Long before the raw power of punk icon Iggy Pop became legend, his first incarnation as Iggy Stooge of proto-punk trailblazers The Stooges roared into being. The essence of punk years before the genre existed, The Stooges' furious music was a howling, visceral, fuzztone-drenched, and unprecedented vortex of sound, as evidenced on their revolutionary self-titled, John Cale-produced 1969 debut album. Their bracing follow-up, Fun House portrayed their evolution into a fiercer, stronger band with Iggy's primal vocals and mad brilliance more potent than ever. Each immortal album is now remastered and twice as amazing with a second disc of rarities and previously unreleased tracks.

There's a reason why many consider Iggy Pop the ‘Godfather of Punk’: every single punk band of the past and present has either knowingly or unknowingly borrowed a thing or two from Pop. With his outrageous and sometimes dangerous stage antics and the relentless rock & roll that accompanied them, Iggy Pop prefigured Seventies punk (and also Nineties grunge). Acting as an eternal misfit and a saboteur of all convention, Iggy has parlayed twisted social commentary, raw-power vocal style, and survival smarts into a long career characterized by some commercial success, sizable critical notice, and huge amounts of respect all over the pop landscape. In The Many Faces of Iggy Pop we will dig deep into his career to discover a lesser known side of him. And for the first time, this journey will be led by Iggy Pop himself who has collaborated with us in the project giving us full access to his personal music vault, which has resulted in a unique work that includes recordings not available anywhere else.

Blah-Blah-Blah is the seventh studio album by Iggy Pop. Originally released in October 1986, on the label A&M, it remains his most commercially successful album to date. Blah-Blah-Blah appeared after a four-year hiatus for Pop, with David Bowie serving as his prime collaborator. It would be their final collaboration. A successful tour followed the album's release. The collection included a cover of Johnny O'Keefe's "Wild One" (here titled "Real Wild Child (Wild One)" and three original songs co-written with ex-Sex Pistols guitarist Steve Jones. The remaining tracks were co-written by Bowie, who also produced the album with David Richards but, unlike his previous work with Pop, The Idiot and Lust for Life (both 1977), did not sing or play any instruments. Bowie biographer David Buckley has reported that Pop "virtually disowned" the record, calling it "a Bowie album in all but name".

Initially playing a raw, primitive style of rock and roll, the Stooges sold few records in their original incarnation and gained a reputation for their confrontational performances, which often involved acts of self-mutilation by Pop. He had a long collaborative and personal friendship with David Bowie over the course of his career, beginning with the Stooges' album Raw Power in 1973. With both musicians having relocated to West Berlin to wean themselves off their respective drug addictions, Pop began his solo career by collaborating with Bowie on the 1977 albums The Idiot and Lust for Life with Pop usually contributing the lyrics. Throughout his career, Pop is well known for his outrageous and unpredictable stage antics, poetic lyrics and distinctive voice. He was one of the first performers to do a stage-dive and popularized the activity. Pop, who traditionally (but not exclusively) performs bare-chested, also performed such stage theatrics as rolling around in broken glass and exposing himself to the crowd.

The brilliance of this collection is that it combines the standard Brit-punk anthems by the Sex Pistols, the Damned, the Buzzcocks, and Stiff Little Fingers with other great songs that typify the variety and range of punk-era independent music from both sides of the Atlantic. The songs are so well chosen that the punk aesthetic is further revealed by the inclusion of songs that characterize pub rock, new wave, and other related genres. The usual punk suspects ("New Rose," "Anarchy in the UK") are all here, along with many other treasures: Dr. Feelgood's "Milk and Alcohol", Devo's "Mongoloid," Jonathan Richman's "Roadrunner," Talking Heads' "Psycho Killer," and Television's "Marquee Moon." The less commonly anthologized punk selections are inspired, too: the Ruts' "Babylon Is Burning," Generation X's "Ready Steady Go," and X-Ray Spex's "Identity," along with the seminal "Sheena is a Punk Rocker." The conception of the genre is expanded further to include Elvis Costello, Iggy Pop, XTC, Joe Jackson, the Pretenders, the Tubes, and Blondie, and their presence overcomes the tendency for boring repetition on a very long collection.

100 tracks. Status Quo, Uriah Heep, Slade, The Allman Brothers Band, Thin Lizzy, The Guess Who, Lynyrd Skynyrd, Atomic Rooster, The Moody Blues, Steppenwolf, Blue Oyster Cult, Santana, Rainbow, Lou Reed, Kiss, Toto, Ted Nugent, Electric Light Orchestra, Iggy Pop, Rush, Motorhead, Cheap Trick, Judas Priest, REO Speedwagon, Yngwie Malmsteen, Soundgarden, Accept, Alice Cooper, Dio and more, and more…

Iggy Pop's Post Pop Depression album, a collaboration with co-writer and producer Joshua Homme from Queens Of The Stone Age, is his most critically acclaimed and commercially successful album for many years. On May 13, 2016, Iggy Pop brought his Post Pop Depression live show to London's revered Royal Albert Hall and almost tore the roof off! With a backing band including Joshua Homme and Dean Fertita from Queens Of The Stone Age and Matt Helders from the Arctic Monkeys, Iggy delivered a set focused almost entirely on the new album plus his two classic David Bowie collaboration albums from 1977, The Idiot and Lust For Life. Fans and critics alike raved about the performance and this will definitely be remembered as one of Iggy Pop's finest concerts.

Lust For Life is the 1977 album by Iggy Pop. This is the 1991 remaster released by Virgin Records.

Telluric Chaos is a live album by the reunited Iggy Pop & The Stooges. The album chronicles the closing date of the band's first ever Japanese tour, which took place on March 22, 2004, at the Shibuya AX in Tokyo. The album documents a typical reunited Stooges set, primarily drawn from the band's first two albums (including all of Fun House) with no material from the James Williamson era (Raw Power, Kill City). The album/live set also includes some of the first live performances of three of the four Stooges reunion tracks from Iggy Pop's 2003 solo album Skull Ring plus one brand new song, "My Idea Of Fun" (a finalized version appears on their 2007 studio album The Weirdness).

Fun House is the second studio album by American rock band The Stooges. It was released on July 7, 1970 by Elektra Records. According to Billboard magazine, Fun House is set in hard rock and improvisation. Music critic Robert Christgau characterized the album as "genuinely 'avant-garde' rock" because of the music's apt "repetitiveness", "solitary new-thing saxophone", and "L.A. Blues", which showcases the "old avant-garde fallacy … trying to make art about chaos by reproducing same." Greg Kot called Fun House "the Stooges' punk jazz opus". In 2003, Rolling Stone ranked Fun House number 191 on their list of the 500 greatest albums of all time.

Metallic K.O. is a live recording by American rock band The Stooges. In its original form, the album was purported to contain the last half of a performance at the Michigan Palace in Detroit, on February 9, 1974—the band's final live performance until their reformation in 2003. The performance was notable for the level of audience hostility, with the band being constantly pelted with pieces of ice, eggs, beer bottles and jelly beans, among other things, in response to Iggy Pop's audience-baiting. Subsequent investigation of the master tapes and the May 1988 release of the double album Metallic 2X K.O. reveals that the original album contained the last half of the February 9, 1974 show, but opened with the first half of an earlier show (from October 6, 1973) at the same venue. The 2X K.O. version features the full shows from both dates.

Caroline International have announced the reissue of Iggy Pop’s long-lost classic Zombie Birdhouse, which is due to be issued on 28 June 2019. A heady concoction of drones, Afrobeats and freeform lyrics, the album was Iggy’s 6th solo studio album and represents him at his freewheeling best. It will be released officially on vinyl and CD for the first time since the original Chris Stein produced release on Animal Records in 1982.

Tribute to David Bowie. Includes: Blondie, Duran Duran, Mott the Hoople, Midge Ure, Tears for Fears, Bauhaus, Iggy Pop, Susanna Hoffs and More…

Teenage Kicks chronicles one of pop music's most exciting periods–the glory days of punk and new wave. Comprising knockout classics from The Jam, Teenage Kicks, The Clash, Ramones, Velvet Underground, Stranglers, The Buzzcocks, Siouxie & Banshees, Squeeze, Iggy Pop, The Boomtown Rats, B-52's, The Cure, Ian Dury, Graham Parker, Elvis Costello and many more, every single tune is an instant sing-a-long classic, sure to stir up fond memories of when music was vibrant, outspoken, and always refreshing.

2013 release, the first studio album to bear the name 'Iggy & The Stooges' since Raw Power was released in 1973! Ready To Die finds Iggy Pop, guitarist James Williamson and drummer Scott "Rock Action" Asheton reunited for a full album of all-new material with Mike Watt filling in for the late Ron Asheton on bass. The results are the closest thing to a time capsule to 1973 - or at least to Iggy's subsequent efforts with Williamson, including 1977's Kill City and 1979's New Values - that rock 'n' roll is likely to proffer in this millennium. The new album's opening one-two of 'Burn' and 'Sex & Money' pair sublimely blunt and self-explanatory subject matter with back alley razor-blade guitars and a troglodytic rhythmic stomp as intensely single-minded as Iggy's lyrical statements of intent. Elsewhere on the album, anthems abound in the form of the most dead-on rallying cry for the lower-working-class dispossessed to date–the succinctly and aptly titled 'Job' - as well as a title track that mixes a signature Iggy Pop mission statement of angry desperation with guitar pyrotechnics that recall those halcyon opening salvos of 'Search & Destroy'.