So, one by one, the tunes were falling into place. We also had a rented truck that was driven by Eric Haddix, who was a very tough boy and all-around cool soul, who for some reason almost always wore black leather gloves. John Adams, who lived in the basement and did a variety of chores such as driving us around, getting us to gigs, and humping the equipment was the owner and chauffeur. One was a black ’57 Chrysler New Yorker with push-button transmission. The group had 2 vehicles that we depended on. As the concept progressed, I felt that the kind of music we were doing needed to expand and explode as the record moved forward, and that’s why we brought in Steve Mackay to help blow us over the top with his psychedelic sax. I’m not sure what Ron thought about that, but he definitely enjoyed what we were doing on this new record. Scott Asheton and myself were both very keen to do something much more aggressive than our first record which was more laid back in certain ways. Once it was solid, we’d play it at our gigs on the weekend. Anyway, I’d write a number that I thought the group could play well, bring it downstairs from my attic room and try to rehearse it up. So, he wasn’t as prolific as he had been previously, and I don’t blame him.
Ron had gotten his hands on the best private apartment, and a nice girlfriend too named Shelly. The songs on the album were all written there, most of it in my attic bedroom. There was a lot of dope smoking, some good writing, and a bit of rehearsal done at that house which later became known as “The Funhouse” after the album. There was a kitchen, rec room, tv room, rehearsal room, 2 proper bedrooms, 2 separated apartments, and a converted attic and basement. The farmer was too old to live there anymore, so we took over. There was an abandoned corn field and junked car in back. It had a wide porch, a stately driveway, and a nice lawn and trees. The rehearsal room was set up in the former salon of a lovely old farmhouse we rented for $325 a month on the outskirts of Ann Arbor.
I remember thinking “this is it we’re going with it.” We were about half way through writing and preparation for our sophomore album, and it needed a title this time. I was laying on my back on the floor of the Stooges rehearsal room, stoked on LSD and reefer, staring at the lovely amplifiers and egg cartons on the walls, when I thought I saw the word “Funhouse” hovering above me in the air, just below the ceiling. The album almost single-handedly detonated the punk-rock movement in the next few years after its release, becoming THE album against which all others were measured, where it remains to this day.On the eve of the release of the Fun House Deluxe Box Set, Iggy recounts the creation and recording of the album.
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 Stooge’s ages, hormones, creativity, ability, experience, tastes, lack of supervision, contempt for authority, and ambition that has made Raw Power one of the most iconic and revered albums of all time! First released on Columbia Records in 1973, the savagely bombastic Raw Power by Iggy & The Stooges is perhaps the first record that could truly be called punk. Nearly 38 years 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. The gatefold set also includes a 16-page booklet with rare photos and liner notes. Iggy And The Stooges Raw Power is hands down one of the most influential albums of all time! Sony/Legacy now proudly presents the 1973 cornerstone of punk on a 2LP-set with LP1 featuring the original 1973 David Bowie mix and LP2 featuring the 1997 Iggy Pop mix.
0 kommentar(er)
