So, to criticize Iggy Pop because of inept lyricism would be ignoring the fact that he was never about the sophisticated side of rock’n’roll like his NY counterpart Lou Reed. He moved like a serpent, his bare torso protruding through the distorted guitars that laid waste to another song behind him as he tossed his biting cynicism at the witnesses. On stage, Iggy had a swagger that was unlike any others in his class. Other Stooge-backed tracks “Skull Ring” and “Dead Rock Star” display how the Asheton brothers have grown as musicians even as Iggy’s lyricism has drastically fallen.įor decades, Iggy has claimed that the Stooges, while recording in the studio, were constantly attempting to capture the vigor of their live show. The swilling guitar changing chords at the drop of a hat and unrefined production value is reminiscent of the spacious feeling that elder songs like “Search and Destroy” once encapsulated. The pinnacle of the album, the raucous “Little Electric Chair,” picks up right where Raw Power left off. The album’s most defining moments, in fact, are when Iggy is teamed again with the Asheton brothers.
Collaborations with Green Day, Sum 41, Peaches and his touring mates, the Trolls, bring to light the same insipid cuts that preceded Skull Ring.
Skull Ring shows the many faces of Iggy Pop. On his latest, however, Iggy finds himself returning to the studio with a handful of new, blistering songs as well as a few friends, most notably former Stooges Scott and Ron Asheton for the first time since the charismatic Raw Power released in 1973. What’s left to say about Iggy Pop? The self-proclaimed godfather of garage rock and pioneer of Detroit’s hardest rocking band of ne’er do’ wells the Stooges has been marred recently by a string of unsuccessful and uninspired releases.
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