  Kenp Member Username: Kenp Post Number: 194 Registered: 03-2006 |
Heard a rumor of this so I checked his website. I cant remember the last time he played in the city. God Bless Itsjeff and his family & friends. http://www.iggypop.com/tour.as px | ||
Aiw Member Username: Aiw Post Number: 6170 Registered: 10-2003 |
I saw him at the State in 1996. | ||
Long_in_the_tooth Member Username: Long_in_the_tooth Post Number: 12 Registered: 01-2007 |
i saw him at bookies, when he did several nights in a row. i missed the night he did all frank sinatra covers. they did a live broadcast on wdet. | ||
Rhymeswithrawk Member Username: Rhymeswithrawk Post Number: 280 Registered: 11-2005 |
Think tickets go on sale 2/23. | ||
Ddaydave Member Username: Ddaydave Post Number: 444 Registered: 04-2005 |
Damn I forgot to get on @ 10:00 to buy right when they went on sale and only an hour later when I did get on the only tickets left are at the very top ... | ||
Nighternock Member Username: Nighternock Post Number: 2 Registered: 02-2007 |
I was off yesterday for President's Day and kept thinking today was Monday and Tomorrow was Tuesday when they would go on sale. Got a NYC ticket (where I live). Wanted to get Detroit tickets too, but missed out. | ||
Kenp Member Username: Kenp Post Number: 196 Registered: 03-2006 |
The actual date of sale is 2/23 in Detroit @ 10am. Today was pre-sale only from the iggy's website. I got tickets near the front, but I was assuming they only released a portion of the tickets. | ||
Nighternock Member Username: Nighternock Post Number: 3 Registered: 02-2007 |
The ONLY way to see Iggy IMO is near the front. | ||
Dan Member Username: Dan Post Number: 1357 Registered: 10-2003 |
How much are tickets? | ||
Kenp Member Username: Kenp Post Number: 197 Registered: 03-2006 |
$35 & $59.50 | ||
Ravine Member Username: Ravine Post Number: 677 Registered: 01-2006 |
I have always thought that guys much over 40 should probably not appear shirtless in public. How in the hell Iggy, who is well over 50, has maintained his taut, muscular appearance is beyond my reckoning. All hail The Ig, one of the most honest performers in the history of pop music. (If you combined the best cuts from "Beat 'Em Up" with the best from "Skull Ring," you would have a fairly strong record. Wonder if the tour signals a new release. Probably so. Not every Iggy record is all that pleasing to me, but I will buy whatever he comes up with, out of respect.) | ||
Nighternock Member Username: Nighternock Post Number: 4 Registered: 02-2007 |
The new record is called "The Weirdness" and is due in stores on March. Here is The stooges MySpace page: http://www.myspace.com/iggyand thestooges | ||
Ravine Member Username: Ravine Post Number: 678 Registered: 01-2006 |
Awright!! Thanks, Nighternock, and by the way, welcome to the forum. | ||
Nighternock Member Username: Nighternock Post Number: 5 Registered: 02-2007 |
Thanks, Ravine. Name should be Nightenrock, but I made a typo. | ||
Magic_mushroom Member Username: Magic_mushroom Post Number: 25 Registered: 12-2005 |
This is awesome! I can kill two birds with one stone here; seeing the Fox and seeing Iggy! | ||
Ravine Member Username: Ravine Post Number: 682 Registered: 01-2006 |
Both look good for their ages, but Mike Ilitch didn't have Iggy renovated. | ||
Erikto Member Username: Erikto Post Number: 516 Registered: 11-2003 |
Those Bookies gigs from September '80 must have been terrific, the WABX broadcast is one of my favourite Iggy shows ever. The only Sinatra related cover I've ever known Iggy to do is "Quarter to 3", Etta James does a great version of that song, too. The audience wouldn't shut up so the song by Iggy goes on for a while since Iggy keeps stopping to yell at the audience. I'd sure love to hear any audience recordings from any of the other Bookies nights. He played a similar set but not as fun a show that was broadcast in Chicago on the same tour. He played Bookies, Waves in Chicago and a couple of other cities for extended runs. I haven't seen Iggy since 1993. Iggy is the first show I taped on the Instinct tour. Great time. There's a cool video of Iggy in Kitchener in 1981 from Ontario t.v. A Toronto label called OPM (Other Peoples Music) released a c.d. of the bootleg l.p. "Heroin Hates You" which was available cheaply around here for a while. (Message edited by Erikt.o. on February 21, 2007) | ||
Island Member Username: Island Post Number: 25 Registered: 01-2005 |
Hope the Fox show doesn't start another blackout, like the 2003 show at Pine Knob did. What? It's not Pine Knob any more? My son and I actually drove out to Clarkston through all that gridlock from Redford 'just in case' the band was already there - maybe a nice little acoustic set! | ||
Southofeight Member Username: Southofeight Post Number: 51 Registered: 07-2005 |
$60 to see The Stooges? Gross.Apparently those royalty checks from "Lust For Life" on the Royal Caribbean Cruise commercials isn't quite enough to keep Jim Osterberg's bank account fat enough. | ||
Kenp Member Username: Kenp Post Number: 201 Registered: 03-2006 |
$60 bucks to see Iggy at the Fox, priceless. He also has a song, Punkrocker, on the new Cadillac commercials. | ||
Rhymeswithrawk Member Username: Rhymeswithrawk Post Number: 289 Registered: 11-2005 |
$60 for the three of the four original Stooges is a better deal than those people who shell out a grand to see Barbra Streisand. | ||
Buddyinrichmond Member Username: Buddyinrichmond Post Number: 127 Registered: 02-2004 |
Not really. There's nothing "punk rock" about $60 tickets. That's more like "sucker nostalgia rock". | ||
Southofeight Member Username: Southofeight Post Number: 52 Registered: 07-2005 |
A la The Eagles, Kiss, the Rolling Stones, The Who, all at top dollar. Nothing like keeping the music "accessible," fellas. Remember those days? Oh wait, they can't, because the drone of selling out is just too distracting. Sorry, but when your song ends up in a commercial, you officially blow. | ||
Goat Member Username: Goat Post Number: 9229 Registered: 10-2003 |
SouthofEight. Iggy does not have the rights to "lust for life" (and many other of his songs) which is why it is in commercials. Punkrocker is not an Iggy tune he is just the guest vocals on that song. I can't remember who the band is though. | ||
East_detroit Member Username: East_detroit Post Number: 968 Registered: 11-2003 |
I'll be seeing the Stooges in March for free. | ||
Pam Member Username: Pam Post Number: 1080 Registered: 11-2005 |
quote: Guess I won't be going. I had tickets to that blacked out Pine Knob concert and then missed the makeup show. Also missed him during that Bookies stint but I remember that radio broadcast. | ||
Nighternock Member Username: Nighternock Post Number: 6 Registered: 02-2007 |
I've seen this version of the Stooges and it is perhaps the best rock show out there right now period. I think these rockers have to charge a lot of green for the tickets and use songs in commercials and sing in them to make ends meet since the record industry is in the toilette right now. Remember once these guys get to a certain level they are not only supporting themselves, but their staffs too. Records/CDs and shows just don't magically happen. They take a lot of work and people generally don't work for free. Would you take a pay cut at your job to make whatever it is you are offering more "accessable?" Now I like many others like free and cheap stuff, but let's remember what kind of world we really live in. | ||
Mc5rules Member Username: Mc5rules Post Number: 181 Registered: 10-2003 |
No, Goat, you're wrong about whether Iggy owns "Lust for Life." He does indeed, and he's cashing in! He's addressed the issue many times. I say 'Good for him...' http://www.geocities.com/mnenn oburke/iggy2003articlesandrevi ews.html The Wave: How did “Lust For Life” get into regular rotation on those Royal Caribbean ads? Iggy Pop: Well, the history with that song is actually very long. People tend to think that these things just explode upon you at one point – it doesn’t work that way. That song started picking up steam about 10 years ago, started cropping up here and there. And then the Royal Caribbean thing turned out to be the biggest use. And what happened there is, I own the master in this case. But that was one of the fruits of having made it independently with David Bowie’s production company – at a key time, he sold it back to me, basically when CD reissues were coming in. I licensed it to EMI Records worldwide, and we basically have a pimp ‘n’ ho relationship. They get a certain percentage and I get a percentage of whatever’s collected. They, in turn, license the recording to Royal Caribbean for a certain period of time. In addition, there are actually two things being negotiated. One is the recording, and the other is the song as a piece of intellectual property. It’s not uncommon anymore to turn on your television and see some sort of really revolting pizza ad with a Beatles song that doesn’t quite sound like the Beatles. That means they’ve used a cover. They’ve gotten permission from the person who owns the publishing – it might be Michael Jackson at this point – to use the intellectual property, but they didn’t get Yoko’s permission to use the recording. In which case they get somebody in like the Poodles, and say, “Poodles: cover The Beatles!” | ||
Mc5rules Member Username: Mc5rules Post Number: 182 Registered: 10-2003 |
Here are a couple more pertinent paragraphs from the above interview: TW: It’s really weird to hear “Lust For LIfe” without the “liquor and drugs” reference. IP: Right. But I actually enjoyed Royal Caribbean’s usage. And to me, it’s just great that it’s out there in any form for someone to hear. That track has just been all over the world. It’s in about 25 movies, countless television shows – I can’t even begin to list ‘em all. But the first usage of “Lust For Life” was an underground Dutch film called Spetters, whose director, Paul Verhoeven, went on to become massive. [Verhoeven directed Showgirls and will someday go to hell for it. –Ed.] And then the second usage was Desperately Seeking Susan, which was Madonna’s debut as an actress. It started there and then it just went all over the place, really. TW: Are there times when you could just kiss that “Lust” master tape, for all the income it’s generated? IP: I don’t ever wanna kiss the master over the money. I wanna kiss the TV over the dissemination of my music. And I swell with pride at hearing how much nastier and edgier my music sounds than anything else on any of the commercials, or on commercial radio today. And if I tell you my inner feelings, I’m gonna have to brag — my music is superior sh-t. In terms of its daring, it’s still forbidden sh-t. So when I hear it get across at all, I feel good about it, just in and of itself. I feel a great sense of release, but also a lot of sadness, because I remember all the years and all the ways in which it’s been put down and forbidden by the inane structure of mediocrity that basically runs big industries. So yes, it’s amazing to hear “Lust For Life” on TV. Especially if you couldn’t get it on the radio for 25 years. Especially if it sat around for 25 years and nobody would play it. It’s been a good thing, but all blessings are mixed. Money has its downside, and any sort of exposure brings a certain irony with it. | ||
Pam Member Username: Pam Post Number: 1082 Registered: 11-2005 |
Remember when Iggy did the Dinah Shore show? http://www.youtube.com/watch?v =Sr0EkGiwfS4 | ||
Goat Member Username: Goat Post Number: 9230 Registered: 10-2003 |
I stand corrected. Thanks MC5Rules. | ||
Southofeight Member Username: Southofeight Post Number: 53 Registered: 07-2005 |
Pam, I had tickets the for the same show and was able to get to the makeup show. You missed quite a performance. I've been down for Iggy and The Stooges for a long time. I think about a couple hundred alleged "rock" bands out there today should be cutting those guys checks for the influence they had on today's music alone. And that Pine Knob show? They stepped up and fucking hit it. Hard. Another big draw for that show were the openers, Von Bondies and Sonic Youth. As far as the sell-out tip is concerned, only an idiot signs over the creative ownership of their work to let any entity do with it what they see fit. It also seems tat "Lust" was really dormant until "Trainspotting" came out, and then it really blew up, again. | ||
Pam Member Username: Pam Post Number: 1084 Registered: 11-2005 |
quote: Yeah so I heard at the time. Thanks for rubbing it in!  | ||
Kenp Member Username: Kenp Post Number: 206 Registered: 03-2006 |
Ive been to many concerts and have seen Iggy twice which stands out. I would recommend anyone who has never seen him perform to do so even if you have no knowledge of the music. He for sure is a must see. At the Pine Knob show I recall the Von Bondies but not Sonic Youth. Maybe it was not as inspiring to me. Isnt that the band with a female singer about 4 guitar players. That Iggy show was special to me because he jumped right on me and knocked my ass on the seats while never spilling a drop of beer. | ||
Mc5rules Member Username: Mc5rules Post Number: 183 Registered: 10-2003 |
I left a good portion of my hearing in the pavillion at Pine Knob for that Stooges show. It was by far one of the most amazing spectacles I have ever witnessed...I'm excited that I scored some pretty choice seats for the Fox show. | ||
Kenp Member Username: Kenp Post Number: 208 Registered: 03-2006 |
Somebody needs to take Pam | ||
Kelly Member Username: Kelly Post Number: 1 Registered: 02-2007 |
Ill be there with bells on!!!! | ||
Rhymeswithrawk Member Username: Rhymeswithrawk Post Number: 325 Registered: 11-2005 |
Woke up at 9:45 a.m. today and proceeded to click on refresh nonstop from 9:58 until 10:02 on my computer's clock until it would let me buy tickets. The best I could do? Fourth row of the balcony. What the hell? | ||
Nighternock Member Username: Nighternock Post Number: 8 Registered: 02-2007 |
How many tickets were you buying Rhymeswithrawk? My friend bought are tickets and got better seats buying them apart as opposed to together. We don't mind, because it's not like we'll be talking during the show. | ||
Detroit_girl Member Username: Detroit_girl Post Number: 76 Registered: 10-2003 |
I had some trouble ordering initially but at least got main floor. I didn't know this before but each credit card buyer is limited to four tickets or your order could be refused or cancelled. So if you are going with more than 3 people, you may have to sit separate. And what were those $59.50 seats, box seats? Main floor was $35. | ||
Kenp Member Username: Kenp Post Number: 211 Registered: 03-2006 |
The closer main floor sets were $59.50 and there were some back row and side seating on the main floor for $35. | ||
East_detroit Member Username: East_detroit Post Number: 971 Registered: 11-2003 |
We got mezzanine. Anyone ever been there? Is it just 5 rows? | ||
Nighternock Member Username: Nighternock Post Number: 18 Registered: 02-2007 |
Great article and video in today's ny times: Video: http://video.on.nytimes.com/if r_main.jsp?nsid=b7d910b32:110f 994beb9:-7f0f&st=1172418408503 &mp=FLV&cpf=false&fvn=9&fr=022 507_104648_7d910b32x110f994beb 9xw7f0e&rdm=823833.9703342048 Article: http://www.nytimes.com/2007/02 /25/arts/music/25ratliff.html Article text: Same Stooges. Different World. Finer Wine. By BEN RATLIFF THERE are the Stooges, from Ann Arbor, Mich., accidental inventors of punk, in the summer of 1970, on nationwide television. And there’s Iggy Pop, their singer: bare torso and sausage-casing jeans, silver gloves, dog collar, chipped front tooth. The song is “TV Eye,” and they have gotten wickedly good at their primitive groove — as good as they will ever get. Iggy weaves in and out of the beat: one second borne by the music, one second abstracted from it. Suddenly he does a violent knock-kneed dance and slips into the audience, gone except for his wounded-animal noises. “There goes Iggy, right into the crowd,” says the host of the special NBC program “Midsummer Rock.” It’s Jack Lescoulie, an announcer on the “Today” show, the Al Roker of his day. In his late 50s he looks like the anti-Stooge: professional, good-natured, well fed, well insured. After a commercial break we see Iggy crawling on the stage. “Since we broke away for our message, Iggy has been in the crowd and out again three different times,” Mr. Lescoulie says. “They seem to be enjoying it, and so does he.” The camera centers on a scrum of teenagers looking downward. Iggy surfaces, hoists himself up so he’s standing on shoulders, and remains aloft, pointing forward like the prow of a ship. Next he’s scooping something out of a jar, wiping it on himself, flinging it around. “That’s peanut butter,” Mr. Lescoulie says, incredulous. I’M going to be straight,” Iggy Pop said recently, talking about that film, which circulated for years in certain circles and is now of course available on YouTube. “I was more than a little high.” He was often more than a little high. But these days Iggy Pop, a k a Jim Osterberg, is ferociously grounded. He swims and practices a form of tai chi, and his only vice, he says, is a few glasses of Bordeaux. Coming up on his 60th birthday, he bears signs of age: creased and ropy, he limps from cartilage lost in his right hip, and can’t hear well over ambient noise. For the first time in 34 years, however, he and the members of his onetime band are putting out a new record: “The Weirdness,” which will be released by Virgin on March 6. (Careful historians will say 37 years: this is the version of the Stooges that made “Fun House,” around the time of the peanut butter concert — the brothers Ron and Scott Asheton on guitar and drums and Steve Mackay on tenor saxophone.) In the intervening years they too have changed. As has the world around them. Once upon a time Iggy and the Stooges defined themselves against the Lescoulies of the world: they were outrageous, truculent, elemental. But these days it seems there are more Iggys than Lescoulies. Everyone’s subversive, everyone’s perverse. What can the Stooges be, if not a band that defines itself against the rest of the world? What happens when they’re old and experienced, and punk attitudes, already in their third generation, have infiltrated so many corners of the culture? How do they climb back into that frame of mind? BREAKING up” doesn’t exist anymore. A band only has extended periods of downtime. The Stooges’ downtime was a little more down than others. Ron Asheton used to say that Iggy had become too self-involved for the Stooges to play together again. Scott Asheton pursued Iggy at various points over the last 10 years, and the answer was always no. “I wasn’t going to go backwards,” Iggy explains now. “And I wasn’t going to do anything to what I thought was a great band.” At some point, however, the incentives just became too powerful: prime gigs at the best rock festivals in the world, both the best-paid and the most creatively run. Plus, what else was there to do? Scott Asheton, who lives in Florida, had been working in construction. His brother, Ron, had been in a series of bands that hadn’t made a stir, still living in his boyhood home on the west side of Ann Arbor, where the band had its first rehearsals. (All three went to Ann Arbor High together.) Iggy needed the Ashetons just as much. “We managed to stay in a band together during a protracted period of failure,” he said of those early days, gigging and making records and living in a filthy house. “No rewards. No approval. No money. These are really the only guys I know. That doesn’t mean, ‘Oh, shucks, I like them so much.’ I mean, we lived together.” Besides, “I’d hit a wall playing alone, in my solo music,” he said. “I was just at wit’s end about what to do — bands, songwriting, everything.” He invited the Ashetons to work on a few songs with him for his album “Skull Ring” in 2003. A week after they convened, the Coachella Valley Music & Arts Festival floated the idea of a Stooges reunion show. (They did the show; Iggy wouldn’t say how much they were offered, though he does say that the Stooges now get paid much better than he did for concerts during his solo career.) And the bassist Mike Watt came on board, once of the Minutemen, to take the place of Dave Alexander, who died in 1975. Before they all headed into the studio, Mr. Watt flew to Florida to go over the new songs, and Iggy gave him a lesson about finding his “inner stupidity.” They were practicing “She Took My Money.” (“She took my money/And didn’t say thank you/She took my money/And immediately banked it.”) Mr. Watt has a strong melodic style on the bass, but Iggy leaned on him to play with a pick instead of his fingers, and to stay with the backbone of the song, even if it meant sounding as dumb, he explained, as the guy singing the bass notes in a doo-wop group. “Play the content,” Iggy urged. “As soon as one of us isn’t playing that, we don’t have a song.” It might have seemed like square advice, but Mr. Watt took it in stride. “Don’t get me wrong,” he said the other day. “There wouldn’t be punk without the Stooges. But after punk, things changed. And they come from the ’60s, so there’s a different sensibility there. Iggy just said: ‘Let go, Watt. Let go of ego. Learn from the source.’ ” Over the 70 or so shows the group has played since 2003, it has developed a routine, including a repertory of 14 songs from the earlier albums “The Stooges” and “Fun House.” At least once Iggy writhes on top of the bass amp; artfully he keeps his pants in danger of falling down; he chants “I am you” during the free-jazz portion of the song “Fun House.” You can’t be prepared for the power of a Stooges show; it still baffles you, makes you a Lescoulie. Iggy juts his hip out like a bumper, skips and punches the air, dives into the audience. On the final night of the All Tomorrow’s Parties Festival, which the Stooges headlined in Minehead, England, in December, Iggy encouraged about 60 people to dance onstage, endangering the backline of amplifiers. And he practices his extraordinary physical vocabulary, tilting his shoulders and extending his arms above and behind his head. (Not insignificantly, he was a backstroker on the Ann Arbor High swim team.) Afterward, backstage, Iggy let two glasses of wine last him 40 minutes. He was in a fine mood. “I sang about twice as hard as I usually do,” he marveled. “And I was worrying. A little voice was saying to me, ‘Do you sound too demented?’ You know, you don’t want to overdo it. It happens to any musician. If you want to do really well, sometimes you take it all on yourself. And that ain’t it. You’ve got to tone down to fit into the beauty of the percolation. This is all part of finding the stupidity, you know.” IN October at Electrical Audio studios in Chicago the overall picture was of scheduled productivity. After the basic tracks for “The Weirdness” had been recorded, each band member was given his own day to make suggestions and additions. I came during Ron Asheton’s day, when he was tracking some extra guitar solos. The day before had been Steve Mackay’s day; Iggy thanked him with a bottle of very nice wine. Around one another the three original Stooges communicate in shorthand. Iggy Pop, famous as a wildman and credible as a sage, is less well known as an organized type: a note taker, a list maker. He led the discussion on the fine points of each playback. Scott Asheton, a brooding figure who rarely left his chair, voiced a few reservations — “Too much solos sounds too amateurish,” he said at one point — and little else. (He was right, and more solos made it on to the record than probably should have.) Ron Asheton just confidently got his job done. After recording one screaming guitar overdub, he re-entered the control room. “Was I too obtuse?” he asked, feigning an epicene British accent. Nobody answered. While recording, Iggy swam laps in the hotel pool every day before going to work at noon. During the recording of “Fun House” in 1970, by comparison, he dropped acid before each day’s session. Still, Ron Asheton says the Iggy Pop of today is not altogether unfamiliar. “He’s more like the Jim I knew in the beginning,” Mr. Asheton said. (To old friends, Iggy is Jim.) “It’s like the better Jim times. When we first started hanging out, he didn’t smoke cigarettes. Jim and I were always more conservative, hesitant to drink, the last ones to smoke marijuana. When we got to Chicago, he had a piece of paper, and it said exactly what’s going to happen on every given day. He asks our opinion; we have a mutual pact that we all have to agree. I love that he deals with the schedules. I know that he needs to do that. He’s clear about what he wants to do.” The resulting album takes pains to remind you that the Stooges are authentic, that their simplicity and roughness isn’t just a casual disposition, or a consequence of being messed up, but a dogma. But “The Weirdness” sounds nothing like “Fun House.” Gone are the medium and slow tempos, the glorious cosmic drone of old songs like “Dirt” and “Ann”; the band “wants less uncertainties,” in Iggy’s words, and in the process has shed half its old sound. It’s almost all fast and rough — almost a punk album, with the hard riffs and commitment to bashing that one wishes the Rolling Stones still had. The spirit is there, even when, in some cases, the songwriting is not. Its engineer is Steve Albini, who has become known for his own dogma of simplicity: analog equipment, full-band live takes, no filters and reverb. The Ashetons’ drums and guitars are big, and Iggy, relatively speaking, is small. He pushes his voice, yelping the lyrics, which are typically zen-mundane. Stooges songs used to be about boredom, sex and hanging out. Now they are about boredom, aging, money, sex, greed and hanging out. The best example is “ATM.” Most of its words have one syllable; it is a smart-stupid rendering of a cash machine as a symbol for money, efficiency, and aging. And it has a provocative aside. “The leaders of rock don’t rock,” he sings at one point. “This bothers me quite a lot.” He wouldn’t tell me who he was talking about specifically, he said, but he believes that the rock business is too big, run by people who know nothing about it. Wasn’t that always the case? “No,” he said, decisively. “The people I met at the top in 1972 tended to be crackpots from the fringes of the lowest parts of the entertainment industry. And they tended to know their stuff. Jac Holzman” — the president of Elektra, the Stooges’ old label — “was a former record-store owner in the Village. The guy who ran the very biggest talent agency in New York had ties to the pinball industry, I guess you could say. They could really screw an artist up, but they weren’t just someone from Legal.” He started warming to the subject: the real subject of the song, he said, was “a fairly loosely aggregated industry-slash-palace guard that has coalesced around the corpus of something called rock, and that something has grown to have something to do with units of digital information, and filling a parking lot.” He paused. “It’s impressive. It’s brutally compelling, sometimes. But it’s not enjoyable.” He says he can hear moments of wildness in the old Stooges record that he knows he can’t reach anymore. “But some of that’s youth.” “And the time period,” said Scott Asheton. “What was goin’ on.” “So, you know,” Iggy responded. “I don’t worry about it too much. Other people are going to do plenty of yakety-yak on that subject for me. Who needs another comment from me?” How is it to make a new Stooges record without drugs? “You know, I don’t feel the difference,” he said, thoughtfully. “You?” he asked Scott Asheton. “Ah, no,” he replied, turned 180 degrees away, smoking a cigarette. “I feel just like I did when I was stoned,” Iggy continued. “I feel the same. The thing is, it’s wonderful to know we can’t take them,” he said, and smiled crisply. | ||
Kenp Member Username: Kenp Post Number: 215 Registered: 03-2006 |
East Detroit the Mezzanine is 5 rows only. A great place to see a show. The only problem for the Iggy show is that you need to be up close, especially in case he comes at you. Great article you posted Nighternock | ||
East_detroit Member Username: East_detroit Post Number: 982 Registered: 11-2003 |
Thanks, Ken. Its cool... plus, we'll see them at SXSW and Iggy for an Interview there too. | ||
Pam Member Username: Pam Post Number: 1100 Registered: 11-2005 |
Here's that old clip mentioned in the article: http://www.youtube.com/watch?v =--Xw9erM3uQ | ||
Erikto Member Username: Erikto Post Number: 522 Registered: 11-2003 |
That Midsummer Rock festival at Crosley Field yielded some other cool clips from the edited video, but I have a feeling the raw footage is long gone. Too bad, because I'd love to hear the rest of the Stooges' set, not to mention Traffic and Mountain. Alice Cooper was there, and that is some of the funniest, Spinal Tap-esque footage ever; Alice trying to be all creepy while the audience jeers him, until someone hits him with a pie square in the face. Unfazed, Alice continues the show. The pride of Flint, Grand Funk, were there too. The only song I remember is their cover of "Inside Looking Out" which I knew as an Animals song but I have no idea if they wrote it. Anyone know for sure? | ||
Kenp Member Username: Kenp Post Number: 216 Registered: 03-2006 |
Erikto, I did some research on, "Inside looking out" I knew of both the Animals and the Grand Funk versions of the song. Im from Flint and very proud of Grand Funk. Anyway the credits for the song according to Wikipedia are (John Avery Lomax, Alan Lomax, Eric Burdon, Chas Chandler) Whats interesting is that the Lomax's where not writers but collectors of mainly old folk music. So I cant tell you who wrote the song but only lead you in that direction. Read the link to gain some info on the Lomax Father & son. http://www.rockument.com/roots _folksongs1.html | ||
Larryinflorida Member Username: Larryinflorida Post Number: 18 Registered: 02-2007 |
http://www.thesmokinggun.com/a rchive/1004061iggypop1.html Iggy's tour rider. One of the best, and funniest, ever written. |
