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Bassist Dave Alexander, due to nerves or overindulgence or whatever you choose to fill in the blank, absolutely spaces in front of 200,000 attendees. He does not play a single note on stage. He is summarily fired by Iggy Pop immediately following the gig. Here starts the beginning of the end of the Stooges.\u003c\/p\u003e\u003cp\u003eBut what if that simply...wasn’t the case? What if you could prove otherwise? Well, it’d be the proto-punk equivalent of having an immediate, on-the-scene, man on the street report of all those folkies booing Dylan’s electric set at Newport in ‘65. 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London Material taken from original Multi track masters. Photos from the actual studio in London in 1972 by legendary photographer Mick Rock. Liner notes by Iggy Pop Bible author and ex Mojo editor Paul Trynka. In the year the Stooges Movie \u003ci\u003eGimme Danger\u003c\/i\u003e by Jim Jarmusch is released across Europe. The legend that is The Stooges is gaining weight. With the sad departure of both Asheton brothers Ron and Scott who were as much a part of the stooges as Iggy Pop was. Now is the time to ensure we document what exists. With \u003ci\u003eHeavy Liquid -The Album\u003c\/i\u003e we try n show the listener what this band were capable of and what utterly focused and dedicated musicians the band were despite the stories of individuals so far off the rails they made the likes of rolling stones and led zeppelin appear like choirboys. 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Little Doll Side D: In The Studio 1. Intro 2. Little Doll 2.48 3. Loose 3.22 4. Trollin’ 2.13 5.TV Eye 4.03 6. I Wanna be Your Dog 4.18 7. No Fun 4.04 \u003c\/p\u003e\u003cp\u003eCD Tracklist DISC 1: Live in Concert 1. Loose 2. Down On The Street 3. I wanna be your dog. 4.1969 5.TV Eye 6. Dirt 7. Real Cool Time 8. No Fun 9.1970 10. Funhouse 11. Skull Ring 12. Little Doll Sydney 26.01.2006, New Orleans 2003,\u003c\/p\u003e\u003cp\u003eDISC 2: Studio Sessions and the “Shop bootleg” 1. Intro 2. Little Doll 3. Loose 4. Trollin’ 5. TV Eye 6. I Wanna be Your Dog 7. No Fun 8. Intro “you think I'm gonna play a gig in a record store? fuck no“ 9. Loose 10. Down On The Street 11. 1969 12. Real Cool Time 13. TV Eye 14. Monologue by Iggy 15. No Fun 16. Dead Rockstar 17. Skull Ring 18. 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This serves as a companion set to the well-received 2020 release, \u003cem\u003eYou Think Your Bad, Man?\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003eThe collection includes studio sessions and rehearsal recordings from various locations such as London, New York, Detroit, L.A., and Michigan. These recordings capture the band as they prepared to record and tour their masterpiece, \u003cem\u003eRaw Power\u003c\/em\u003e. Among the tracks are iconic Stooges classics like \"Search And Destroy,\" \"Raw Power,\" and \"Gimme Danger,\" as well as lesser-known material that was never professionally recorded.\u003c\/p\u003e\n\n\u003cp\u003eSleeve notes are provided by Iggy aficionado, the legendary Kris Needs, and the set is produced in association with MainMan. 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Collected here for the first time, \u003cem\u003eYou Think You’re Bad, Man?\u003c\/em\u003e brings together highlights from a year on the road across 5CDs in a clamshell box, capturing the band on blistering form and Iggy at his most erratic, confrontational best as he heckles, goads and incites well lubricated audiences across the US.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eYou Think You’re Bad, Man?\u003c\/em\u003e also includes the band’s legendary final show for almost thirty years, bringing their career to an end amongst an atmosphere of intimidation, inebriation and violence. This is a must-hear document of one of the great bands of the age reaching the end of many, many roads.\u003c\/p\u003e","brand":"Cherry Red","offers":[{"title":"CD | x5","offer_id":50511937536331,"sku":"1102258","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1db79368-32fe-480d-9f31-b2aeae8324a0_thumbnail_4096.jpg?v=1727895973"},{"product_id":"death-trip","title":"Death Trip","description":"\u003cp\u003eDeath Trip by Iggy Pop and The Stooges is a mix of songs recorded in 1973 during rehearsals before the release of the famous and unmissable \u003ci\u003eRaw Power\u003c\/i\u003e. Here you will find and feel the raw energy of the Detroit’s Iguane and his famous sidemen : the Asheton’s brothers (Ron on bass and Scott on drums), James Williamson (on guitar) and accompanied at this time (1973-74) by Scott Thurston on piano.\u003c\/p\u003e","brand":"Revenge Records","offers":[{"title":"Yellow | LP","offer_id":50520281121099,"sku":"1081278","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ea7a30da-592d-4d73-a526-59c2b9c00e53_thumbnail_4096.png?v=1727982358"},{"product_id":"theatre-of-cruelty-live-at-the-whisky-a-go-go-8901-sunset-blvd-at-clark-west-hollywood-ca-1973","title":"Theatre of Cruelty: Live at The Whisky A Go-Go, 8901 Sunset Blvd at Clark, West Hollywood, CA.  1973","description":"\u003cp\u003eCompiled over 3 years by Stooges historian Graham Ling from original cassette recordings from his and Easy Action Records archives, and for the very first time all of the recordings are in the correct running order, speed corrected and untampered with except sonically cleaning and mastering.\u003c\/p\u003e\u003cp\u003eFeatures completely unheard material. Only 800 boxes will be made available as this project is more of a historical document than a commercial release ‘righting the wrongs’ of the last 45 years of cut 'n paste Stooges albums.\u003c\/p\u003e\u003cp\u003eThe box will also feature first-hand accounts of these concerts (often very amusing!) as well as photos from the actual shows in a 24 page booklet.\u003c\/p\u003e\u003cp\u003eDisc One: 1. Raw Power 2. Head On 3. Gimme Danger 4. Search \u0026amp; Destroy 5. I Need Somebody 6. Heavy Liquid 7. Cock In My Pocket 8. Open Up \u0026amp; Bleed Recorded 17th October. \u003c\/p\u003e\u003cp\u003eDisc Two:1. Raw Power 2. Head On 3. Gimme Danger 4. Search \u0026amp; Destroy 5. I Need Somebody 6. Heavy Liquid 7. Open Up \u0026amp; Bleed Recorded 16th September. \u003c\/p\u003e\u003cp\u003eDisc Three: Early Set - (Incomplete) 1. Gimme Danger 2. Search And Destroy (Slight fade in) 3. Johanna (Fades) - Only known live recording 4. Open Up And Bleed Late Set - 5. Search And Destroy 6. 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While the Stooges' excellent debut, produced by John Cale, had a clean, punchy sound that introduced the band's ragged, stripped-down rock, it did not capture the chaotic fury of the band's live spirit. The Stooges hired Don Gallucci (formerly of the Kingsmen) to produce Fun House, and he gave the album a murky, swampy ambience that lacks clarity and precision, yet compensates for that lack tenfold with immediacy and a staggering sonic punch in the gut. And where the Stooges can sound like bratty teenaged music, this album sounds grown up, menacing, mercurial, dark, and relentlessly primal. The muddied production may add to the primitivism, but it is the band that truly conjures the magic. The Stooges plays like unleashed banshees here: Ron Ashton's razory guitar riffs and swirling squall create clouds of noise while the brutal rhythms of bassist Dave Alexander and drummer Scott Ashton crash all over the place. Iggy Pop screams and howls like a man possessed, giving voice to a spirit that would find its final expression in the punk movement seven years later. From the panther-like strut of \"Down on the Street\" to the adrenaline-driven \"TV Eye\" through the caustic dirge of \"Dirt\" to the avant squall of \"L.A. Blues\" (complete with wailing air-raid saxophone from Steve MacKay), this set is one of the founding documents of alternative rock. 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To a majority of listeners who encountered it shortly after it was released the same week Woodstock happened in 1969, the record seemingly came from another planet despite the fact its songs reflect the band’s Detroit surroundings and youthful malaise.\u003c\/p\u003e\n\u003cp\u003eOriginally deemed by Rolling Stone “loud, boring, tasteless, unimaginative and childish” — sentiments shared by many critics — only later to be included on the magazine’s 500 Greatest Albums of All Time register, The Stooges established the template for myriad styles and the snarling attitude that would be associated with the still-years-away punk scene. Time further proved the band’s stomping, clattering rock ‘n’ roll way ahead of the curve given the work is now cited on endless “Best Album” lists.\u003c\/p\u003e\n\u003cp\u003eSourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton gatefold jacket, and reissued to celebrate Elektra 75, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set marks the first time Iggy Pop and Co.’s groundbreaking statement is available at 45RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater separation, and more realistic presence than prior versions.\u003c\/p\u003e\n\u003cp\u003eThe sonic characteristics that help make The Stooges unique — the welling fuzztones; the dark, wet smack of the low end; the cavernous reverb and wah-wah; the in-the-red overdrive; the vibrant handclaps; the nearly detached timbre of Pop’s vocal sneer; the grit, grime, and grind of the stacked rhythms — come across with involving clarity, liveliness, detail, and dimensionality. For all of their twisted density and savage tonality, songs project with a deep openness and large dynamic. It’s maybe as close as music has ever come to literally vibrating.\u003c\/p\u003e\n\u003cp\u003eIndeed, everything Pop, bassist Dave Alexander, and brothers Ron and Scott Asheton create on The Stooges is utterly corporeal. The genesis of the band’s then-inimitable approach traces back to the Motor City’s industrial facilities; the urge to tear down the pretense of the hippie movement; the feeling of being an outsider amid a society reckoning with a collision of cultures; and the genuine desire to be completely original. With Pop as the only true musician in the quartet, the Stooges pursued a do-it-yourself ethic that had no precedent in their era.\u003c\/p\u003e\n\u003cp\u003eHaving constructed their own instruments from the likes of oil drums, vacuum cleaners, blenders, washboards, and various scraps, the Stooges eschewed structure and embraced experimentalism, improvisation, and personality. They used their lack of experience to their advantage, a trait manifested via the crude makeup and basic minimalism of nearly every note recorded for The Stooges.\u003c\/p\u003e\n\u003cp\u003eThree tracks — “Real Cool Time,” “Not Right,” “Little Doll” — were essentially developed on the spot after the band, which seldom bothered with fixed arrangements and flew by the seat of its pants to see what would transpire onstage, realized it needed more material to fill out the album. That requirement also explains why the chanted mantra “We Will Fall” stretches beyond the 10-minute mark as it feeds into the fractured, psychedelic mood coursing throughout the effort.\u003c\/p\u003e\n\u003cp\u003eAs for the best-known cuts? The Stooges rehearsed and memorized them before entering the Hit Factory with their producer, Velvet Underground alumni John Cale. Echoing the recurrent sound of a metal press stamping out automotive panels, and drenched in dirty reverb, the opening “1969” balances the band’s street-walking aggression, dance-baiting attack, and dissatisfied ennui, the rhymed lyrics popping with truthful flair and Ron Asheton’s guitar functioning as a supercharged stun gun. A love ballad like none other, “Ann,” the first song Pop wrote for the ensemble, initially peers through a beaded curtain before its mysticism gives way to menace and distortion.\u003c\/p\u003e\n\u003cp\u003eNothing more aptly captures the Stooges’ essence than “I Wanna Be Your Dog,” a modern staple since covered by dozens of artists. 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Legendary Village Voice journalist Robert Christgau even admitted “language wasn’t designed for the job” of conveying what many critics and artists believe to be the ultimate rock ‘n’ roll statement. \u003c\/p\u003e\n\u003cp\u003eSourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set marks the first time this 1970 landmark is available at 45RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater emotionalism, and more realistic ambience than prior versions. \u003c\/p\u003e\n\u003cp\u003eFrom beginning to end, the live-in-the-room characteristics and sudden mayhem closely identified with Fun House and Don Gallucci’s esteemed production — the unrelenting sense of groove; the sheer impact of the rhythms; the bleed of the unmuted volumes; the ferocity of Pop’s heat-seeking vocals; the bruising churn of the low end; the grit, grime, and grind of four dudes and auxiliary saxophonist Steven Mackay bent on breaking into another dimension — emerge with gripping presence, body, and power. The Stooges’ most controlled, focused, and hot-wired creation, Fun House now adopts the sonic vigor of the atom bomb or hydroelectric plant to which Christgau thought of comparing it.\u003c\/p\u003e\n\u003cp\u003eIntense, cohesive, and aggressive, Fun House differs from and improves upon the Stooges’ groundbreaking debut in several ways. For starters, the quartet developed nearly all of the songs that ended up on the record over the course of several months of shows they performed on the weekends. They weren’t under pressure to write additional material once the sessions commenced — a circumstance that led to on-the-spot songs such as “Not Right” and “Little Doll” on their self-titled set. Just as importantly, they were matched with Gallucci, whose pedigree as an organist on the Kingsmen’s “Louie Louie” and television credits as a member of Dick Clark’s house band in Don and the Good Times immediately endeared him to the band.\u003c\/p\u003e\n\u003cp\u003eThe Stooges’ instinctive faith in Gallucci paid immediate dividends. In tune with the fact the Stooges’ managed the equivalent of bottling lightning at their distinctive shows, Gallucci sought to capture their concert vibe. He thwarted convention and removed all the drapes, carpeting, and other vibration-deadening accoutrements from Elektra Sound Recorders — the studio just a short stroll away from the group’s temporary digs at Tropicana Motel. He also let Pop sing, grunt, shout, and bark in live fashion via a hand-held microphone sent through two Marshall amplifiers that served as his personal PA system. Engineer Brian Ross-Myring was the final piece to what became a recording for the ages. \u003c\/p\u003e\n\u003cp\u003eGallucci and Ross-Myring had another brilliant idea when they planned to have the Stooges knock out one tune in the studio per day in an order that would mirror the sequence on the record. First, they invited the band to run through the songs on what essentially functioned as a preparation day during which levels, baffles, and positions would be dialed in. Then, they got down to business, achieving the goal of nailing down a song each day and providing Gallucci roughly between 15 and 25 takes of each to choose for the official version. Reportedly, aside from two guitar overdubs, every note of Fun House transpired as you hear it today. \u003c\/p\u003e\n\u003cp\u003eThat goes for the relentless riffing of guitarist Ron Asheton, corrosive pounding of drummer Scott Asheton, sinewy swaying of bassist Dave Alexander, blustery howling of Pop, and untamed, nearly stream-of-conscious blaring of Mackay. Plucked from his job at a record store in Michigan just two days before the sessions began, the young saxophonist helped push the Stooges to avant galaxies no artist ever visited on “1970,” the title track, and “L.A. Blues,” the latter an attempt by Gallucci to chronicle the Stooges’ famed concert-ending freak-outs. To get in the proper frame of mind, the band dropped acid and let fly. \u003c\/p\u003e\n\u003cp\u003eOften imitated and never duplicated, the results continue to melt minds more than 50 years after Pop and company got loose. Ranked the 94th greatest album of all time by Rolling Stone, said to be “the greatest rock ‘n’ roll album ever made” by Jack White, and championed by everyone from vaunted critics such as Lester Bangs and Ben Edmonds to musicians like Henry Rollins and Steve Albini, Fun House feels alright. It’s gonna stick you deep inside.\u003c\/p\u003e","brand":"Mobile Fidelity","offers":[{"title":"2LP - Black","offer_id":57219157197131,"sku":"R4473-7123","price":89.99,"currency_code":"GBP","in_stock":true},{"title":"SACD","offer_id":57219157229899,"sku":"R4473-4033","price":49.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_b56d8673-00a8-4fb2-81ff-c79f37d4ab7b.jpg?v=1777978731"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_9c02f937_thumbnail_4096_5a92e733-598e-4158-b103-157b14288de9.jpg?v=1726172269","url":"https:\/\/shop.roughtrade.com\/collections\/the-stooges.oembed","provider":"Rough Trade","version":"1.0","type":"link"}