Artist.......: Iggy Pop
Album........: Les Nuits de FourviΦre (Lyon)
Label........: n/a
Genre........: Rock
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2015-12-13
Str.date.....: 2015-07-17
Quality......: 243kbps/48.0kHz/Joint Stereo
Url..........: http://www.iggypop.com
track title time
1. Les Nuits de FourviΦre (Lyon) 70:50
* No Fun
* I Wanna Be Your Dog
* The Passenger
* Lust For Life
* Skull Ring
* Five Foot One
* 1969
* Sister Midnight
* Real Wild Child (Wild One)
* Nightclubbing
* Some Weird Sin
* I'm Bored
* Funtime
* Neighborhood Threat
* Down On The Street
Runtime 70:50
Size 123.61
Release Notes:
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There's a reason why many consider Iggy Pop the godfather of punk: every single
punk band of the past and present has either knowingly or unknowingly borrowed a
thing or two from Pop and his late-'60s/early-'70s band, the Stooges. Born on
April 21, 1947, in Muskegon, Michigan, James Newell Osterberg was raised by his
parents in a trailer park close to Ann Arbor, in nearby Ypsilanti. Intrigued by
rock & roll (as well as such non-musical, monotonous, and mechanical sounds as
his father's electric razor and the local automobile assembly plants in
Detroit), Osterberg began playing drums and formed his first band, the Iguanas,
in the early '60s. Via the Rolling Stones, Osterberg discovered the blues and
formed a similarly styled outfit, called the Prime Movers, upon graduating from
high school in 1965. When a brief stint at the University of Michigan didn't
work out, he moved to Chicago instead, where he played drums alongside the
city's bluesmen.
His heart remained with rock & roll, however, and shortly after returning to Ann
Arbor, Osterberg decided to form a rock band. This time, he would leave the
drums behind and be the frontman, taking inspiration from the likes of the
Velvet Underground's Lou Reed and the Doors' Jim Morrison. He tried to find
musicians who shared his musical vision: to create a band whose music would be
primordial, sexually charged, aggressive, and repetitive (using his early
electric razor/car plant memories for reference). In 1967, he hooked up with an
old acquaintance from his high school days, guitarist Ron Asheton, who also
brought along his brother, drummer Scott, and bassist Dave Alexander, thus
forming the Psychedelic Stooges. Although it would take a while for their sound
to gel -- they experimented with such non-traditional instruments as empty oil
drums, vacuums, and other objects before returning to their respective
instruments -- the group fit in perfectly with such other high-energy Detroit
bands as the MC5, becoming a local attraction.
It was around this time that the group shortened its name to the Stooges, and
Osterberg changed his own stage name to Iggy Pop. With the name change, Pop
became a man possessed on-stage, going into the crowd nightly to confront
members of the audience and working himself into such a frenzy that he would be
bleeding by the end of the night from various nicks and scratches. Elektra
Records signed the quartet in 1968, issuing their self-titled debut a year later
and a follow-up effort, Fun House, in 1970. Although both records sold poorly
upon release, they've since become rock classics, and can be pointed to as the
official catalyst for what later became punk rock.
The Stooges were dropped from their record company in 1971 due to the public's
disinterest and the group's growing addictions to hard drugs. Pop's continuous
death-defying acts also worried the label, whose decision to drop the band led
to the Stooges' breakup the same year. One of the band's more celebrated fans,
David Bowie, tracked Pop down and convinced the newly clean and sober singer to
restart his career. Pop enlisted guitarist James Williamson (who was briefly a
second guitarist for the Stooges before their breakup) and, after the pair
signed to Bowie's Mainman management company and relocated to England, they
eventually reunited with the Asheton brothers, with Ron moving from the
six-string guitar to the bass.
Signed by Columbia Records and hoping to follow in Bowie's footsteps toward a
major commercial breakthrough, the Stooges penned another punk classic, the
brutally explosive Raw Power. Pop's plan for the Stooges' third release was
equally brutal; he wanted to create a record that would be so powerful, so
sonically over the top, that it would physically hurt the listener as it poured
forth from the speakers. Although the resulting album wasn't quite that extreme,
it came fairly close, with Bowie lending his own contributions as the album's
producer. Once again, the album sank without a trace. By 1974, Pop and most of
the Stooges had fallen back into the world of heavy drugs, and with their star
fading, the band called it quits for a second (and final) time.
After spending a brief spell homeless on the streets of Hollywood, during which
time there was an unsuccessful attempt to form a band with Pop and former Doors
keyboardist Ray Manzarek, Iggy Pop checked himself into the Neuropsychiatric
Institute in Los Angeles. During his stay at the hospital, Pop made an attempt
at writing and recording some new tunes with Williamson, but when no labels
expressed interest, the two went their separate ways. (Completed demos of the
sessions would surface on the Kill City release in 1977; they would also appear
on the 2005 compilation Penetration, which featured a number of widely
circulated demos, outtakes, and alternate mixes from the Raw Power sessions.)
During his hospital stay, another old friend came to visit him: David Bowie,
whose career was still in high gear. Bowie offered to take Pop on the road with
him during his tour in support of Station to Station, and the pair got along so
well that they both moved to Berlin in late 1976, during which time Bowie helped
Pop secure a solo record deal with RCA. Bowie had become interested in European
electronic rock (Kraftwerk, Can, etc.) and later admitted that he used Pop as a
musical guinea pig on such releases as The Idiot and Lust for Life (both issued
in 1977 and produced/co-written by Bowie). Both albums sold better than the
singer's previous efforts with the Stooges (particularly in the U.K., where Pop
was looked upon as an icon by the burgeoning punk rock movement) as Bowie joined
Pop on his world tour as a keyboardist. Shortly thereafter, a surprisingly muddy
sounding live album was culled from Pop's most recent tour, titled TV Eye (1977
Live). It was also around this time that Pop severed his ties with Bowie and
struck out on his own.
Signing on with another new label, Arista, Pop reunited once more with James
Williamson for 1979's New Values, an album that touched off a string of releases
that were largely inconsistent and musically confused (it appeared as though Pop
was trying to reinvent himself as a new waver): 1980's Soldier, 1981's Party,
and 1982's Zombie Birdhouse. Also in 1982, Pop penned his autobiography, I Need
More, a fascinating book of rock & roll excess that chronicled his early years
straight up to the then-present day. Despite the flurry of activity, Pop began
succumbing to his vices once again and stepped out of the spotlight for a long
stretch to sort his life out, during which time Bowie scored a massive hit with
a remake of the Pop/Bowie nugget "China Girl" (recorded earlier on Pop's The
Idiot). It wasn't until 1986 that Pop resurfaced, signing with a new contract
A&M and issuing the Bowie-produced Blah Blah Blah, which featured his first U.S.
hit single (albeit a moderate one), a cover of "Real Wild Child." 1988's
Instinct saw Pop try his hand at hard rock/heavy metal, joined by ex-Sex Pistols
guitarist Steve Jones, but it wasn't until 1990's Brick by Brick (his first
album for Virgin Records) that Pop fully regained his musical strength and
focus, resulting in his first U.S. gold-certified album and Top 20 hit single,
"Candy," a surprisingly tuneful duet with the B-52's' Kate Pierson.
Just as in the mid-'70s when Pop was looked up to by a slew of up-and-coming
punk bands, history repeated itself in the early '90s with the emergence of such
Stooges disciples from Seattle as Nirvana, Mudhoney, Soundgarden, etc.). Around
the same time, a wide variety of bands covered Pop and/or Stooges tracks --
Slayer, Duran Duran, Guns N' Roses, R.E.M., and Tom Jones -- while Pop issued
another fine solo set, 1993's American Caesar. Although Pop attempted to
re-create the Stooges' sound and approach on his 1996 solo album Naughty Little
Doggie, it wasn't as critically or commercially successful as his previous
couple of releases. But the same year, Pop enjoyed another hit when the nearly
20-year-old title track from Lust for Life was used prominently on the hit movie
soundtrack Trainspotting. Throughout the decade, Pop also tried his hand at
acting in movies, scoring bit parts in such flicks as Cry Baby, Dead Man, and
The Crow II: City of Angels, plus a recurring role on the TV show The Adventures
of Pete & Pete. Although he wasn't involved in it, the 1998 movie Velvet
Goldmine was allegedly based on Bowie and Pop's relationship in the early '70s
(Ewan McGregor's character, Curt Wild, was obviously patterned after Stooges-era
Pop).
With just about every new rock band listing the Stooges as a major influence by
the late '90s, Iggy tentatively began looking back to the band's legacy. He
personally remixed a newly remastered version of Raw Power in 1997, after the
long-lost original master tapes were rediscovered and Pop moved the album closer
to his original vision of a total sonic onslaught. Also released around this
time was another Pop/Stooges-related book, the must-read Please Kill Me: The
Oral History of Punk, which recounted the Stooges' career in great detail
(featuring interviews with all the band's surviving members). 1999 was a busy
year for Pop as he was the subject of a VH1 Behind the Music episode, and a new
solo album was issued, the laid-back Avenue B. But his more "refined" musical
approach was strictly a detour, as proven by his next release, 2001's
in-your-face rockfest Beat Em Up.
After abandoning a promised Stooges reunion in the late '90s, Pop finally made
good on his pledge in 2003, bringing Ron Asheton and Scott Asheton aboard to
write and record four songs with him for his album Skull Ring, and taking the
reconstituted Stooges on the road for a short but riotously received tour (with
Mike Watt standing in for the late Dave Alexander on bass, and with the set
dominated by tunes from The Stooges and Fun House). In 2004, Iggy appeared in
Jim Jarmusch's Coffee and Cigarettes. After issuing the January 2005 effort
Penetration, Pop released the retrospective A Million in Prizes: The Anthology,
which spanned his entire career and included a 37-track CD, a previously
unreleased live DVD, and a round of essays about Pop's legacy penned by notables
like Bowie and Lou Reed. Pop released another compilation, Where the Faces
Shine, the following year.
Iggy Pop maintained his profile during the subsequent years by appearing on an
album by Praxis, performing several Madonna songs at the induction ceremony of
the Rock & Roll Hall of Fame, and appearing in TV advertisements for the British
insurance company Swiftcover. Back in Ann Arbor, however, Asheton suffered a
fatal heart attack in early 2009, robbing Pop of his best friend and plunging
the Stooges' career into instability. Nonetheless, Pop released another solo
record, Preliminaires, that May, taking his inspiration from jazz music and the
work of French novelist Michel Houellebecq. In 2010, Pop and the rest of the
Stooges were inducted into the Rock & Roll Hall of Fame.
Iggy continued to tour with the Stooges throughout 2010 and into 2011, taking
time to pursue a couple of solo side projects, including singing with the Lilies
and with Ke$ha, plus the 2012 album Apres, where he sang French standards (and
the Beatles' "Michelle," which does have a verse in French). In 2013, Pop went
full-bore with the Williamson-fueled Raw Power era of the Stooges, touring and
releasing the Ready to Die album in April of that year.
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