Raw Power - Knowledge (XXG)

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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

498:, 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. 1479:, 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 795:, 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 630:

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.

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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

1459:, 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 1170:' 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 2292:– 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 419:, 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 1505:

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

3449: 1262:, 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 ' 1162:

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

1232:, 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 " 4167: 1258: 923: 1195:

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

597:, 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, 663:

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

787:. 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 1804: 3548:"Album Reviews: 'Loaded: Fully Loaded Edition'; 'Sweetheart of the Rodeo'; 'Rawpower'; 'Who Are You'; 'Dr. Byrds & Mr. Hyde'; 'The Who by Numbers'" 3353:

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

3611: 3575: 3248: 791:, the album was "far too radical for the corporate-rock sensibilities of radio" in 1973, and as a result it only charted for three weeks on the 4640: 4615: 4393: 4013: 1858: 466: 255: 2343: 538:

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:

2425: 494:...the most absurd situation I encountered when I was recording was the first time I worked with Iggy Pop. He wanted me to mix 4237: 4214: 4123: 1784: 4362: 1469:

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

395:(1970) were released to little commercial success, the Stooges were in disarray: the band had officially broken up, bassist 301:. The album departed from the "groove-ridden, feel-based songs" of the band's first two records in favor of a more anthemic 3761: 4509: 4311: 4278: 1099: 1023: 391: 341: 202: 2620: 4141: 4030: 2537: 1158: 456:, one for each side of the album: "Gimme Danger" and "I Need Somebody". The album itself was recorded at CBS Studios in 3459: 4763: 4707: 4442: 3828: 2295: 1830: 416: 306: 2728: 4702: 4229: 2453: 1748: 441: 32: 3850: 4428: 4386: 3543: 2429: 1449: 396: 3421: 1602:

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

720:, it abandoned the "groove-ridden, feel-based songs" of the band's first two albums in favor of a more anthemic 2485: 1731:. "Iggy is so easygoing and so unpretentious, he didn't care whether we did it or not," remarked GNR guitarist 1727: 1256:

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

474: 3077: 452:, with most of the songs rejected by the band's management. Pop said that Columbia executives insisted on two 4081: 4671: 3616: 2849: 1425: 4360:

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."

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

469:" be retained. Due to budgetary constraints, Bowie remixed the other seven songs in a single day at 4608: 4502: 4317: 3682: 3580: 3426: 2272: 1488: 1402: 1274: 1263: 385: 335: 97: 1782:. Additionally, a cover of the album's namesake track "Raw Power" was performed by Romeo Delta in 763:

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

3678:"Iggy and the Stooges: Raw Power [Legacy Edition] / Raw Power [Deluxe Edition]" 3392: 4562: 4321: 4288: 4259: 4233: 4210: 4177: 4145: 4119: 4009: 3802: 3651: 3408: 3323: 2995: 2881: 2853: 2240: 1669: 1637: 1624: 1475: 1455: 1414: 1369: 1233: 1167: 611: 563: 3792: 3183: 1648:), calling it "America's greatest contribution to the hard rock scene", to compete with the " 1465:

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".

1163: 985: 615: 607: 539: 531: 462: 351: 319: 154: 17: 2207: 4359: 3900: 4465: 4421: 4402: 4111: 4035: 3738: 3243: 3223: 2525: 2320: 2301: 1718: 1690: 1665: 1657: 1615: 1607: 1599: 1582: 1574: 1570: 1538: 1501: 1278:

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

1517: 1253: 1245: 784: 768: 721: 664: 346: 302: 128: 118: 3762:"Iggy & The Stooges' 'Raw Power': The Greatest Punk Album Of All Time?" 3018:"Raw Power [Reissue] by Iggy & the Stooges Reviews and Tracks" 415:, Pop relocated to London, where he was to write and record an album with 4414: 4077: 3073: 3049: 2818:"Hear Iggy Pop Perform Songs From Raw Power, Released 46 Years Ago Today" 2732: 2289: 1826: 1237: 853: 764: 483: 310: 179: 4347: 4342: 3978:"Mötley Crüe's Nikki Sixx: 'I had a hangover for pretty much 15 years'" 2140: 2098: 1466: 2027:"Your Pretty Face Is Going to Hell" (originally titled "Hard to Beat") 1883:"Your Pretty Face Is Going to Hell" (originally titled "Hard to Beat") 2267:

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".

297:(credited as Iggy and the Stooges), released on February 7, 1973 by 1442:

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.).

2650:""Iggy and the Stooges: Raw Power [Columbia/Legacy, 1997"" 2304:– bass guitar, backing vocals on "Penetration" and "Raw Power" 2236: 1272:

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".

3879:"Thurston Moore on 9 albums that shaped his life and music" 2756:"Calling From The Fun House: Stooges guitarist Ron Asheton" 1664:

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

4031:"Baker's Dozen: Cee Lo Green On His 13 Favourite Records" 2404:"The Stooges The Stooges Album Reviews, Songs & More" 1735:. "He just likes the fact that we thought of that tune." 1226:

was more musically sophisticated "in its debauchery". In

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

3734:"The Roots of Indie: Iggy and the Stooges – 'Raw Power'" 3102: 3100: 1747:, which tells the story of a character based on Bowie's 2628:

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

558:, his distaste for how the original 1989 CD release of 4169:

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

3706:"Iggy & the Stooges – Raw Power (Legacy Edition)" 3078:"Pop On Pop: Iggy Rates His Own Music (And So Do We)" 1252:

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

4664: 4625: 4600: 4540: 4494: 3514:"Iggy and the Stooges: Raw Power (Columbia/Legacy)" 1996: 1988: 1918: 1910: 1848: 1840: 1573:once said that he learned to play guitar by taking 309:, who co-wrote the album's eight songs with singer 237: 188: 165: 153: 137: 104: 93: 85: 70: 57: 43: 3247: 3119:Ross, Dalton (February 23, 2007). "Then and Now". 3046:"Raw Power – Iggy & the Stooges / The Stooges" 2486:"The world was not ready for Iggy and the Stooges" 313:. Pop produced the recording sessions himself and 2846:Sonic Cool: The Life & Death of Rock 'n' Roll 2426:"The Stooges Set the Stage for Punk 50 Years Ago" 1516:has been credited by many sources for pioneering 1152:received much praise from contemporary critics. 767:played; a photograph from one of these shows by 2729:"James Williamson talks: Raw Power 30 years on" 2542:: CS1 maint: others in cite AV media (notes) ( 672: 636: 627: 622:of -4 dB, rare even by today's standards. 599: 572: 492: 479: 3829:"Rubber Rings: Johnny Marr's Favourite Albums" 1594:without being as studious, and the swagger of 325:Though not initially commercially successful, 4387: 2516: 2514: 2512: 2510: 2508: 1590:biggest fan. He has the technical ability of 1550:, lays claim to 'first punk record' status." 659:In 2002, Bowie said that his original mix of 477:in October 1972. Pop said of the production: 38:1973 studio album by Iggy and the Stooges 8: 4655:You Don't Want My Name... You Want My Action 2163:Rarities, Outtakes & Alternates from the 1644:is his second favorite Stooges album (after 1375: 1325: 1117: 1067: 1029: 991: 953: 896: 858: 4226:The Trouser Press Guide to New Wave Records 3801:. Vol. 8, no. 1. pp. 42–44. 2704:. Chicago Mastering Service. Archived from 2379:. Chicago Mastering Service. Archived from 1229:The Trouser Press Guide to New Wave Records 526:, a collection of Pop's original mixes for 4394: 4380: 4372: 3372: 1298: 1202:Along with the Stooges' first two albums, 806: 593:remix. Upon reviewing the 1997 edition of 49: 40: 4060:(March 1994). "Call Me Mr. Extra Balls". 3671: 3669: 3106: 2298:– guitar, backing vocals on "Penetration" 2243:, a booklet, and a pack of photo prints. 1492:journalist Stuart Berman, Pop's remix of 4591:Raw Power Live: In the Hands of the Fans 4302:Seward, Scott (2004). "The Stooges". In 2811: 2809: 2363: 1985: 1904: 1834: 1291:" list, and 128 in a 2012 revised list. 4005:1,000 Recordings to Hear Before You Die 3760:Hatchman, Jonathan (February 7, 2013). 3159:. No. 287. June 2010. p. 140. 3142:. No. 199. June 2010. p. 112. 2472: 2470: 2335: 1966: 1701:The album's songs have been frequently 585:American music journalist and essayist 89:September – October 1972 3192:. Vol. 23, no. 3. p. 72 3169: 3068: 3066: 2991:"Iggy Pop Reaches Back to 'Raw Power'" 2981: 2979: 2977: 2975: 2535: 1721:'s covers of "Search and Destroy" and 345:(1970), is considered a forerunner of 289:is the third studio album by American 4641:1970: The Complete Fun House Sessions 3538: 3536: 3507: 3505: 3388: 3309: 3307: 3305: 3303: 3210: 2776: 1967: 1772:. A cover of "Search and Destroy" by 1304: 839: 812: 7: 3851:"Johnny Marr: soundtrack of my life" 3732:Stafford, James (November 5, 2014). 3404: 2903:"Punk and Metal: Frenemies for Life" 2790:""Iggy Pop keeps Stooges raw, real"" 1741:covered "Gimme Danger" for the film 1611:Burroughs and the Beat Generation." 1206:came to be regarded as an important 3458:. December 11, 2003. Archived from 3153:"Iggy and the Stooges: Raw Power". 3136:"Iggy and the Stooges: Raw Power". 2880:. Miller Freeman Books. p. 3. 2754:Shimamoto, Ken (November 2, 1998). 2254:saw a limited vinyl re-release for 2193:"Your Pretty Face Is Going to Hell" 2097:Georgia Peaches (Live at Richards, 1776:also appeared on the soundtrack to 1758:"Gimme Danger" was also covered by 1689:. That is a definitive statement". 1289:The 500 Greatest Albums of All Time 440:Initial demo sessions were held at 305:approach inspired by new guitarist 4744:Albums with cover art by Mick Rock 4273:Rubin, Mike (1995). "Stooges". In 4082:"Iggy Pop Keeps Stooges Raw, Real" 3901:"Kurt Cobain's 50 favorite albums" 3647:"Pazz & Jop 1997: Dean's List" 3422:"The 100 Best Albums of the 1970s" 3226:(June 1997). "Louder than bombs". 2816:Manno, Lizzie (February 7, 2019). 2592:"Tin Machine: Bowie & Gabrels" 2231:was released, consisting of three 2151:"Head On" (Rehearsal performance) 641:goes, "You know what? When Iggy's 25: 4313:The New Rolling Stone Album Guide 4164:"Iggy and the Stooges: Raw Power" 3976:Simpson, Dave (24 October 2014). 3676:Berman, Stuart (April 14, 2010). 3612:"Wall of Sound Review: Raw Power" 3576:"Iggy and the Stooges: Raw Power" 3482:"500 Greatest Albums of All Time" 2402:The Stooges Review (1969-12-31). 2153:(from CBS Studios Rehearsal Tape) 1769:Ghost Recon Advanced Warfighter 2 1705:. Prominent versions include the 1377: 1327: 1119: 1069: 1031: 993: 955: 898: 860: 4356:on The Stooges' official website 4354:Stream the entire album for free 4193:– via robertchristgau.com. 2929:Keene, Jarret (March 22, 2007). 1391: 1386: 1381: 1376: 1346: 1341: 1336: 1331: 1326: 1138: 1133: 1128: 1123: 1118: 1088: 1083: 1078: 1073: 1068: 1050: 1045: 1040: 1035: 1030: 1012: 1007: 1002: 997: 992: 974: 969: 964: 959: 954: 912: 907: 902: 897: 879: 874: 869: 864: 859: 4584:Have Some Fun: Live at Ungano's 4029:Hewitt, Ben (January 4, 2011). 3965:– via morrissey-solo.com. 3877:Yarm, Mark (18 December 2014). 2590:Horkins, Tony (December 1991). 1803:in its entirety as part of the 708:has often been classified as a 4739:Albums produced by David Bowie 3849:McLean, Craig (30 June 2013). 3827:Freeman, John (16 June 2015). 3512:Stegall, Tim (June 27, 1997). 2901:Ellis, Iain (April 27, 2020). 2731:. The I-94 Bar. Archived from 2673:Gross, Jason (November 1997). 2424:Troy Brownfield (2019-08-09). 2229:Raw Power: The Masters Edition 1989: 1911: 1841: 1791:In May 2010, Pop, Williamson, 1785:StarCraft II: Wings of Liberty 1779:Tony Hawk's American Wasteland 1725:' cover of the title track on 448:in Barnes with sound engineer 320:extreme volume and compression 1: 4280:Spin Alternative Record Guide 2247:2012 Record Store Day reissue 2203:Documentary by Morgan Neville 1100:Spin Alternative Record Guide 1024:The Rolling Stone Album Guide 383:After their first two albums 4142:Wayne State University Press 3950:(Interview). Interviewed by 3574:Josephes, Jason (May 1997). 3357:and 1973's sleazy, volatile 2960:. Iggyandthestoogesmusic.com 4556:Live at the Whiskey A Go-Go 3704:Maider, Ted (May 7, 2010). 2844:Harrington, Joe S. (2002). 2271:and rock 'n roll historian 1709:', Red Hot Chili Peppers', 1166:, the "by-now banal words ' 589:wrote approvingly of Pop's 4780: 3946:Morrissey (July 6, 1997). 3430:. June 23, 2004. p. 2 3232:. No. 1. p. 110. 3184:"Discography: The Stooges" 3182:Rabid, Jack (March 2007). 2454:Rock and Roll Hall of Fame 1825:All tracks are written by 1660:". Former Smiths frontman 442:RG Jones Recording Studios 74:February 7, 1973 33:Raw Power (disambiguation) 26: 4409: 2430:The Saturday Evening Post 2078: 2067: 2056: 2045: 2034: 2023: 2012: 2001: 1993: 1956: 1945: 1934: 1923: 1915: 1890: 1879: 1868: 1853: 1845: 1312: 1309: 847: 844: 820: 817: 278: 248: 233: 196: 48: 4759:Legacy Recordings albums 4136:(2011). "4: Raw Power". 2625:Neville, Morgan (2010). 924:Christgau's Record Guide 771:appears on the cover of 403:, and singer Iggy Pop's 4754:Columbia Records albums 4749:Au Go Go Records albums 4703:Sonic's Rendezvous Band 4672:The Stooges discography 4277:; Marks, Craig (eds.). 4230:Charles Scribner's Sons 2850:Hal Leonard Corporation 2450:"The Stooges Biography" 2323:– mixing (1973 version) 1728:The Spaghetti Incident? 670:In 2010, Pop remarked, 506:'s documentary film on 475:Western Sound Recorders 4118:. Hardie Grant Books. 2596:International Musician 1805:All Tomorrow's Parties 776: 684: 657: 632: 604: 583: 535: 500: 490:Bowie later recalled: 488: 270:Released: 1973 (Japan) 31:. For other uses, see 3645:(February 24, 1998). 2680:Perfect Sound Forever 2143:from the session for 1795:, Scott Asheton, and 1683:Red Hot Chili Peppers 1614:Singer and guitarist 1577:and playing along to 759: 522: 4708:Destroy All Monsters 4634:Night of Destruction 4318:Simon & Schuster 4252:Apathy for the Devil 4138:The Stooges: Head On 3933:The Vanishing Tattoo 3711:Consequence of Sound 3553:Entertainment Weekly 3519:The Austin Chronicle 3462:on December 20, 2010 3122:Entertainment Weekly 2931:"Rhythm & Views" 2735:on December 28, 2005 2562:(Documentary). 2016. 2315:Additional musicians 2225:soundboard recording 2122:"Search and Destroy" 2005:"Search and Destroy" 1628:numerous times that 1546:or its predecessor, 1529:Consequence of Sound 1509:Legacy and influence 1462:The Austin Chronicle 1445:Entertainment Weekly 1358:Entertainment Weekly 1320:The Austin Chronicle 936:Entertainment Weekly 808:Original mix ratings 716:album. According to 261:Released: June 1973 190:Iggy and the Stooges 64:Iggy and the Stooges 4609:I Wanna Be Your Dog 4080:(August 27, 2010). 3909:. November 15, 2012 3588:on December 5, 2004 3317:(January 6, 1998). 2538:cite AV media notes 2265:King's Cross Cinema 2134:"Open Up and Bleed" 2131:"Cock in My Pocket" 1907: 1837: 1301: 1264:I Wanna Be Your Dog 1222:was "lurid chaos", 809: 752:Marketing and sales 18:Gimme Danger (song) 4764:The Stooges albums 4616:Search and Destroy 4365:2014-10-26 at the 4350:(list of releases) 4174:Ticknor and Fields 4002:Moon, Tom (2008). 2524:(CD liner notes). 2484:(March 11, 2010). 2263:at their infamous 1905: 1859:Search and Destroy 1835: 1300:1997 remix ratings 1299: 1248:said in 2010 that 807: 803:Critical reception 777: 616:loudest album ever 568:Sony Music Studios 536: 530:, was released by 467:Search and Destroy 256:Search and Destroy 4721: 4720: 4563:Open Up and Bleed 4256:Faber & Faber 4160:Christgau, Robert 4015:978-0-7611-3963-8 3793:"The Sex Pistols" 3652:The Village Voice 3643:Christgau, Robert 3546:(April 4, 1997). 3324:The Village Voice 3315:Christgau, Robert 3076:(July 22, 1990). 2996:Los Angeles Times 2708:on August 8, 2007 2532:. 1997. CK 66229. 2383:on August 8, 2007 2344:"Stooges singles" 2178:"I'm Sick of You" 2154: 2148: 2125:"I Need Somebody" 2089: 2088: 2060:"I Need Somebody" 1977: 1976: 1938:"I Need Somebody" 1901: 1900: 1751:during the 1970s 1456:Los Angeles Times 1434: 1433: 1415:The Village Voice 1370:Los Angeles Times 1159:Phonograph Record 1147: 1146: 612:Smashing Pumpkins 564:Legacy Recordings 282: 281: 229: 228: 16:(Redirected from 4771: 4443:James Williamson 4396: 4389: 4382: 4373: 4331: 4316:(4th ed.). 4308:Hoard, Christian 4304:Brackett, Nathan 4298: 4269: 4243: 4220: 4199:Hodgkinson, Will 4194: 4192: 4190: 4155: 4129: 4099: 4098: 4096: 4094: 4074: 4068: 4067: 4054: 4048: 4047: 4045: 4043: 4026: 4020: 4019: 3999: 3993: 3992: 3990: 3988: 3973: 3967: 3966: 3964: 3962: 3943: 3937: 3936: 3925: 3919: 3918: 3916: 3914: 3897: 3891: 3890: 3888: 3886: 3874: 3868: 3867: 3865: 3863: 3846: 3840: 3839: 3837: 3835: 3824: 3818: 3817: 3815: 3813: 3785: 3779: 3778: 3776: 3774: 3757: 3751: 3750: 3748: 3746: 3729: 3723: 3722: 3720: 3718: 3701: 3695: 3694: 3692: 3690: 3673: 3664: 3663: 3661: 3659: 3639: 3633: 3632: 3630: 3629: 3620:. 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No. 161. 3342: 3336: 3335: 3333: 3331: 3319:"Consumer Guide" 3311: 3298: 3297: 3295: 3293: 3279:(May 10, 1973). 3273: 3267: 3266: 3264: 3262: 3251: 3240: 3234: 3233: 3220: 3214: 3208: 3202: 3201: 3199: 3197: 3179: 3173: 3167: 3161: 3160: 3150: 3144: 3143: 3133: 3127: 3126: 3116: 3110: 3104: 3095: 3094: 3092: 3090: 3070: 3061: 3060: 3058: 3056: 3041: 3035: 3034: 3032: 3030: 3014: 3008: 3007: 3005: 3003: 2983: 2970: 2969: 2967: 2965: 2954: 2948: 2947: 2945: 2943: 2926: 2920: 2919: 2917: 2915: 2898: 2892: 2891: 2870: 2864: 2863: 2841: 2835: 2834: 2832: 2830: 2813: 2804: 2803: 2801: 2800: 2786: 2780: 2774: 2768: 2767: 2765: 2763: 2751: 2745: 2744: 2742: 2740: 2727:Shimamoto, Ken. 2724: 2718: 2717: 2715: 2713: 2698: 2692: 2691: 2689: 2687: 2670: 2664: 2663: 2661: 2660: 2646: 2640: 2639: 2637: 2635: 2613: 2607: 2606: 2604: 2602: 2587: 2581: 2580: 2570: 2564: 2563: 2554: 2548: 2547: 2541: 2533: 2530:Columbia Records 2518: 2503: 2502: 2500: 2498: 2482:Petridis, Alexis 2478:Hodgkinson, Will 2474: 2465: 2464: 2462: 2460: 2446: 2440: 2439: 2437: 2436: 2421: 2415: 2414: 2412: 2411: 2399: 2393: 2392: 2390: 2388: 2373: 2367: 2361: 2348: 2347: 2340: 2296:James Williamson 2256:Record Store Day 2152: 2138: 1991: 1986: 1970: 1913: 1908: 1843: 1838: 1831:James Williamson 1820:Original release 1558: 1441: 1396: 1395: 1394: 1390: 1389: 1385: 1384: 1380: 1379: 1351: 1350: 1349: 1345: 1344: 1340: 1339: 1335: 1334: 1330: 1329: 1302: 1286: 1193:Robert Christgau 1143: 1142: 1141: 1137: 1136: 1132: 1131: 1127: 1126: 1122: 1121: 1093: 1092: 1091: 1087: 1086: 1082: 1081: 1077: 1076: 1072: 1071: 1055: 1054: 1053: 1049: 1048: 1044: 1043: 1039: 1038: 1034: 1033: 1017: 1016: 1015: 1011: 1010: 1006: 1005: 1001: 1000: 996: 995: 979: 978: 977: 973: 972: 968: 967: 963: 962: 958: 957: 917: 916: 915: 911: 910: 906: 905: 901: 900: 884: 883: 882: 878: 877: 873: 872: 868: 867: 863: 862: 835: 813:Aggregate scores 810: 747: 688:Record Store Day 634:Asheton stated: 587:Robert Christgau 417:James Williamson 413:Columbia Records 307:James Williamson 299:Columbia Records 271: 268: 262: 259: 198: 197: 149: 148: 144: 81: 79: 53: 41: 29:Raw Power (band) 21: 4779: 4778: 4774: 4773: 4772: 4770: 4769: 4768: 4724: 4723: 4722: 4717: 4660: 4621: 4596: 4570:Live in Detroit 4536: 4490: 4405: 4400: 4367:Wayback Machine 4338: 4328: 4301: 4295: 4272: 4266: 4246: 4240: 4223: 4217: 4197: 4188: 4186: 4184: 4158: 4152: 4134:Callwood, Brett 4132: 4126: 4110: 4107: 4102: 4092: 4090: 4087:Chicago Tribune 4076: 4075: 4071: 4058:Cavanagh, David 4056: 4055: 4051: 4041: 4039: 4028: 4027: 4023: 4016: 4001: 4000: 3996: 3986: 3984: 3975: 3974: 3970: 3960: 3958: 3954:. Los Angeles: 3945: 3944: 3940: 3929:"Henry Rollins" 3927: 3926: 3922: 3912: 3910: 3899: 3898: 3894: 3884: 3882: 3876: 3875: 3871: 3861: 3859: 3848: 3847: 3843: 3833: 3831: 3826: 3825: 3821: 3811: 3809: 3787: 3786: 3782: 3772: 3770: 3759: 3758: 3754: 3744: 3742: 3731: 3730: 3726: 3716: 3714: 3703: 3702: 3698: 3688: 3686: 3675: 3674: 3667: 3657: 3655: 3641: 3640: 3636: 3627: 3625: 3606: 3605: 3601: 3591: 3589: 3573: 3572: 3568: 3558: 3556: 3542: 3541: 3534: 3524: 3522: 3511: 3510: 3503: 3493: 3491: 3480: 3479: 3475: 3465: 3463: 3448: 3447: 3443: 3433: 3431: 3420: 3419: 3415: 3403: 3399: 3387: 3383: 3373:Hodgkinson 2006 3371: 3367: 3344: 3343: 3339: 3329: 3327: 3313: 3312: 3301: 3291: 3289: 3275: 3274: 3270: 3260: 3258: 3246:(August 1973). 3242: 3241: 3237: 3222: 3221: 3217: 3209: 3205: 3195: 3193: 3181: 3180: 3176: 3168: 3164: 3152: 3151: 3147: 3135: 3134: 3130: 3118: 3117: 3113: 3105: 3098: 3088: 3086: 3083:Chicago Tribune 3072: 3071: 3064: 3054: 3052: 3043: 3042: 3038: 3028: 3026: 3016: 3015: 3011: 3001: 2999: 2989:(May 9, 1997). 2987:Hilburn, Robert 2985: 2984: 2973: 2963: 2961: 2956: 2955: 2951: 2941: 2939: 2928: 2927: 2923: 2913: 2911: 2900: 2899: 2895: 2888: 2872: 2871: 2867: 2860: 2852:. p. 274. 2843: 2842: 2838: 2828: 2826: 2815: 2814: 2807: 2798: 2796: 2794:Chicago Tribune 2788: 2787: 2783: 2775: 2771: 2761: 2759: 2753: 2752: 2748: 2738: 2736: 2726: 2725: 2721: 2711: 2709: 2700: 2699: 2695: 2685: 2683: 2672: 2671: 2667: 2658: 2656: 2648: 2647: 2643: 2633: 2631: 2624: 2621:Wayback Machine 2614: 2610: 2600: 2598: 2589: 2588: 2584: 2572: 2571: 2567: 2556: 2555: 2551: 2534: 2520: 2519: 2506: 2496: 2494: 2476: 2475: 2468: 2458: 2456: 2448: 2447: 2443: 2434: 2432: 2423: 2422: 2418: 2409: 2407: 2401: 2400: 2396: 2386: 2384: 2375: 2374: 2370: 2362: 2351: 2342: 2341: 2337: 2333: 2281: 2249: 2241:7" vinyl record 2221: 2214:- November 2009 2175:"I Got a Right" 2105:, October 1973) 2090: 1983: 1978: 1968: 1902: 1822: 1817: 1809:Don't Look Back 1744:Velvet Goldmine 1715:Shotgun Messiah 1679:John Frusciante 1556: 1511: 1483:critics' poll. 1439: 1392: 1387: 1382: 1347: 1342: 1337: 1332: 1297: 1284: 1212:Will Hodgkinson 1139: 1134: 1129: 1124: 1089: 1084: 1079: 1074: 1051: 1046: 1041: 1036: 1013: 1008: 1003: 998: 975: 970: 965: 960: 913: 908: 903: 891:Chicago Tribune 880: 875: 870: 865: 833: 832: 805: 754: 745: 703: 517: 515:Alternate mixes 446:Olympic Studios 438: 381: 274: 269: 266: 265: 260: 253: 252: 224: 215: 206: 184: 146: 142: 141: 133: 77: 75: 66: 39: 36: 23: 22: 15: 12: 11: 5: 4777: 4775: 4767: 4766: 4761: 4756: 4751: 4746: 4741: 4736: 4726: 4725: 4719: 4718: 4716: 4715: 4710: 4705: 4700: 4695: 4688: 4681: 4674: 4668: 4666: 4662: 4661: 4659: 4658: 4651: 4644: 4637: 4629: 4627: 4626:Other releases 4623: 4622: 4620: 4619: 4612: 4604: 4602: 4598: 4597: 4595: 4594: 4587: 4580: 4577:Telluric Chaos 4573: 4566: 4559: 4552: 4544: 4542: 4538: 4537: 4535: 4534: 4527: 4520: 4513: 4506: 4498: 4496: 4492: 4491: 4489: 4488: 4483: 4481:Tornado Turner 4478: 4476:Scott Thurston 4473: 4468: 4463: 4458: 4453: 4447: 4446: 4439: 4432: 4429:Dave Alexander 4425: 4418: 4410: 4407: 4406: 4401: 4399: 4398: 4391: 4384: 4376: 4370: 4369: 4357: 4351: 4337: 4336:External links 4334: 4333: 4332: 4326: 4299: 4293: 4275:Weisbard, Eric 4270: 4265:978-0571258383 4264: 4244: 4238: 4221: 4215: 4195: 4182: 4156: 4151:978-0814337103 4150: 4130: 4124: 4106: 4103: 4101: 4100: 4069: 4049: 4021: 4014: 3994: 3968: 3938: 3920: 3892: 3869: 3841: 3819: 3791:(April 1992). 3780: 3752: 3724: 3696: 3665: 3634: 3599: 3566: 3532: 3501: 3490:. 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The I-94 Bar 2746: 2719: 2693: 2675:"Robert Quine" 2665: 2641: 2608: 2582: 2576:Sound on Sound 2565: 2549: 2504: 2466: 2441: 2416: 2394: 2368: 2349: 2334: 2332: 2329: 2328: 2327: 2324: 2312: 2311: 2305: 2299: 2293: 2280: 2277: 2248: 2245: 2220: 2217: 2216: 2215: 2204: 2195: 2194: 2191: 2190:"Gimme Danger" 2188: 2185: 2184:"Shake Appeal" 2182: 2179: 2176: 2173: 2156: 2155: 2149: 2135: 2132: 2129: 2128:"Heavy Liquid" 2126: 2123: 2120: 2119:"Gimme Danger" 2117: 2114: 2111: 2110:"Introduction" 2087: 2086: 2083: 2080: 2076: 2075: 2072: 2071:"Shake Appeal" 2069: 2065: 2064: 2061: 2058: 2054: 2053: 2050: 2047: 2043: 2042: 2039: 2036: 2032: 2031: 2028: 2025: 2021: 2020: 2017: 2016:"Gimme Danger" 2014: 2010: 2009: 2006: 2003: 1999: 1998: 1995: 1992: 1984: 1982: 1981:Deluxe edition 1979: 1975: 1974: 1971: 1965: 1964: 1961: 1958: 1954: 1953: 1950: 1949:"Shake Appeal" 1947: 1943: 1942: 1939: 1936: 1932: 1931: 1928: 1925: 1921: 1920: 1917: 1914: 1903: 1899: 1898: 1895: 1892: 1888: 1887: 1884: 1881: 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2308:Scott Asheton 2306: 2303: 2300: 2297: 2294: 2291: 2288: 2287: 2286: 2285: 2278: 2276: 2274: 2273:Brian J. Bowe 2270: 2266: 2262: 2257: 2253: 2246: 2244: 2242: 2238: 2234: 2230: 2226: 2218: 2213: 2209: 2205: 2202: 2201: 2200: 2199: 2192: 2189: 2186: 2183: 2180: 2177: 2174: 2171: 2170: 2169: 2168: 2164: 2160: 2150: 2146: 2142: 2136: 2133: 2130: 2127: 2124: 2121: 2118: 2115: 2112: 2109: 2108: 2107: 2106: 2104: 2100: 2094: 2084: 2081: 2077: 2073: 2070: 2066: 2062: 2059: 2055: 2051: 2048: 2044: 2040: 2038:"Penetration" 2037: 2033: 2029: 2026: 2022: 2018: 2015: 2011: 2007: 2004: 2000: 1987: 1980: 1972: 1969:Total length: 1962: 1959: 1955: 1951: 1948: 1944: 1940: 1937: 1933: 1929: 1926: 1922: 1909: 1896: 1894:"Penetration" 1893: 1889: 1885: 1882: 1878: 1874: 1871: 1867: 1863: 1860: 1856: 1852: 1839: 1833: 1832: 1828: 1819: 1815:Track listing 1814: 1812: 1810: 1806: 1802: 1798: 1794: 1789: 1787: 1786: 1781: 1780: 1775: 1771: 1770: 1766:for the game 1765: 1761: 1756: 1754: 1750: 1746: 1745: 1740: 1739:Ewan McGregor 1736: 1734: 1730: 1729: 1724: 1723:Guns N' Roses 1720: 1716: 1712: 1708: 1704: 1699: 1696: 1692: 1688: 1684: 1680: 1675: 1671: 1667: 1663: 1659: 1655: 1651: 1647: 1643: 1639: 1635: 1634:Henry Rollins 1631: 1627: 1626: 1622:wrote in his 1621: 1617: 1612: 1609: 1605: 1601: 1597: 1593: 1588: 1584: 1580: 1576: 1572: 1568: 1564: 1562: 1555: 1554: 1549: 1545: 1541: 1540: 1535: 1531: 1530: 1525: 1524: 1519: 1515: 1508: 1506: 1503: 1499: 1495: 1491: 1490: 1486:According to 1484: 1482: 1478: 1477: 1476:Village Voice 1472: 1468: 1464: 1463: 1458: 1457: 1451: 1447: 1446: 1438: 1429: 1427: 1426:Wall of Sound 1424: 1423: 1419: 1417: 1416: 1412: 1411: 1407: 1405: 1404: 1400: 1399: 1374: 1372: 1371: 1367: 1366: 1362: 1360: 1359: 1355: 1354: 1324: 1322: 1321: 1317: 1316: 1308: 1305:Review scores 1303: 1294: 1292: 1290: 1283: 1282: 1281:Rolling Stone 1277: 1276: 1271: 1267: 1265: 1261: 1260: 1255: 1251: 1247: 1243: 1239: 1235: 1231: 1230: 1225: 1221: 1217: 1213: 1209: 1205: 1200: 1198: 1197:Platonic idea 1194: 1189: 1185: 1184: 1183:Rolling Stone 1179: 1175: 1174: 1173:Stereo Review 1169: 1165: 1161: 1160: 1155: 1151: 1116: 1114: 1113: 1109: 1108: 1104: 1102: 1101: 1097: 1096: 1066: 1064: 1063: 1059: 1058: 1028: 1026: 1025: 1021: 1020: 990: 988: 987: 983: 982: 952: 950: 949: 945: 944: 940: 938: 937: 933: 932: 928: 926: 925: 921: 920: 895: 893: 892: 888: 887: 857: 855: 852: 851: 843: 840:Review scores 838: 830: 828: 825: 824: 816: 811: 802: 800: 798: 794: 790: 786: 781: 774: 770: 766: 762: 758: 751: 749: 744: 743: 742:Tucson Weekly 738: 734: 733: 728: 727:Dave Thompson 723: 719: 715: 711: 707: 701:Musical style 700: 698: 695: 693: 689: 683: 679: 676: 671: 668: 666: 662: 656: 653: 648: 644: 640: 635: 631: 626: 623: 621: 617: 613: 609: 603: 598: 596: 592: 588: 582: 580: 579: 571: 569: 565: 561: 557: 551: 549: 545: 541: 533: 529: 525: 521: 514: 512: 509: 505: 499: 497: 491: 487: 485: 484:beating a log 478: 476: 472: 468: 464: 459: 455: 451: 450:Keith Harwood 447: 443: 435: 433: 431: 430:electric bass 426: 425:Scott Asheton 422: 418: 414: 410: 406: 402: 399:was fighting 398: 394: 393: 388: 387: 378: 376: 374: 370: 366: 362: 358: 354: 353: 348: 344: 343: 338: 337: 332: 328: 323: 321: 316: 312: 308: 304: 300: 296: 292: 288: 287: 277: 264: 257: 251: 250: 247: 244: 240: 236: 232: 223: 222: 221:Metallic K.O. 218: 214: 213: 209: 205: 204: 200: 199: 195: 191: 187: 181: 178: 176: 173: 172: 170: 168: 164: 161: 158: 156: 152: 140: 136: 130: 127: 125: 122: 120: 117: 115: 112: 111: 109: 107: 103: 99: 96: 92: 88: 84: 73: 69: 65: 60: 56: 52: 47: 42: 34: 30: 19: 4692:Gimme Danger 4690: 4683: 4676: 4653: 4648:Heavy Liquid 4646: 4639: 4632: 4589: 4582: 4575: 4568: 4561: 4554: 4547: 4531:Ready to Die 4529: 4522: 4516: 4515: 4508: 4501: 4461:Zeke Zettner 4451:Steve Mackay 4441: 4434: 4427: 4420: 4413: 4341: 4312: 4279: 4251: 4225: 4202: 4189:November 27, 4187:. Retrieved 4168: 4137: 4115: 4112:Bowie, David 4093:September 4, 4091:. Retrieved 4085: 4072: 4061: 4052: 4040:. Retrieved 4034: 4024: 4003: 3997: 3985:. Retrieved 3982:The Guardian 3981: 3971: 3959:. Retrieved 3941: 3932: 3923: 3911:. Retrieved 3904: 3895: 3883:. Retrieved 3872: 3860:. Retrieved 3856:The Guardian 3854: 3844: 3832:. Retrieved 3822: 3810:. Retrieved 3796: 3783: 3771:. Retrieved 3765: 3755: 3743:. Retrieved 3737: 3727: 3715:. Retrieved 3709: 3699: 3687:. Retrieved 3681: 3656:. Retrieved 3650: 3637: 3626:. Retrieved 3622:the original 3615: 3602: 3590:. Retrieved 3586:the original 3579: 3569: 3557:. Retrieved 3551: 3523:. Retrieved 3517: 3492:. Retrieved 3485: 3476: 3464:. Retrieved 3460:the original 3453: 3444: 3432:. Retrieved 3425: 3416: 3400: 3384: 3368: 3358: 3354: 3352: 3346: 3340: 3330:November 27, 3328:. Retrieved 3322: 3290:. Retrieved 3284: 3271: 3259:. Retrieved 3253: 3244:Frith, Simon 3238: 3227: 3224:Lester, Paul 3218: 3206: 3194:. 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Retrieved 2381:the original 2371: 2338: 2314: 2313: 2283: 2282: 2251: 2250: 2228: 2222: 2219:2010 reissue 2197: 2196: 2187:"Death Trip" 2181:"Hey, Peter" 2172:"I'm Hungry" 2166: 2162: 2158: 2157: 2144: 2096: 2092: 2091: 2082:"Death Trip" 1960:"Death Trip" 1824: 1800: 1797:Steve Mackay 1790: 1783: 1777: 1767: 1757: 1742: 1737: 1726: 1700: 1694: 1686: 1658:Deep Purples 1645: 1641: 1629: 1623: 1613: 1578: 1565: 1560: 1551: 1547: 1543: 1537: 1533: 1527: 1521: 1513: 1512: 1493: 1487: 1485: 1474: 1470: 1460: 1454: 1450:David Browne 1443: 1436: 1435: 1413: 1401: 1368: 1356: 1318: 1279: 1273: 1269: 1268: 1257: 1249: 1241: 1227: 1223: 1219: 1203: 1201: 1181: 1177: 1171: 1164:Lester Bangs 1157: 1149: 1148: 1110: 1098: 1060: 1022: 984: 946: 934: 922: 889: 779: 778: 772: 740: 730: 705: 704: 696: 685: 680: 677: 673: 669: 660: 658: 651: 646: 642: 637: 633: 628: 624: 618:", reaching 608:Robert Quine 605: 600: 594: 590: 584: 576: 573: 559: 555: 552: 547: 543: 540:Bomp Records 537: 532:Bomp Records 527: 523: 507: 501: 495: 493: 489: 480: 463:Tony Defries 439: 390: 384: 382: 352:The Guardian 350: 340: 334: 326: 324: 285: 284: 283: 242: 219: 211: 210: 201: 59:Studio album 4734:1973 albums 4541:Live albums 4503:The Stooges 4466:Jimmy Recca 4422:Ron Asheton 4403:The Stooges 4042:February 9, 4036:The Quietus 4008:. Workman. 3961:February 9, 3948:"Interview" 3881:. Nylon.com 3862:20 February 3789:Savage, Jon 3739:Diffuser.fm 3608:Graff, Gary 3292:February 9, 3281:"Raw Power" 3277:Kaye, Lenny 3255:Let It Rock 3170:Seward 2004 3089:November 4, 3055:February 9, 2964:February 2, 2958:"Raw Power" 2762:February 9, 2739:February 9, 2686:February 9, 2634:18 December 2526:The Stooges 2497:February 9, 2321:David Bowie 2302:Ron Asheton 2284:The Stooges 2137:"Doojiman" 2113:"Raw Power" 2049:"Raw Power" 1927:"Raw Power" 1764:Frank Black 1719:Def Leppard 1691:CeeLo Green 1670:Mötley Crüe 1616:Kurt Cobain 1608:Sonic Youth 1600:Darth Vader 1583:Johnny Marr 1571:Sex Pistols 1567:Steve Jones 1539:Diffuser.fm 1520:, although 1498:audiophiles 1496:"horrified 1234:heavy metal 1216:garage-rock 1168:heavy metal 761:Blue plaque 714:garage rock 639:Don Fleming 556:Rough Power 548:Rough Power 544:Rough Power 524:Rough Power 471:Los Angeles 421:Ron Asheton 409:David Bowie 389:(1969) and 386:The Stooges 369:Kurt Cobain 361:Johnny Marr 357:Sex Pistols 339:(1969) and 336:The Stooges 315:David Bowie 295:the Stooges 267:"Raw Power" 175:David Bowie 124:garage rock 4728:Categories 4685:Skull Ring 4248:Kent, Nick 4239:0684179431 4216:0306815141 4203:Guitar Man 4125:0789313502 3987:22 January 3913:October 8, 3885:22 January 3834:20 January 3812:October 8, 3689:August 22, 3658:August 26, 3628:2023-03-11 3559:August 22, 3525:August 22, 3466:October 8, 3434:January 2, 3407:, p. 3391:, p. 3389:Isler 1983 3375:, p. 3261:August 26, 3211:Rubin 1995 3196:October 8, 3023:Metacritic 3002:August 22, 2908:PopMatters 2799:2023-03-03 2777:Bowie 2005 2702:"Loudness" 2659:2023-03-03 2601:9 February 2459:October 3, 2435:2022-06-06 2410:2022-06-06 2406:. AllMusic 2377:"Loudness" 2331:References 2269:Kris Needs 2165:Raw Power 2159:Disc three 1799:performed 1674:Nikki Sixx 1638:Black Flag 1592:Jimmy Page 1587:the Smiths 1295:1997 remix 1208:proto-punk 1188:Lenny Kaye 1154:Dave Marsh 827:Metacritic 737:punk metal 732:PopMatters 710:proto-punk 652:Raw Power. 401:alcoholism 379:Background 365:the Smiths 243:Raw Power 192:chronology 114:Proto-punk 78:1973-02-07 4678:Kill City 4517:Raw Power 4510:Fun House 4486:Mike Watt 4471:Bob Sheff 4343:Raw Power 4078:Kot, Greg 3807:0886-3032 3683:Pitchfork 3592:March 23, 3581:Pitchfork 3427:Pitchfork 3405:Kent 2010 3359:Raw Power 3074:Kot, Greg 2522:Raw Power 2279:Personnel 2261:Mick Rock 2252:Raw Power 2208:São Paulo 2198:Bonus DVD 2145:Raw Power 2116:"Head On" 1807:-curated 1801:Raw Power 1793:Mike Watt 1762:frontman 1753:glam rock 1711:Dead Boys 1707:Dictators 1695:Raw Power 1687:Raw Power 1662:Morrissey 1654:Zeppelins 1646:Fun House 1642:Raw Power 1630:Raw Power 1579:Raw Power 1569:from the 1561:Raw Power 1548:Fun House 1544:Raw Power 1534:Raw Power 1518:punk rock 1514:Raw Power 1494:Raw Power 1489:Pitchfork 1471:Raw Power 1437:Raw Power 1403:Pitchfork 1275:Pitchfork 1270:Raw Power 1254:hard rock 1250:Raw Power 1246:Nick Kent 1242:Raw Power 1224:Raw Power 1220:Fun House 1204:Raw Power 1178:Raw Power 1150:Raw Power 785:Mick Rock 780:Raw Power 773:Raw Power 769:Mick Rock 722:hard rock 706:Raw Power 661:Raw Power 647:Raw Power 643:Raw Power 595:Raw Power 591:Raw Power 560:Raw Power 528:Raw Power 508:Raw Power 496:Raw Power 436:Recording 392:Fun House 347:punk rock 342:Fun House 329:gained a 327:Raw Power 303:hard rock 286:Raw Power 212:Raw Power 203:Fun House 129:punk rock 119:hard rock 44:Raw Power 4415:Iggy Pop 4363:Archived 4310:(eds.). 4250:(2010). 4201:(2006). 4162:(1981). 4114:(2005). 3355:Funhouse 3050:AllMusic 2942:July 26, 2914:July 26, 2876:(2000). 2829:July 26, 2619:and the 2290:Iggy Pop 2093:Disc two 1906:Side two 1836:Side one 1827:Iggy Pop 1811:series. 1717:'s, and 1672:founder 1656:and the 1625:Journals 1238:Greg Kot 854:AllMusic 765:Lou Reed 739:, while 692:clipping 534:in 1993. 311:Iggy Pop 180:Iggy Pop 167:Producer 160:Columbia 100:, London 86:Recorded 71:Released 61: by 4665:Related 4601:Singles 4348:Discogs 4105:Sources 3773:July 4, 3745:July 4, 3717:July 4, 2712:June 4, 2387:June 4, 2310:– drums 2141:Outtake 2103:Georgia 2099:Atlanta 1774:Emanuel 1703:covered 1668:song". 1620:Nirvana 1467:Kleenex 793:Top 200 454:ballads 373:Nirvana 239:Singles 225:(1976) 216:(1973) 207:(1970) 76: ( 4324: 4291: 4262: 4236: 4213: 4180: 4148: 4122: 4012: 3805: 2884: 2856: 2239:, one 2235:, one 2212:Brazil 1997:Length 1919:Length 1849:Length 1760:Pixies 1755:era. 1693:cited 1650:Stones 1430:91/100 1313:Rating 1310:Source 1218:" and 848:Rating 845:Source 831:92/100 821:Rating 818:Source 458:London 405:heroin 367:, and 138:Length 94:Studio 4066:: 70. 3229:Uncut 2823:Paste 1994:Title 1973:33:57 1916:Title 1846:Title 1733:Slash 1575:speed 1557:' 1523:Paste 1502:lo-fi 1440:' 1408:10/10 1285:' 1112:Uncut 746:' 502:When 293:band 241:from 155:Label 106:Genre 4322:ISBN 4289:ISBN 4260:ISBN 4234:ISBN 4211:ISBN 4191:2016 4178:ISBN 4146:ISBN 4120:ISBN 4095:2020 4044:2012 4010:ISBN 3989:2020 3963:2012 3956:KROQ 3915:2020 3887:2020 3864:2020 3836:2020 3814:2020 3803:ISSN 3798:Spin 3775:2019 3747:2019 3719:2019 3691:2018 3660:2018 3594:2020 3561:2018 3527:2018 3496:2019 3468:2020 3436:2013 3348:Mojo 3332:2016 3294:2012 3263:2018 3198:2020 3189:Spin 3139:Mojo 3091:2020 3057:2012 3031:2021 3004:2018 2966:2018 2944:2021 2916:2021 2882:ISBN 2854:ISBN 2831:2021 2764:2012 2741:2012 2714:2013 2688:2012 2636:2020 2603:2012 2544:link 2499:2012 2461:2019 2389:2013 2085:6:07 2074:3:04 2063:4:53 2052:4:16 2041:3:41 2030:4:54 2019:3:33 2008:3:29 1963:6:07 1952:3:04 1941:4:53 1930:4:16 1897:3:41 1886:4:54 1875:3:33 1864:3:29 1829:and 1180:for 1105:9/10 1062:Spin 948:Mojo 797:UCLA 667:." 665:punk 423:and 291:rock 4698:MC5 4346:at 3767:DIY 3409:381 3393:236 3377:203 2237:DVD 2233:CDs 2167:Era 1990:No. 1912:No. 1842:No. 1713:', 1681:of 1636:of 1618:of 1606:of 1585:of 1553:DIY 1287:s " 712:or 620:RMS 578:sic 542:as 371:of 363:of 98:CBS 4730:: 4320:. 4306:; 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