The Stooges - The Weirdness
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CD Details
Artist: The StoogesEdition: Music CD
CD Release Date: 2007-03-06
Music Label: Virgin Records Us
Soundtracks:
- Trollin'
- You Can't Have Friends
- ATM
- Idea of Fun
- The Weirdness
- Free and Freaky
- Greedy Awful People
- She Took My Money
- The End of Christianity
- Mexican Guy
- Passing Cloud
- I'm Fried
Music reviews of The Weirdness
Music Review: Iggy should've gone back to the drugs....
Rating: 2 Stars
Well, I guess I'll jump on the bandwagon with all the haters. I won't preface this by saying what a huge Stooges fan I am - although I do own a copy of "1970 - The Complete Funhouse Sessions" if that tells you anything. I've worshipped at the Stooges altar for 15 years now. I've gotten ahold of all of Iggy's solo stuff - even the bad ones like "American Caesar" and "Instinct". And I gotta tell ya, I didn't have too much hope for this record. And lucky for me, my local library had a copy of it. So without spending the money, I got a chance to listen first, and I'm glad I did. I've since gotten it out a few more times, always with the intent of just copying it - and with owning over 700 CDs, they can kiss my a$$ with that warning on the CD tray - and I've still never had the heart to click the "Rip Music" button. I honestly would rather be locked in a tiny room within a pile of soiled hospital laundry and made to listen to crappy BOMP! Stooges bootlegs than listen to this again.
Much fuss was made of the Stooges tracks on "Skull Ring," but to me, the tracks featuring his band The Trolls rocked so much harder. I just heard Ron's guitar tone on that album (clangy, ringing, and not really engaging), and I knew there wasn't much of a chance. Couldn't someone give him a good Vox pedal or an Echophlex and bring back some of that old Funhouse magic? Because to me, it was always Ron's guitar work that made the first two Stooges albums awesome. The only time any of that old wild and wooly feeling pops up is on "Passing Cloud" and it is, if you'll pardon the pun, only in passing. And while it is cool that Steve Mackay is on this record, he's on too many songs. On "Funhouse", he added blistering madness to the title track and "L.A. Blues", but here it seems to smooth out what little edge there is in the music. And yes, Iggy's lyrics have never been top notch (hell, you could write "Little Doll" on a matchbook cover), but on this one he doesn't even seem to be trying. And while his singing isn't horrible, the nasally snotiness of his "rocking" voice gets really grating. Maybe if there was just a little more of that madness here, I would feel better about it. But hey, after you've sold your soul to Carnival Cruise Lines, what're you gonna do?
And now, the legacy is completely finished - Ron is dead, and now Iggy's moved on to new material - have you heard "Preliminaires"? Ugh. And you know, a lot of people have knocked on Steve Albini for how this sounds, but honestly, with this batch of tepid retreads, a little more bass wouldn't have changed anything. And to counteract the bass argument with him, just listen to High On Fire's "Blessed Black Wings" or Om's "Pilgrimage." I'm willing to bet the mix was more Iggy's doing than anybody else's.
Instead of using the full-on Stooges name, this should've been called "Iggy and The Stooges", like on "Raw Power". It would've been more reflective of the feel of the record, and consequently I wouldn't have felt as gipped. Because in the end, this really does just feel like another Iggy solo record, and not even that good of one, and that's probably the saddest part.
You know, you reach a point in life when you should just be comfortable revelling in what your idols did when they were young and hungry. This is the same reason I won't listen to any new New York Dolls. You can't bring back that fire, you can only throw off faint sparks. So, just give "Funhouse" one more spin and look fondly back on the time when these guys were more concerned with Peruvian flake and penetrating groupies than Metamucil and Cialis...
Description of The Weirdness
Their rudely urgent brand of earsplitting garage rock and bawdy English blues straddled the '60s into the '70s, but, sadly, the Stooges disintegrated in 1973, leaving their insurgent leader Iggy Pop to power through more than three decades of music alone. But a phone call to the surviving members and siblings Ron (guitar) and Scott Asheton (drums) to play on Pop's 2003 record Skull Ring led to the improbable: a full-on reunion of a band that served as a precursor to the so-called birth of punk rock that would follow three years after its breakup. Employing producer Steve Albini (Nirvana) to capture a similar bare minimum to their legendary three-album catalog--three power chords and an archaic rhythm section co-anchored by bassist Mike Watt (Minutemen, fIREHOSE)--these Stooges let Pop's in-your-face vocals capture the mundane: cruising for women, teenage autonomy, and finding love in a cash machine. But never fear that these late-middle-agers (Pop turns 60 a month after the album's release) feel the need to impede the volume. Songs such as "Trollin'," "Greedy Awful People," "She Took My Money," and "Mexican Guy" detonate like outtakes from 1970's Fun House. And with Iggy Pop showing no signs of slowing down and the Ashetons having nothing else to do, this band of Stooges stands a chance of outliving the first one. --Scott HolterGlam CDs
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