This week, I have been listening to Iggy and the Stooges’ third album “Raw Power” from 1973. I received my introduction to the Stooges six months ago with their second album “Fun House.” I loved them then, and I loved this album two. At the point of writing and recording this album, The Stooges were officially broken up with alcohol and drug problems. Pop started “Raw Power” as a solo album, but ultimately enlisted former Stooges drummer Scott Asheton and bassist Ron Asheton. They are joined by guitarist James Williamson.
There are three mixes out there, the original release mixed by David Bowie, a 1997 release mixed by Iggy Pop, and a 2012 Record Store Day remaster of the Iggy Pop mix. My copy of the album is the CD version from 1997. Everything sounds more present, despite being compressed violently. It is loud. Mostly he’s pulled back the guitar a little while pushing forward the bass and vocals. Raw power by Iggy and the Stooges. You can feel the equipment is in pain from having such rock n roll pushed through it at such high levels. From what I’ve heard of the Bowie mixes, I agree they are thin, but I also feel the Pop mix is too hot. It’s as if he created a better mix, and then pushed the master level up all the way.
Search and Destroy
The Stooges jump right into the album with rocker “Search and Destroy.” The song kicks off with drums, bass and fuzz guitar. Already loud. After a couple opening bars, Pop sings “I’m a street walking cheetah with a heart full of napalm…” The band provided tremendous influence on rock n roll music, especially punk rock of the late 70s and beyond. This song certainly left a mark. To list all of the bands that have covered “Search and Destroy” would be ridiculous. Some noteworthy covers include the Sex Pistols, the Red Hot Chili Peppers, EMF, Skunk Anansie, and Def Leppard. An interesting thing to note about these covers is how faithful they are to the original. These bands admire more than the songwriting, the sound and attitude of the Stooges excites.
As if to prove immediately that they have variety, the second song opens with picked acoustic guitar in the left channel. Bass guitar and drums join in the center, with some sort of melodic percussion instrument in the right channel. Pop’s sings with his naturally course voice a slower melody. He takes on some of The Doors‘ singer Jim Morrison’s swagger as he takes the listener on a trip into the darkness. The lyrics take on some of Morrison’s style: “Say, gotta gimme danger, wild little stranger. Honey, gonna feel my hand; Swear, you gonna feel my hand!”
A celeste plays a pretty ascending line of notes in the Stooges’ track “Penetration.” It provides a balance by contrast to the menacing fuzz guitar and Pop’s growling and hissingly wicked vocals. The guitar is primarily a repeated muted monophonic riffs on the E minor chord. This constant repeated riff with no real chord progression feels like unresolved constant travelling on a nightmare ride.
He drives these short lines like an empty narrative list of regrets or confession. It’s not clear, but it’s not pleasant.
Every night at town
Every night at town
I’m going now
Take a lay