The album’s hypnotic title track, however, is an absolute must-hear. Iggy’s phenomenal 17th album, Post Pop Depression, would represent a landmark in any great artist’s career, and several of its tracks (not least “Break Into Your Heart” and “Gardenia”) deserve honorable mentions, though they don’t make the cut here. “Five Foot One” and the scorching title track are immediate stand-outs, but when it comes to ennui-stricken garage-rock anthems, the taut, nihilistic “I’m Bored” (“I’m bored, I’m the chairman of the bored!”) is truly unassailable. In reality, though, it’s a bona fide new wave classic, with an on-form Pop aided and abetted by decisive contributions from a hot band that included guitarist/producer James Williamson and versatile guitar/keyboard alumnus Scott Thurston.
Maybe because it arrived in the slipstream of the killer duo The Idiot and Lust For Life, Iggy’s third solo album, 1979’s New Values, is often pegged as an underachiever.
Released in March 1984, the soundtrack also featured the cream of California’s punk scene (Black Flag, Circle Jerks, Suicidal Tendencies), but Pop’s crunching anthem – realized with help from ex-Sex Pistol Steve Jones and Blondie alumni – put their contributions to shame.
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A combination of hard luck and a series of soul-destroying business and personal problems found him at a low ebb in 1983, when rookie film director Alex Cox threw Iggy a lifeline, offering him the chance to write and perform the theme for his cult LA film Repo Man, starring Harry Dean Stanton and Emilio Estevez. The early-to-mid-80s weren’t overly kind to Iggy Pop. The centerpiece of 1986’s David Bowie-helmed Blah Blah Blah album, Pop’s reliably faithful take, titled “Real Wild Child (Wild One),” also helped get his career back on track when it climbed to No.10 on the UK singles chart in January 1987. Its lyrics were reputedly inspired by a brawl at an Aussie wedding reception that ended up in a full-scale riot, so it seemed ideal fare for Iggy to put his anarchic stamp upon. “Real Wild Child”’s title seemingly sums Iggy Pop up to a T, yet this legendary song – originally recorded by Johnny O’Keeffe in 1958 – was actually one of Australia’s first fully-fledged rock’n’roll records. Of these, “Ambition” and “Take Care Of Me” are strong contenders, though the Matlock/Pop peak surely remains “I Need More”: a prowling, bicep-bearing rocker on which an animated Iggy thirsts for “More venom, more dynamite, more disaster!” 18: Real Wild Child With hindsight, however, the album proffered a clutch of classics, including several songs Iggy co-wrote with bassist/ex- Sex Pistol Glen Matlock. Iggy retrospectives usually concentrate on the turbulent sessions for 1980’s Soldier (during which a visiting David Bowie reportedly fought with producer James Williamson) rather than the music that went into the can.
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For 2019’s Free, he again succeeded in his intention to “wriggle out of the frame of rock instrumentation I’d gotten encased in over time.” One of numerous Free tracks that leaned towards jazz, the gripping, synth-driven “Sonali” was an introspective, genre-defying treat that was accurately described as “a rushing, fluttering, quasi-waltz” by The New York Times. 20: Sonaliġ999’s somber Avenue B and 2009’s New Orleans jazz-influenced Préliminaires albums revealed that there’s a lot more to Iggy Pop than high-octane garage rock. Listen to the best Iggy Pop songs on Apple Music and Spotify. Looking for a place to start? Here are the best Iggy Pop songs of all time.
Iggy’s early releases with seminal Detroit outfit The Stooges earned him the epithet “The Godfather Of Punk,” but since issuing his groundbreaking solo debut album, The Idiot, in 1977, the man born James Osterberg on April 21, 1947, has amassed a discography worth a million in prizes. Yet, while this extraordinary performer has courted infamy for his personal excesses and outrageous live shows, we should remember that his legend has primarily been enshrined because of five decades’ worth of future-shaping records. Few performers can compete with Iggy Pop when it comes to embodying the sheer wildness and unpredictability of rock’n’roll.
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