I’m a damned man!”Īlbums rarely begin as disturbingly as The Idiot does with “Sister Midnight.” Cold and unsettling, “Midnight” is driven by a robotic, slightly funky riff (which later resurfaced on “ Red Money,” from Bowie’s Lodger) played by Carlos Alomar while Pop delivers a lyric telling of his Oedipal nightmares: As he said at the time of the release of The Idiot, “I’m not a punk anymore. The overblown Stooges sound wasn’t in the cards for Pop for some time. Instead, it’s a collection of dim visions and sinister melodies. With The Idiot, Iggy Pop forecasted anything but a bright future. Think Bowie, mixed with Leonard Cohen and a touch of Peter Murphy, and you’re pretty close. Instead, under the tutelage of Bowie, Pop became a more sophisticated, yet decidedly more dark and disturbed rock singer. Gone were James Williamson’s blazing guitar riffs and Pop’s shrieking banshee freak-outs. Pop was determined to start up his career in music again, and Bowie stood by him, co-writing songs and producing his “comeback” album, The Idiot.Ĭompared to Raw Power or Fun House, The Idiot is a decidedly more controlled, more subdued slice of Iggy. But thanks to good ol’ pal David Bowie, that all came to an end.
Strung out and eventually self-committed to a mental institution, Pop nearly faded into obscurity, nearly becoming what Axl Rose would be today. But after the band broke up following the release of third album Raw Power, Pop (or “Jim,” I guess, whatever) had become something of a waste case. In the earlier half of the ’70s, Iggy Pop made a name for himself as the baddest of rock `n’ roll frontmen, creating pure bedlam and debauchery with his Detroit band of rock of derelicts, The Stooges.
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