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Rock - Verschenen op 9 september 1977 | Virgin Catalog (V81)

Hi-Res Onderscheidingen The Qobuz Ideal Discography
On The Idiot, Iggy Pop looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the midtempo introspection of his first album and began rocking hard again. Musically, Lust for Life is a more aggressive set than The Idiot, largely thanks to drummer Hunt Sales and his bassist brother Tony Sales. The Sales proved they were a world-class rhythm section, laying out power and spirit on the rollicking title cut, the tough groove of "Tonight," and the lean neo-punk assault of "Neighborhood Threat," and with guitarists Ricky Gardiner and Carlos Alomar at their side, they made for a tough, wiry rock & roll band -- a far cry from the primal stomp of the Stooges, but capable of kicking Iggy back into high gear. (David Bowie played piano and produced, as he had on The Idiot, but his presence is less clearly felt on this album.) As a lyricist and vocalist, Iggy Pop rose to the challenge of the material; if he was still obsessed with drugs ("Tonight"), decadence ("The Passenger"), and bad decisions ("Some Weird Sin"), the title cut suggested he could avoid a few of the temptations that crossed his path, and songs like "Success" displayed a cocky joy that confirmed Iggy was back at full strength. On Lust for Life, Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking, Lust for Life is the best album of Iggy Pop's solo career. © Mark Deming /TiVo
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Rock - Verschenen op 9 september 1977 | Virgin Catalog (V81)

Hi-Res Onderscheidingen The Qobuz Ideal Discography
On The Idiot, Iggy Pop looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the midtempo introspection of his first album and began rocking hard again. Musically, Lust for Life is a more aggressive set than The Idiot, largely thanks to drummer Hunt Sales and his bassist brother Tony Sales. The Sales proved they were a world-class rhythm section, laying out power and spirit on the rollicking title cut, the tough groove of "Tonight," and the lean neo-punk assault of "Neighborhood Threat," and with guitarists Ricky Gardiner and Carlos Alomar at their side, they made for a tough, wiry rock & roll band -- a far cry from the primal stomp of the Stooges, but capable of kicking Iggy back into high gear. (David Bowie played piano and produced, as he had on The Idiot, but his presence is less clearly felt on this album.) As a lyricist and vocalist, Iggy Pop rose to the challenge of the material; if he was still obsessed with drugs ("Tonight"), decadence ("The Passenger"), and bad decisions ("Some Weird Sin"), the title cut suggested he could avoid a few of the temptations that crossed his path, and songs like "Success" displayed a cocky joy that confirmed Iggy was back at full strength. On Lust for Life, Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking, Lust for Life is the best album of Iggy Pop's solo career. © Mark Deming /TiVo
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Rock - Verschenen op 18 maart 1977 | Virgin Records

Hi-Res Onderscheidingen The Qobuz Ideal Discography
In 1976, the Stooges had been gone for two years, and Iggy Pop had developed a notorious reputation as one of rock & roll's most spectacular waste cases. After a self-imposed stay in a mental hospital, a significantly more functional Iggy was desperate to prove he could hold down a career in music, and he was given another chance by his longtime ally, David Bowie. Bowie co-wrote a batch of new songs with Iggy, put together a band, and produced The Idiot, which took Iggy in a new direction decidedly different from the guitar-fueled proto-punk of the Stooges. Musically, The Idiot is of a piece with the impressionistic music of Bowie's "Berlin Period" (such as Heroes and Low), with it's fragmented guitar figures, ominous basslines, and discordant, high-relief keyboard parts. Iggy's new music was cerebral and inward-looking, where his early work had been a glorious call to the id, and Iggy was in more subdued form than with the Stooges, with his voice sinking into a world-weary baritone that was a decided contrast to the harsh, defiant cry heard on "Search and Destroy." Iggy was exploring new territory as a lyricist, and his songs on The Idiot are self-referential and poetic in a way that his work had rarely been in the past; for the most part the results are impressive, especially "Dum Dum Boys," a paean to the glory days of his former band, and "Nightclubbing," a call to the joys of decadence. The Idiot introduced the world to a very different Iggy Pop, and if the results surprised anyone expecting a replay of the assault of Raw Power, it also made it clear that Iggy was older, wiser, and still had plenty to say; it's a flawed but powerful and emotionally absorbing work. © Mark Deming /TiVo
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Rock - Verschenen op 18 maart 1977 | Virgin Records

Hi-Res Onderscheidingen The Qobuz Ideal Discography
In 1976, the Stooges had been gone for two years, and Iggy Pop had developed a notorious reputation as one of rock & roll's most spectacular waste cases. After a self-imposed stay in a mental hospital, a significantly more functional Iggy was desperate to prove he could hold down a career in music, and he was given another chance by his longtime ally, David Bowie. Bowie co-wrote a batch of new songs with Iggy, put together a band, and produced The Idiot, which took Iggy in a new direction decidedly different from the guitar-fueled proto-punk of the Stooges. Musically, The Idiot is of a piece with the impressionistic music of Bowie's "Berlin Period" (such as Heroes and Low), with it's fragmented guitar figures, ominous basslines, and discordant, high-relief keyboard parts. Iggy's new music was cerebral and inward-looking, where his early work had been a glorious call to the id, and Iggy was in more subdued form than with the Stooges, with his voice sinking into a world-weary baritone that was a decided contrast to the harsh, defiant cry heard on "Search and Destroy." Iggy was exploring new territory as a lyricist, and his songs on The Idiot are self-referential and poetic in a way that his work had rarely been in the past; for the most part the results are impressive, especially "Dum Dum Boys," a paean to the glory days of his former band, and "Nightclubbing," a call to the joys of decadence. The Idiot introduced the world to a very different Iggy Pop, and if the results surprised anyone expecting a replay of the assault of Raw Power, it also made it clear that Iggy was older, wiser, and still had plenty to say; it's a flawed but powerful and emotionally absorbing work. © Mark Deming /TiVo
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Rock - Verschenen op 8 november 2005 | Rhino - Elektra

Onderscheidingen The Qobuz Ideal Discography
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Pop - Verschenen op 1 januari 1969 | Rhino - Elektra

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Ann Arbor, a stone’s throw from Detroit: this is where The Stooges adventure begins. Such an industrial city could only give birth to this kind of aggressive rock, like a factory machine. The summer of 1969 bears witness to the band’s first musical seismic shift, an eponymous soundtrack to the Modern Times and the unrest which was bound to entail. Armed with wah-wah pedals and distorted, ramshackle fuzz effects, Ron Asheton’s guitars cut through the smoke, Scott Asheton and Dave Alexander’s pounding prehistoric rhythms are merciless and the 22-year-old singer’s lyrics (James Osterberg, aka Iggy Pop) are a call to arms for rebellion. The Vietnamese conflict is stalling, the American youth is disenfranchised, and Iggy and his Stooges wallow in this brilliantly nihilist manifesto, a sort of shamanic style of garage rock carried by anthems I Wanna Be Your Dog, 1969 and No Fun. This first offering from the band was produced by John Cale, having left The Velvet Underground the previous year. There are some daring experimental elements on the album, like the ten-minute-long We Will Fall, featuring Cale’s very own intoxicated violin. And to think that the Stooges’ next album would be even more apocalyptic… This magnificent Deluxe Edition celebrating half a century of The Stooges is made up of the original studio album, now available in Hi-Res 24-Bit quality, as well as a number of alternative takes (including seven never released digitally) as well as John Cale’s first mix of the album, rejected at the time by the label, Elektra. It was actually published for the first time in 2010 but at a speed slower than anticipated. On this 50th Anniversary Deluxe Edition, everything is in place to celebrate this rock masterpiece’s milestone birthday in the best conditions possible. © Marc Zisman/Qobuz
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Rock - Verschenen op 18 juli 2019 | Virgin Music UK LAS (License External)

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Has James Osterberg, a.k.a. Iggy Pop, really found his freedom? More than anything, has he not been restricted by his rock’n’roll wardrobe, his reputation as the Godfather of Punk and his status as a living legend? At the age of 72 Iggy starts his 18th studio album with one simple statement: “I wanna be free.” In 2016 his album Post Pop Depression, produced by Josh Homme from Queens Of The Stone Age, revealed Iggy Pop’s dark and mysterious side, in contrast to his usual image as a tai chi-addicted rockstar… With this short record (only 33 minutes long), Iggy is even more introverted, contemplative and most of all intimate. It’s an atypical record which was produced in close collaboration with the guitarist Sarah Lipstate and the jazz trumpeter Leron Thomas, who has created a hushed, moody atmosphere for him. “This is an album in which other artists speak for me, but I lend my voice. By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long. But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that’s an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need – not happiness or love necessarily, but the feeling of being free. So this album just kind of happened to me, and I let it happen.” Between art rock, steamy jazz and spoken word (he recites Lou Reed’s poem ‘We Are the People’ and Dylan Thomas’ ‘Do Not Go Gentle Into That Good Night’), Iggy lets his melancholic crooner’s voice explore all kinds of sentiments. In fact, Free sometimes sounds a lot like The Idiot, his synth-drenched masterpiece from 1977 produced with David Bowie in Berlin... Forty years later, Iggy Pop has chosen to liberate himself by confounding his friends and enemies alike, signing one of his most obscure and personal records to date. © Marc Zisman/Qobuz

Rock - Verschenen op 1 januari 2006 | Virgin Records

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Rock - Verschenen op 29 mei 2020 | UMC (Universal Music Catalogue)

After the breakup of the Stooges and his admittance to a psychiatric hospital, Iggy Pop was blessed with a guardian angel like no other – David Bowie. The Thin White Duke took Iggy with him to Berlin as he embarked on what would become his Berlin trilogy (Low, Heroes and Lodger). It was during this European escapade which included a sojourn in the Château d’Hérouville 50 miles from Paris, that the Iguana produced two of his greatest solo albums, The Idiot and Lust for Life. As the title indicates, this 7CD box set, The Bowie Years, documents the golden age of Iggy’s solo career. In addition, to the two remastered masterpieces above, it includes a CD of alternative mixes, edited singles and an interview with the singer on recording The Idiot. This musical treasure trove also contains Iggy’s effort to reach the same standard as the Stooges in a wild live performance recorded on March 7th, 1977 at the Rainbow Theatre in London, featuring Bowie on keyboards. In addition, the box set includes the famous T.V. Eye Live, a compilation of excerpts from concerts held in Cleveland, Chicago and Kansas City in March 1977. With Bowie on keyboards, Iggy Pop performs his latest hits at the time, Funtime, Sixteen, Lust for Life and Nightclubbing. Finally, the box set concludes with more live material from a concert at the Agora in Cleveland, as well as recordings from the Mantra Studio in Chicago. The Idiot and Lust For Life are, of course, the two centrepieces of this 7CD rock extravaganza. In the cold decadence and schizophrenic madness of a city still separated in two by the Berlin wall, the two men were inspired by the latest sounds from Kraftwerk, Neu!, Can and all of the bands from the Krautrock scene. Together, Ziggy and Iggy wrote and directed this disturbing masterpiece named The Idiot, (a reference to Dostoyevsky’s eponymous novel), which is full of cheap synths (like on the trance-inducing Nightclubbing), ominous bass lines and minimalist, abrasive and tortured guitars. Iggy even sounds like a drugged-up Sinatra on the track Tiny Girls. Possessing an urban edge, this angular and sinister masterpiece was a superb comeback for Iggy and sounded closer to Bowie’s music than anything the Stooges had produced. Following its release in March 1977, the album greatly influenced many new-wave bands for years to come. Just five months after The Idiot was released, Iggy Pop returned with his second masterpiece Lust For Life, released in August 1977. This second instalment of their collaboration is another treat for the ears but is, in a sense, slightly more uncontroversial and eclectic than the first with more classic rock and less experimentation. Concocted with Bowie once again in the Hansa studios in Berlin, this second solo album by Iggy combines mad rock ‘n’ roll (the song Lust for Life which was given a new lease of life in 1996 when British filmmaker Danny Boyle used it as the opening track on his film Trainspotting), with pop (Tonight) and crooning ballads (Turn Blue). The king Iguana of punk becomes a full-on entertainer in this album and proves that he, too, can croon. Bowie plays the keyboards while brothers Tony and Hunt Sales handle the rhythm and Ricky Gardiner and Carlos Alomar add guitar solos here, there and everywhere. The music he released after The Idiot and Lust For Life didn’t have the same oomph, but it didn’t matter – after the three Stooges albums and these two solo ones, Iggy Pop had already made his way into the rock music history books. © Marc Zisman/Qobuz
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Rock - Verschenen op 18 maart 2016 | Virgin Music UK

Iggy Pop has revealed that his new album, Post Pop Depression (released at Loma Vista Records), may be his last. A collaboration with Josh Homme from Queens of the Stone Age and the Arctic’ Monkeys own Matt Helders, Iggy Pop has previously stated ‘I feel like I’m closing up after this. It’s my gut instinct’. The 68 year old icon’s music has encompassed everything from jazz, to blues, to hard rock. We are sad to report that, in spite of our efforts, we have been unable to retrieve a hi-res format from the label, but rest assured, this new album deserves the best sound quality possible and we’ll keep pushing to make it happen!
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Rock - Verschenen op 1 juni 1990 | Virgin Records

While Don Was is best known for his work with mutant funkateers Was (Not Was), he was also a Motor City boy with fond memories of the Stooges' glory days, and when he was hired to produce an album for Iggy Pop, Was said, "The guy is incredibly intelligent, writes great lyrics, is a great singer, and I just wanted to get that across." And he did: Brick by Brick refined Iggy's gifts without watering them down, adding a polish that focused his talents rather than blurring them. Working with a mixture of L.A. session heavyweights (Waddy Wachtel, David Lindley) and rock stars paying their respects (Slash and Duff McKagan from Guns n' Roses, Kate Pierson from the B-52's), Brick by Brick leans to tough, guitar-based hard rock, leavened with a few more pop-oriented tunes that still speak of a hard-nosed lyrical approach. But the triumph here is Iggy's; he's rarely sung better on record, finding a middle ground between precision and abandon that honors both and surrenders to neither, and as a lyricist he reached a new level of maturity that proved he could expand his boundaries without loosing touch with his roots. On Brick by Brick, Iggy's dominant theme is the cultural and moral decay of modern America, and finding the strength to rise above it and reach a place in the world. That might sound a bit grand for Iggy, but as a man who sent himself to Hell and back (and learned a few things in the process), he expresses his ideas with plenty of piss, vinegar, and hard-bitten wit. Smart, tough, and impressive on all counts, Brick by Brick was Iggy Pop's strongest work since Lust for Life, and marked a new high point in his career as a songwriter. © Mark Deming /TiVo
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Rock - Verschenen op 9 september 1977 | Virgin Catalog (V81)

On The Idiot, Iggy Pop looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the midtempo introspection of his first album and began rocking hard again. Musically, Lust for Life is a more aggressive set than The Idiot, largely thanks to drummer Hunt Sales and his bassist brother Tony Sales. The Sales proved they were a world-class rhythm section, laying out power and spirit on the rollicking title cut, the tough groove of "Tonight," and the lean neo-punk assault of "Neighborhood Threat," and with guitarists Ricky Gardiner and Carlos Alomar at their side, they made for a tough, wiry rock & roll band -- a far cry from the primal stomp of the Stooges, but capable of kicking Iggy back into high gear. (David Bowie played piano and produced, as he had on The Idiot, but his presence is less clearly felt on this album.) As a lyricist and vocalist, Iggy Pop rose to the challenge of the material; if he was still obsessed with drugs ("Tonight"), decadence ("The Passenger"), and bad decisions ("Some Weird Sin"), the title cut suggested he could avoid a few of the temptations that crossed his path, and songs like "Success" displayed a cocky joy that confirmed Iggy was back at full strength. On Lust for Life, Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking, Lust for Life is the best album of Iggy Pop's solo career. © Mark Deming /TiVo
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Pop - Verschenen op 1 januari 2009 | e-label (name to be changed)

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Rock - Verschenen op 1 januari 1993 | Virgin Records

Boasting a big-name producer and appearances from a handful of actual mainstream rock stars, Brick by Brick was a remarkably successful attempt (critically, if not commercially) to create an "event album" around Iggy Pop, so the follow-up came as a surprise -- American Caesar was cut fast and loose in a New Orleans studio, with Malcolm Burn (hardly known for his work in hard rock) in the producer's chair and Pop's road band backing him up. But the real surprise was that American Caesar ranks with Pop's very best solo work. Dark, loud, and atmospheric, it's a far riskier album than Brick by Brick, lyrically following that disc's themes of America teetering on the edge of internal collapse with the same degree of hard-won maturity, but adding a wacked-out passion and force that recall the heady days of Raw Power. While Pop's group doesn't play with the subtlety of the studio cats on Brick by Brick (I'll leave it to others to debate if they won't or they can't), they also sound tight and forceful, like a real band with plenty of muscle and some miles under their belts. Eric Schermerhorn's guitar meshes with Pop's vocals as well as anyone he's worked with since Ron Asheton, and Malcolm Burn's production is clear and detailed but adds subtle textures that season the formula just right. The hard rockers are full-bodied ("Wild America," "Plastic and Concrete"), the calmer tunes still bristle with tension and menace ("Mixing the Colors," "Jealousy"), the few moments of calm sound sincere and richly earned ("Highway Song," "It's Our Love"), the manic rewritten remake of "Louie Louie" actually tops the version on Metallic K.O., and the title cut is a bizarre bit of spoken-word performance art that's as strange as the entirety of Zombie Birdhouse, and a rousing success where that album was a brave failure. In a note printed on the CD itself, Pop says of American Caesar, "I tried to make this album as good as I could, with no imitations of other people and no formula sh*t." And Pop succeeded beyond anyone's expectations; American Caesar is an overlooked masterpiece. © Mark Deming /TiVo
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Pop - Verschenen op 1 januari 1986 | A&M

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Pop - Verschenen op 26 december 2011 | Virgin

Being iconic doesn't always go hand in hand with a strong discography. While many fans consider all three proper (Iggy and the) Stooges records essential listening, Iggy Pop, the original proto-punk, has a far spottier solo catalog. This would make a well-curated highlights collection all the more necessary, but Essential falls short by focusing mostly on Lust for Life and The Idiot-era Iggy. The remainder is a random spattering of later-period work with little regard to theme or flow. The collection is made slightly more coherent with the inclusion of minor alt-radio hits "Candy" and "Home" from 1990's Brick by Brick, but the track list doesn't reflect a chronology or even a sense of sustained mood. While this jagged presentation isn't completely void of Iggy's essence, the failure to include anything from fan-favorite albums like New Values or Zombie Birdhouse is puzzling. © Fred Thomas /TiVo
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Rock - Verschenen op 1 januari 1996 | Virgin Records

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Rock - Verschenen op 2 april 2007 | Revenge

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Rock - Verschenen op 11 juli 2000 | Buddha Records

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Rock - Verschenen op 20 november 2020 | Cherry Red Records