195: 173: 135: 131: 130: 122: 66: 64: 55: 28: 25: 12: 11: 5: 4766: 4756: 4755: 4750: 4745: 4740: 4735: 4730: 4725: 4708: 4707: 4705: 4704: 4699: 4694: 4689: 4684: 4677: 4670: 4663: 4657: 4655: 4651: 4650: 4648: 4647: 4640: 4633: 4626: 4618: 4616: 4615:Other releases 4612: 4611: 4609: 4608: 4601: 4593: 4591: 4587: 4586: 4584: 4583: 4576: 4569: 4566:Telluric Chaos 4562: 4555: 4548: 4541: 4533: 4531: 4527: 4526: 4524: 4523: 4516: 4509: 4502: 4495: 4487: 4485: 4481: 4480: 4478: 4477: 4472: 4470:Tornado Turner 4467: 4465:Scott Thurston 4462: 4457: 4452: 4447: 4442: 4436: 4435: 4428: 4421: 4418:Dave Alexander 4414: 4407: 4399: 4396: 4395: 4388: 4387: 4380: 4373: 4365: 4359: 4358: 4346: 4340: 4326: 4325:External links 4323: 4322: 4321: 4315: 4288: 4282: 4264:Weisbard, Eric 4259: 4254:978-0571258383 4253: 4233: 4227: 4210: 4204: 4184: 4171: 4145: 4140:978-0814337103 4139: 4119: 4113: 4095: 4092: 4090: 4089: 4058: 4038: 4010: 4003: 3983: 3957: 3927: 3909: 3881: 3858: 3830: 3808: 3780:(April 1992). 3769: 3741: 3713: 3685: 3654: 3623: 3588: 3555: 3521: 3490: 3479:. May 31, 2012 3462: 3430: 3402: 3386: 3370: 3354: 3326: 3288: 3257: 3224: 3204: 3202:, p. 378. 3192: 3163: 3161:, p. 786. 3151: 3134: 3117: 3100: 3096:Christgau 1981 3085: 3051: 3033:Deming, Mark. 3025: 2998: 2960: 2938: 2910: 2882: 2875: 2863:Thompson, Dave 2854: 2847: 2825: 2794: 2770: 2758: 2747:. The I-94 Bar 2735: 2708: 2682: 2664:"Robert Quine" 2654: 2630: 2597: 2571: 2565:Sound on Sound 2554: 2538: 2493: 2455: 2430: 2405: 2383: 2357: 2338: 2323: 2321: 2318: 2317: 2316: 2313: 2301: 2300: 2294: 2288: 2282: 2269: 2266: 2237: 2234: 2209: 2206: 2205: 2204: 2193: 2184: 2183: 2180: 2179:"Gimme Danger" 2177: 2174: 2173:"Shake Appeal" 2171: 2168: 2165: 2162: 2145: 2144: 2138: 2124: 2121: 2118: 2117:"Heavy Liquid" 2115: 2112: 2109: 2108:"Gimme Danger" 2106: 2103: 2100: 2099:"Introduction" 2076: 2075: 2072: 2069: 2065: 2064: 2061: 2060:"Shake Appeal" 2058: 2054: 2053: 2050: 2047: 2043: 2042: 2039: 2036: 2032: 2031: 2028: 2025: 2021: 2020: 2017: 2014: 2010: 2009: 2006: 2005:"Gimme Danger" 2003: 1999: 1998: 1995: 1992: 1988: 1987: 1984: 1981: 1973: 1971: 1970:Deluxe edition 1968: 1964: 1963: 1960: 1954: 1953: 1950: 1947: 1943: 1942: 1939: 1938:"Shake Appeal" 1936: 1932: 1931: 1928: 1925: 1921: 1920: 1917: 1914: 1910: 1909: 1906: 1903: 1892: 1888: 1887: 1884: 1881: 1877: 1876: 1873: 1870: 1866: 1865: 1862: 1861:"Gimme Danger" 1859: 1855: 1854: 1851: 1844: 1840: 1839: 1836: 1833: 1812: 1810: 1807: 1805: 1802: 1738:Ziggy Stardust 1593:Thurston Moore 1585:Keith Richards 1499: 1496: 1470:Pazz & Jop 1442:review in the 1421: 1420: 1417: 1411: 1410: 1407: 1399: 1398: 1395: 1387: 1386: 1362: 1354: 1353: 1350: 1342: 1341: 1312: 1304: 1303: 1300: 1296: 1295: 1285: 1282: 1229:also believed 1134: 1133: 1104: 1096: 1095: 1092: 1084: 1083: 1054: 1046: 1045: 1016: 1008: 1007: 978: 970: 969: 940: 932: 931: 928: 920: 919: 916: 908: 907: 883: 875: 874: 845: 839: 838: 835: 831: 830: 826: 825: 823:(2010 reissue) 818: 812: 811: 808: 804: 803: 793: 790: 778:Robert Hilburn 742: 739: 707:Brett Callwood 691: 688: 505: 502: 493:Morgan Neville 426: 423: 386:Dave Alexander 369: 366: 320:cult following 269: 268: 265: 264: 262: 261: 252: 238: 235: 234: 224: 223: 220: 219: 216: 215: 206: 197: 183: 182: 175: 174: 172: 171: 166: 160: 158: 152: 151: 146: 140: 139: 128: 124: 123: 121: 120: 115: 110: 105: 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4406: 4405: 4401: 4400: 4397: 4393: 4386: 4381: 4379: 4374: 4372: 4367: 4366: 4363: 4357: 4353: 4350: 4347: 4344: 4341: 4338: 4334: 4333: 4329: 4328: 4318: 4316:0-7432-0169-8 4312: 4308: 4304: 4303: 4298: 4294: 4289: 4285: 4283:0-679-75574-8 4279: 4275: 4274:Vintage Books 4271: 4270: 4265: 4260: 4256: 4250: 4246: 4242: 4238: 4234: 4230: 4224: 4220: 4216: 4211: 4207: 4201: 4197: 4196:Da Capo Press 4193: 4189: 4185: 4174: 4172:0-89919-026-X 4168: 4164: 4160: 4159: 4154: 4150: 4146: 4142: 4136: 4132: 4128: 4124: 4120: 4116: 4110: 4106: 4102: 4098: 4097: 4078: 4077: 4072: 4068: 4062: 4054: 4053: 4048: 4042: 4027: 4026: 4021: 4014: 4006: 4000: 3996: 3995: 3987: 3972: 3968: 3961: 3946: 3942: 3941:Richard Blade 3938: 3931: 3923: 3919: 3913: 3897: 3896: 3895:BrooklynVegan 3891: 3885: 3869: 3862: 3847: 3846: 3841: 3834: 3819: 3812: 3797: 3793: 3789: 3788: 3783: 3779: 3773: 3758: 3757: 3752: 3745: 3730: 3729: 3724: 3717: 3702: 3701: 3696: 3689: 3674: 3673: 3668: 3661: 3659: 3643: 3642: 3637: 3633: 3627: 3613:on 1999-10-02 3612: 3608: 3607: 3606:Wall of Sound 3602: 3598: 3592: 3576: 3572: 3571: 3566: 3559: 3544: 3543: 3538: 3534: 3533:Browne, David 3528: 3526: 3510: 3509: 3504: 3497: 3495: 3483:September 18, 3478: 3477: 3476:Rolling Stone 3472: 3466: 3450: 3446: 3445: 3444:Rolling Stone 3440: 3434: 3418: 3417: 3412: 3406: 3399: 3395: 3390: 3383: 3379: 3374: 3367: 3363: 3358: 3351: 3349: 3345: 3339: 3338: 3330: 3315: 3314: 3309: 3305: 3299: 3297: 3295: 3293: 3277: 3276: 3275:Rolling Stone 3271: 3267: 3261: 3246: 3245: 3239: 3234: 3228: 3220: 3219: 3214: 3208: 3201: 3196: 3180: 3179: 3174: 3167: 3160: 3155: 3147: 3146: 3138: 3130: 3129: 3121: 3114:. p. 66. 3113: 3112: 3104: 3097: 3092: 3090: 3074: 3073: 3068: 3064: 3058: 3056: 3040: 3036: 3029: 3014: 3013: 3008: 3002: 2987: 2986: 2981: 2977: 2971: 2969: 2967: 2965: 2948: 2942: 2927: 2926: 2925:Tucson Weekly 2921: 2914: 2899: 2898: 2893: 2886: 2878: 2876:9780879306076 2872: 2868: 2864: 2858: 2850: 2848:9780634028618 2844: 2840: 2836: 2829: 2814: 2813: 2808: 2801: 2799: 2784: 2780: 2774: 2768:, p. 61. 2767: 2762: 2746: 2739: 2723: 2719: 2712: 2696: 2692: 2686: 2671: 2670: 2665: 2658: 2644: 2643:Village Voice 2640: 2634: 2619: 2618: 2611: 2607: 2601: 2586: 2582: 2575: 2567: 2566: 2558: 2550: 2549: 2542: 2534: 2528: 2520: 2516: 2512: 2506: 2504: 2502: 2500: 2498: 2482: 2481: 2476: 2472: 2468: 2462: 2460: 2444: 2440: 2434: 2420: 2416: 2409: 2394: 2387: 2371: 2367: 2361: 2354: 2353:Callwood 2011 2349: 2347: 2345: 2343: 2334: 2328: 2324: 2314: 2311: 2308: 2307: 2306: 2305: 2298: 2297:Scott Asheton 2295: 2292: 2289: 2286: 2283: 2280: 2277: 2276: 2275: 2274: 2265: 2263: 2262:Brian J. Bowe 2259: 2255: 2251: 2246: 2242: 2233: 2231: 2227: 2223: 2219: 2215: 2202: 2198: 2194: 2191: 2190: 2189: 2188: 2181: 2178: 2175: 2172: 2169: 2166: 2163: 2160: 2159: 2158: 2157: 2153: 2149: 2139: 2135: 2131: 2125: 2122: 2119: 2116: 2113: 2110: 2107: 2104: 2101: 2098: 2097: 2096: 2095: 2093: 2089: 2083: 2073: 2070: 2066: 2062: 2059: 2055: 2051: 2048: 2044: 2040: 2037: 2033: 2029: 2027:"Penetration" 2026: 2022: 2018: 2015: 2011: 2007: 2004: 2000: 1996: 1993: 1989: 1976: 1961: 1958:Total length: 1955: 1951: 1948: 1944: 1940: 1937: 1933: 1929: 1926: 1922: 1918: 1915: 1911: 1898: 1885: 1883:"Penetration" 1882: 1878: 1874: 1871: 1867: 1863: 1860: 1856: 1852: 1849: 1845: 1841: 1828: 1822: 1821: 1817: 1804:Track listing 1801: 1799: 1795: 1791: 1787: 1783: 1778: 1776: 1775: 1770: 1769: 1764: 1760: 1759: 1755:for the game 1754: 1750: 1745: 1743: 1739: 1735: 1734: 1729: 1728:Ewan McGregor 1725: 1723: 1719: 1718: 1713: 1712:Guns N' Roses 1709: 1705: 1701: 1697: 1693: 1688: 1685: 1681: 1677: 1673: 1669: 1664: 1660: 1656: 1652: 1648: 1644: 1640: 1636: 1632: 1628: 1624: 1623:Henry Rollins 1620: 1616: 1615: 1611:wrote in his 1610: 1606: 1601: 1598: 1594: 1590: 1586: 1582: 1577: 1573: 1569: 1565: 1561: 1557: 1553: 1551: 1544: 1543: 1538: 1534: 1530: 1529: 1524: 1520: 1519: 1514: 1513: 1508: 1504: 1495: 1492: 1488: 1484: 1480: 1479: 1475:According to 1473: 1471: 1467: 1466: 1465:Village Voice 1461: 1457: 1453: 1452: 1447: 1446: 1440: 1436: 1435: 1427: 1418: 1416: 1415:Wall of Sound 1413: 1412: 1408: 1406: 1405: 1401: 1400: 1396: 1394: 1393: 1389: 1388: 1363: 1361: 1360: 1356: 1355: 1351: 1349: 1348: 1344: 1343: 1313: 1311: 1310: 1306: 1305: 1297: 1294:Review scores 1292: 1281: 1279: 1272: 1271: 1270:Rolling Stone 1266: 1265: 1260: 1256: 1254: 1250: 1249: 1244: 1240: 1236: 1232: 1228: 1224: 1220: 1219: 1214: 1210: 1206: 1202: 1198: 1194: 1189: 1187: 1186:Platonic idea 1183: 1178: 1174: 1173: 1172:Rolling Stone 1168: 1164: 1163: 1162:Stereo Review 1158: 1154: 1150: 1149: 1144: 1140: 1105: 1103: 1102: 1098: 1097: 1093: 1091: 1090: 1086: 1085: 1055: 1053: 1052: 1048: 1047: 1017: 1015: 1014: 1010: 1009: 979: 977: 976: 972: 971: 941: 939: 938: 934: 933: 929: 927: 926: 922: 921: 917: 915: 914: 910: 909: 884: 882: 881: 877: 876: 846: 844: 841: 840: 832: 829:Review scores 827: 819: 817: 814: 813: 805: 800: 789: 787: 783: 779: 775: 770: 763: 759: 755: 751: 747: 738: 733: 732: 731:Tucson Weekly 727: 723: 722: 717: 716:Dave Thompson 712: 708: 704: 700: 696: 690:Musical style 687: 684: 682: 678: 672: 668: 665: 660: 657: 655: 651: 645: 642: 637: 633: 629: 624: 620: 615: 612: 610: 606: 602: 598: 592: 587: 585: 581: 577: 571: 569: 568: 560: 558: 554: 550: 546: 540: 538: 534: 530: 522: 518: 514: 510: 501: 498: 494: 488: 486: 480: 476: 474: 473:beating a log 467: 465: 461: 457: 453: 448: 444: 440: 439:Keith Harwood 436: 432: 422: 420: 419:electric bass 415: 414:Scott Asheton 411: 407: 403: 399: 395: 391: 388:was fighting 387: 383: 382: 377: 376: 365: 363: 359: 355: 351: 347: 343: 342: 337: 333: 332: 327: 326: 321: 317: 312: 310: 305: 301: 297: 293: 289: 285: 281: 277: 276: 266: 253: 246: 240: 239: 236: 233: 229: 225: 221: 212: 211: 210:Metallic K.O. 207: 203: 202: 198: 194: 193: 189: 188: 184: 180: 176: 170: 167: 165: 162: 161: 159: 157: 153: 150: 147: 145: 141: 129: 125: 119: 116: 114: 111: 109: 106: 104: 101: 100: 98: 96: 92: 88: 85: 81: 77: 73: 62: 58: 54: 49: 45: 41: 36: 31: 23: 19: 4681:Gimme Danger 4679: 4672: 4665: 4642: 4637:Heavy Liquid 4635: 4628: 4621: 4578: 4571: 4564: 4557: 4550: 4543: 4536: 4520:Ready to Die 4518: 4511: 4505: 4504: 4497: 4490: 4450:Zeke Zettner 4440:Steve Mackay 4430: 4423: 4416: 4409: 4402: 4330: 4301: 4268: 4240: 4214: 4191: 4178:November 27, 4176:. Retrieved 4157: 4126: 4104: 4101:Bowie, David 4082:September 4, 4080:. Retrieved 4074: 4061: 4050: 4041: 4029:. Retrieved 4023: 4013: 3992: 3986: 3974:. Retrieved 3971:The Guardian 3970: 3960: 3948:. Retrieved 3930: 3921: 3912: 3900:. Retrieved 3893: 3884: 3872:. Retrieved 3861: 3849:. Retrieved 3845:The Guardian 3843: 3833: 3821:. Retrieved 3811: 3799:. Retrieved 3785: 3772: 3760:. Retrieved 3754: 3744: 3732:. Retrieved 3726: 3716: 3704:. Retrieved 3698: 3688: 3676:. Retrieved 3670: 3645:. Retrieved 3639: 3626: 3615:. Retrieved 3611:the original 3604: 3591: 3579:. Retrieved 3575:the original 3568: 3558: 3546:. Retrieved 3540: 3512:. Retrieved 3506: 3481:. Retrieved 3474: 3465: 3453:. Retrieved 3449:the original 3442: 3433: 3421:. Retrieved 3414: 3405: 3389: 3373: 3357: 3347: 3343: 3341: 3335: 3329: 3319:November 27, 3317:. Retrieved 3311: 3279:. Retrieved 3273: 3260: 3248:. Retrieved 3242: 3233:Frith, Simon 3227: 3216: 3213:Lester, Paul 3207: 3195: 3183:. 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Retrieved 2370:the original 2360: 2327: 2303: 2302: 2272: 2271: 2240: 2239: 2217: 2211: 2208:2010 reissue 2186: 2185: 2176:"Death Trip" 2170:"Hey, Peter" 2161:"I'm Hungry" 2155: 2151: 2147: 2146: 2133: 2085: 2081: 2080: 2071:"Death Trip" 1949:"Death Trip" 1813: 1789: 1786:Steve Mackay 1779: 1772: 1766: 1756: 1746: 1731: 1726: 1715: 1689: 1683: 1675: 1647:Deep Purples 1634: 1630: 1618: 1612: 1602: 1567: 1554: 1549: 1540: 1536: 1532: 1526: 1522: 1516: 1510: 1502: 1501: 1482: 1476: 1474: 1463: 1459: 1449: 1443: 1439:David Browne 1432: 1425: 1424: 1402: 1390: 1357: 1345: 1307: 1268: 1262: 1258: 1257: 1246: 1238: 1230: 1216: 1212: 1208: 1192: 1190: 1170: 1166: 1160: 1153:Lester Bangs 1146: 1138: 1137: 1099: 1087: 1049: 1011: 973: 935: 923: 911: 878: 768: 767: 761: 729: 719: 694: 693: 685: 674: 669: 666: 662: 658: 649: 647: 640: 635: 631: 626: 622: 617: 613: 607:", reaching 597:Robert Quine 594: 589: 583: 579: 573: 565: 562: 548: 544: 541: 536: 532: 529:Bomp Records 526: 521:Bomp Records 516: 512: 496: 490: 484: 482: 478: 469: 452:Tony Defries 428: 379: 373: 371: 341:The Guardian 339: 329: 323: 315: 313: 274: 273: 272: 231: 208: 200: 199: 190: 48:Studio album 4723:1973 albums 4530:Live albums 4492:The Stooges 4455:Jimmy Recca 4411:Ron Asheton 4392:The Stooges 4031:February 9, 4025:The Quietus 3997:. Workman. 3950:February 9, 3937:"Interview" 3870:. Nylon.com 3851:20 February 3778:Savage, Jon 3728:Diffuser.fm 3597:Graff, Gary 3281:February 9, 3270:"Raw Power" 3266:Kaye, Lenny 3244:Let It Rock 3159:Seward 2004 3078:November 4, 3044:February 9, 2953:February 2, 2947:"Raw Power" 2751:February 9, 2728:February 9, 2675:February 9, 2623:18 December 2515:The Stooges 2486:February 9, 2310:David Bowie 2291:Ron Asheton 2273:The Stooges 2126:"Doojiman" 2102:"Raw Power" 2038:"Raw Power" 1916:"Raw Power" 1753:Frank Black 1708:Def Leppard 1680:CeeLo Green 1659:Mötley Crüe 1605:Kurt Cobain 1597:Sonic Youth 1589:Darth Vader 1572:Johnny Marr 1560:Sex Pistols 1556:Steve Jones 1528:Diffuser.fm 1509:, although 1487:audiophiles 1485:"horrified 1223:heavy metal 1205:garage-rock 1157:heavy metal 750:Blue plaque 703:garage rock 628:Don Fleming 545:Rough Power 537:Rough Power 533:Rough Power 513:Rough Power 460:Los Angeles 410:Ron Asheton 398:David Bowie 378:(1969) and 375:The Stooges 358:Kurt Cobain 350:Johnny Marr 346:Sex Pistols 328:(1969) and 325:The Stooges 304:David Bowie 284:the Stooges 256:"Raw Power" 164:David Bowie 113:garage rock 4717:Categories 4674:Skull Ring 4237:Kent, Nick 4228:0684179431 4205:0306815141 4192:Guitar Man 4114:0789313502 3976:22 January 3902:October 8, 3874:22 January 3823:20 January 3801:October 8, 3678:August 22, 3647:August 26, 3617:2023-03-11 3548:August 22, 3514:August 22, 3455:October 8, 3423:January 2, 3396:, p. 3380:, p. 3378:Isler 1983 3364:, p. 3250:August 26, 3200:Rubin 1995 3185:October 8, 3012:Metacritic 2991:August 22, 2897:PopMatters 2788:2023-03-03 2766:Bowie 2005 2691:"Loudness" 2648:2023-03-03 2590:9 February 2448:October 3, 2424:2022-06-06 2399:2022-06-06 2395:. AllMusic 2366:"Loudness" 2320:References 2258:Kris Needs 2154:Raw Power 2148:Disc three 1788:performed 1663:Nikki Sixx 1627:Black Flag 1581:Jimmy Page 1576:the Smiths 1284:1997 remix 1197:proto-punk 1177:Lenny Kaye 1143:Dave Marsh 816:Metacritic 726:punk metal 721:PopMatters 699:proto-punk 641:Raw Power. 390:alcoholism 368:Background 354:the Smiths 232:Raw Power 181:chronology 103:Proto-punk 67:1973-02-07 4667:Kill City 4506:Raw Power 4499:Fun House 4475:Mike Watt 4460:Bob Sheff 4332:Raw Power 4067:Kot, Greg 3796:0886-3032 3672:Pitchfork 3581:March 23, 3570:Pitchfork 3416:Pitchfork 3394:Kent 2010 3348:Raw Power 3063:Kot, Greg 2511:Raw Power 2268:Personnel 2250:Mick Rock 2241:Raw Power 2197:São Paulo 2187:Bonus DVD 2134:Raw Power 2105:"Head On" 1796:-curated 1790:Raw Power 1782:Mike Watt 1751:frontman 1742:glam rock 1700:Dead Boys 1696:Dictators 1684:Raw Power 1676:Raw Power 1651:Morrissey 1643:Zeppelins 1635:Fun House 1631:Raw Power 1619:Raw Power 1568:Raw Power 1558:from the 1550:Raw Power 1537:Fun House 1533:Raw Power 1523:Raw Power 1507:punk rock 1503:Raw Power 1483:Raw Power 1478:Pitchfork 1460:Raw Power 1426:Raw Power 1392:Pitchfork 1264:Pitchfork 1259:Raw Power 1243:hard rock 1239:Raw Power 1235:Nick Kent 1231:Raw Power 1213:Raw Power 1209:Fun House 1193:Raw Power 1167:Raw Power 1139:Raw Power 774:Mick Rock 769:Raw Power 762:Raw Power 758:Mick Rock 711:hard rock 695:Raw Power 650:Raw Power 636:Raw Power 632:Raw Power 584:Raw Power 580:Raw Power 549:Raw Power 517:Raw Power 497:Raw Power 485:Raw Power 425:Recording 381:Fun House 336:punk rock 331:Fun House 318:gained a 316:Raw Power 292:hard rock 275:Raw Power 201:Raw Power 192:Fun House 118:punk rock 108:hard rock 33:Raw Power 4404:Iggy Pop 4352:Archived 4299:(eds.). 4239:(2010). 4190:(2006). 4151:(1981). 4103:(2005). 3344:Funhouse 3039:AllMusic 2931:July 26, 2903:July 26, 2865:(2000). 2818:July 26, 2608:and the 2279:Iggy Pop 2082:Disc two 1895:Side two 1825:Side one 1816:Iggy Pop 1800:series. 1706:'s, and 1661:founder 1645:and the 1614:Journals 1227:Greg Kot 843:AllMusic 754:Lou Reed 728:, while 681:clipping 523:in 1993. 300:Iggy Pop 169:Iggy Pop 156:Producer 149:Columbia 89:, London 75:Recorded 60:Released 50: by 4654:Related 4590:Singles 4337:Discogs 4094:Sources 3762:July 4, 3734:July 4, 3706:July 4, 2701:June 4, 2376:June 4, 2299:– drums 2130:Outtake 2092:Georgia 2088:Atlanta 1763:Emanuel 1692:covered 1657:song". 1609:Nirvana 1456:Kleenex 782:Top 200 443:ballads 362:Nirvana 228:Singles 214:(1976) 205:(1973) 196:(1970) 65: ( 4313: 4280: 4251: 4225: 4202: 4169: 4137: 4111: 4001: 3794: 2873: 2845: 2228:, one 2224:, one 2201:Brazil 1986:Length 1908:Length 1838:Length 1749:Pixies 1744:era. 1682:cited 1639:Stones 1419:91/100 1302:Rating 1299:Source 1207:" and 837:Rating 834:Source 820:92/100 810:Rating 807:Source 447:London 394:heroin 356:, and 127:Length 83:Studio 4055:: 70. 3218:Uncut 2812:Paste 1983:Title 1962:33:57 1905:Title 1835:Title 1722:Slash 1564:speed 1546:' 1512:Paste 1491:lo-fi 1429:' 1397:10/10 1274:' 1101:Uncut 735:' 491:When 282:band 230:from 144:Label 95:Genre 4311:ISBN 4278:ISBN 4249:ISBN 4223:ISBN 4200:ISBN 4180:2016 4167:ISBN 4135:ISBN 4109:ISBN 4084:2020 4033:2012 3999:ISBN 3978:2020 3952:2012 3945:KROQ 3904:2020 3876:2020 3853:2020 3825:2020 3803:2020 3792:ISSN 3787:Spin 3764:2019 3736:2019 3708:2019 3680:2018 3649:2018 3583:2020 3550:2018 3516:2018 3485:2019 3457:2020 3425:2013 3337:Mojo 3321:2016 3283:2012 3252:2018 3187:2020 3178:Spin 3128:Mojo 3080:2020 3046:2012 3020:2021 2993:2018 2955:2018 2933:2021 2905:2021 2871:ISBN 2843:ISBN 2820:2021 2753:2012 2730:2012 2703:2013 2677:2012 2625:2020 2592:2012 2533:link 2488:2012 2450:2019 2378:2013 2074:6:07 2063:3:04 2052:4:53 2041:4:16 2030:3:41 2019:4:54 2008:3:33 1997:3:29 1952:6:07 1941:3:04 1930:4:53 1919:4:16 1886:3:41 1875:4:54 1864:3:33 1853:3:29 1818:and 1169:for 1094:9/10 1051:Spin 937:Mojo 786:UCLA 656:." 654:punk 412:and 280:rock 4687:MC5 4335:at 3756:DIY 3398:381 3382:236 3366:203 2226:DVD 2222:CDs 2156:Era 1979:No. 1901:No. 1831:No. 1702:', 1670:of 1625:of 1607:of 1595:of 1574:of 1542:DIY 1276:s " 701:or 609:RMS 567:sic 531:as 360:of 352:of 87:CBS 4719:: 4309:. 4295:; 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