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The Stooges (also known as Iggy and the Stooges) were an American rock band formed in Ann Arbor, Michigan, in 1967 by singer Iggy Pop, guitarist Ron Asheton, drummer Scott Asheton, and bassist Dave Alexander. Initially playing a raw, primitive style of rock and roll, the band sold few records in their original incarnation and gained a reputation for their confrontational performances, which sometimes involved acts of self-mutilation by Iggy Pop.[5]

Key Information

After releasing two albums – The Stooges (1969) and Fun House (1970) – the group disbanded briefly, and reformed with an altered lineup (with Ron Asheton replacing Dave Alexander on bass and James Williamson taking up guitar) to release a third album, Raw Power (1973), before breaking up again in 1974. The band reunited in 2003 with Ron Asheton moving back to guitar and Mike Watt on bass, and the addition of saxophonist Steve Mackay, who had played saxophone on Fun House. Ron Asheton died in 2009 and was replaced by James Williamson, and the band continued to play shows until 2013, when they also released their last album, Ready to Die. The Stooges formally announced their breakup in 2016 due to the deaths of Scott Asheton and saxophonist Steve Mackay.

The Stooges are widely regarded as a seminal proto-punk act.[5][6][7] The band was inducted into the Rock and Roll Hall of Fame in 2010.[8] In 2004, Rolling Stone ranked them 78th on their list of the 100 greatest artists of all time. In 2007, they were awarded the Mojo Lifetime Achievement Award at the Mojo Awards.[9]

History

[edit]

Formation (1967–1968)

[edit]

Iggy Pop (born James Newell Osterberg) played drums in several Ann Arbor–area bands as a teenager, including the Iguanas and, later, the Prime Movers. The Prime Movers nicknamed Osterberg "Iggy" in reference to his earlier band.[10]

Osterberg was first inspired to form the Stooges after meeting blues drummer Sam Lay during a visit to Chicago. Upon returning to Detroit, Osterberg sought to create a new form of blues music that was not derivative of historical precedents, with influence from garage rock bands The Sonics and The Kinks. Ron Asheton (guitar) and Scott Asheton (drums), and Dave Alexander (bass guitar) comprised the rest of the band, with Osterberg as the main singer. Osterberg became interested in Ron Asheton after seeing him perform in a cover band called the Chosen Few, believing, "I've never met a convincing musician that didn't look kind of ill and kind of dirty, and Ron had those two things covered!"[11] The three nicknamed Osterberg "Pop" after a local character whom he resembled.[12] Shortly after witnessing an MC5 concert in Ann Arbor, Osterberg began using the stage name Iggy Pop, a name that he has used ever since.

Though the Stooges had formed, Iggy Pop attributes two key motivating influences to move the band forward. The first was seeing the Doors perform at a homecoming dance for the University of Michigan. The second was seeing an all-girls rock band from Princeton, New Jersey, called the Untouchable perform in the summer of 1967.[13][14] In a 1995 interview with Bust Magazine, he relates:

I had the Stooges. And we did not have the balls to get out and do it. There were two things that made us do it; one was seeing that show (the Doors), we saw that show and I just thought, well, this is so brazen, there is no excuse for us not to do it anymore. And the other thing was we went to New York. We had gone to New York a couple of months before that just to check out the scene, and we had never been to a place like New York… we went down around Eighth Street there where all the young tourists hang out, and we met these girls from New Jersey, from Princeton, they had a band called the Untouchable, and we're like, "Oh, you've got a band, sure, ha ha ha," and they said "Well, come to our house and see us play." And we didn't have anywhere to crash, and they played for us, and they completely rocked, and we were really ashamed.

The band's 1967 debut was at their communal State Street house on Halloween night, followed by their next live gig in January 1968.[15] During this early period, the Stooges were originally billed as the "Psychedelic Stooges" at the Grande Ballroom in Detroit, Michigan, and other venues, where they played with the band MC5 and others. At one of their early Grande Ballroom performances, Asheton's guitar neck separated from the body forcing the band to stop playing during the opening song, "I Wanna Be Your Dog". The first major commercial show for the Psychedelic Stooges was on March 3, 1968, at the Grande Ballroom in Detroit, opening for Blood, Sweat & Tears. According to John Sinclair, who booked the show, the Psychedelic Stooges were substitutes for the MC5, who had a formidable Detroit reputation that made Blood, Sweat & Tears reluctant to follow them. A fan who saw several of their performances at that time said, "What they achieved was an almost orchestral drone or trance-like sound which was totally unique, valid and impressive."[16]

The group's early sound differed from their later music, wrote critic Edwin Pouncey:

The Stooges' early musical experiments were more avant garde than punk rock, with Pop incorporating such household objects as a vacuum cleaner and a blender into an intense wall of feedback that one observer described as sounding like "an airplane was landing in the room." Homemade instruments were also incorporated to flesh out the overall sound. The 'Jim-a-phone' involved pushing feedback through a funnel device which was raised and lowered to achieve the best effect. There was also a cheap Hawaiian guitar which Pop and guitarist Ron Asheton would take turns in plucking to produce a simulated sitar drone, while drummer Scott Asheton pounded away at a set of oil drums with a ball hammer.[17]

In 1968, Elektra Records sent DJ/publicist Danny Fields to scout the MC5, resulting in contracts for both that band and the Stooges. The contracts were at different pay rates: MC5 $20,000, the Stooges $5,000, as revealed in the 2016 Jim Jarmusch film, Gimme Danger.

The Stooges, Fun House, and first breakup (1969–1971)

[edit]
Cashbox advertisement, August 30, 1969

In 1969, the band released their self-titled debut album; sales were low and it was not well received by critics at the time. The Stooges soon gained a reputation for their wild, primitive live performances. Pop, especially, became known for his outrageous onstage behavior: smearing his bare chest with hamburger meat and peanut butter, cutting himself with shards of glass, and flashing his genitalia to the audience. Pop is sometimes credited with the invention or popularization of stage diving.[citation needed]

In 1970, their second album, Fun House, was released, featuring the addition of saxophonist Steve Mackay. On June 13 of that year, television recorded the band at the Cincinnati Pop Festival. While performing the songs "T.V. Eye" and "1970", Pop leaped into the crowd, where he was hoisted up on people's hands, and proceeded to smear peanut butter all over his chest. In a broadcast interview at WNUR Northwestern University radio station in Evanston, Illinois, in 1984, Stiv Bators of the Lords of the New Church and the Dead Boys confirmed the long-standing rumor that it was he who had provided the peanut butter, having carried a large tub from his home in Youngstown, Ohio, and handing it up to Iggy from the audience.

Fun House was also poorly received by critics and the general public. Alexander was dismissed in August 1970 after arriving at the Goose Lake International Music Festival too drunk to play.[18] He was replaced by a succession of new bass players, including former roadie Zeke Zettner[19] and James Recca. Around this time, the band expanded their lineup by adding a second guitar player, roadie Bill Cheatham,[10] who was eventually replaced by James Williamson, a childhood friend of the Ashetons and Alexander.

By this time, the Stooges, with the notable exception of Ron Asheton,[10][20] had all become serious heroin users. The drug was introduced to the band by new manager John Adams.[10] Their performances became even more unpredictable, and Pop often had trouble standing up on stage due to his extreme drug abuse. Elektra soon eliminated the Stooges from its roster, and the band had a hiatus for several months. The final lineup was Pop, the Asheton brothers, Recca and Williamson.[10]

The breakup of the Stooges was formally announced on July 9, 1971.[21] With the band having broken up, Pop met David Bowie on September 7, 1971, at Max's Kansas City,[20][21] and the pair quickly became good friends. The next day, on the advice of Bowie, Pop signed a recording contract with pop music manager Tony DeFries' company, MainMan. A few months later, Tony DeFries and Pop met Clive Davis from CBS/Columbia Records and got a two-album recording deal.[21]

Raw Power and second breakup (1972–1974)

[edit]

In March 1972, DeFries brought Pop and Williamson to the UK,[21] and the pair attempted to reconstitute the Stooges with British musicians, but after finding no suitable additions, they brought the Asheton brothers back into the band. (This "second choice" decision rankled Ron Asheton, as did his change from guitar to bass.) This lineup, billed as Iggy & the Stooges, recorded their third album, the influential Raw Power, which was released in 1973.

At the time, the album faced the criticism that Bowie had mixed it poorly.[22] (In subsequent years, various unofficial fan recordings were assembled and released as the album Rough Power;[22] in 1997, the album was re-mixed by Iggy Pop and re-released.[22]) Although the album sold rather poorly and was regarded as a commercial failure at the time of its release, Raw Power would go on to gain recognition from early punk rockers.[23]

With the addition of a piano player (briefly Bob Sheff and then Scott Thurston[10]), the Stooges toured for several months, starting in February 1973. Around this time they also made a number of recordings that became known as the Detroit Rehearsal Tapes, including a number of new songs that might have been included on a fourth studio album, had the band not been dropped by Columbia soon after the release of Raw Power. In 1973, James Williamson was briefly dismissed due to criticism from the band's management company (likely pertaining to his tempestuous relationship with Cyrinda Foxe, a close friend of road manager Leee Black Childers); guitarist Tornado Turner replaced him for a single gig (on June 15, 1973, at the Aragon Ballroom in Chicago[24]), but Williamson soon returned to the group.[15]

The Stooges disbanded in February 1974 as a result of dwindling professional opportunities; this factor was compounded by Pop's ever-present heroin addiction and erratic off-stage behavior.[15] The last half of the band's last performance of this era on February 9, 1974, in Detroit, Michigan, was captured and was released in 1976 as the live album Metallic K.O., along with the first half of an earlier show on October 6, 1973, at the same venue. A 1988 expanded release of the album with the title Metallic 2X K.O. included the two halves of each show. In 1998, the album was re-released under the original title with the order of the shows reversed, (mostly) expanded tracks and more complete set lists.

Post-breakup and reunion (1975–2003)

[edit]
Iggy Pop on October 25, 1977, at the State Theatre, Minneapolis, Minnesota

After his first attempt at drug rehabilitation, Pop began a volatile yet ultimately successful solo career in 1977, commencing with the Bowie-produced albums The Idiot (1977) and Lust for Life (1977). Relocated to Los Angeles, California, Ron Asheton formed the short-lived band the New Order (not to be confused with the UK band New Order) with Stooges alumni Recca and Thurston before performing with the Ann Arbor–based "anti-rock" group Destroy All Monsters from 1977 to 1985. Until the Stooges' reformation, he supported himself as a working musician in various ensembles, including New Race, Dark Carnival and the Empty Set. Williamson worked with Pop as a producer and engineer during his early solo career – the Kill City and New Values albums are a product of this collaboration – but began a long break from the music industry in favor of a career in electronics engineering beginning in 1980. He received his degree from California State Polytechnic University, Pomona in 1982 and retired from Sony as vice president of technical standards in 2009. Scott Asheton performed with Sonic's Rendezvous Band and the Scott Morgan Group while pursuing various day jobs. Dave Alexander died of pulmonary edema related to his alcohol-induced pancreatitis in 1975.

In 1997, a reissue of Raw Power remixed by Pop was released. In 1999, reissue label Rhino Handmade released the seven-disc box set 1970: The Complete Fun House Sessions, composed of the entire recording sessions associated with the Fun House album. 3,000 copies were pressed, selling out in less than a year.

In 2000, indie rock music veterans J Mascis (of Dinosaur Jr) and Mike Watt (of the Minutemen and Firehose) teamed up with Ron Asheton and drummer George Berz to perform Stooges covers (and other material) live. Billed as J. Mascis and the Fog, the band performed sporadically before Pop became aware of them in 2003. Pop and the Ashetons also first reunited that year, sharing four songs on the Skull Ring album with Pop on vocals, Scott Asheton on drums, and Ron Asheton on both guitar and bass. Soon afterward, the Stooges reunited officially, performing a series of live shows in the United States and Europe, with Watt on bass at Ron Asheton's request,[25] and Fun House–era saxophonist Steve Mackay. Their Detroit homecoming show, postponed by the 2003 North America blackout, was released as the DVD Live in Detroit.

The Weirdness, Ron Asheton's death, and James Williamson's return (2004–2009)

[edit]

On August 16, 2005, Elektra Records and Rhino Records issued newly remastered two-CD editions of the first two Stooges albums, featuring the original album on disc one and outtakes (including alternate mixes, single versions, etc.) on disc two. Unlike the 1997 Raw Power reissue, which was a total remix from the original multitracks, these remasters are faithful to the original mixes.

Iggy and the Stooges – Sziget Fesztivál, 2006.
Iggy and the Stooges – Sziget Fesztivál, 2006.

In 2007, the band released an album of all-new material, The Weirdness, with Steve Albini recording, and mastering done at Abbey Road Studios in London, England.[26] The album received mixed reviews from the press. The band also contributed a cover of Junior Kimbrough's "You Better Run" to a tribute album for the late blues artist.

The Stooges were voted into the Michigan Rock and Roll Legends Hall of Fame in 2008.[27]

The Stooges spent the years between 2003 and 2008 touring extensively, playing shows on five different continents. Highlights included performances at several events involved with the All Tomorrow's Parties concert series, Pop's 60th birthday on the stage of San Francisco's Warfield Theater,[28] touring with the Lollapalooza festival, and a performance of two Madonna covers at the Michigan-born singer's induction into the Rock and Roll Hall of Fame in protest of the Stooges' failure to receive an induction into said institution despite six nominations. (Two years later, the band was successfully inducted.) A low of this touring era occurred in August 2008 when the band's equipment was stolen in Montreal, Quebec.[29] Initially, the reunited band's sets consisted solely of material from The Stooges, Fun House, Skull Ring and The Weirdness. By 2008, they had added "Search and Destroy", "I Got a Right" and "Raw Power" to its set lists. The band's final show with Ron Asheton was on September 29, 2008, in Ljubljana, Slovenia.

On January 6, 2009, Ron Asheton was found dead in his home, having reportedly suffered a heart attack several days earlier.[30][31] He was 60 years old. In their official statement, the group called Asheton "irreplaceable".[32]

On October 1, 2009, The Stooges: The Authorized and Illustrated Story by Robert Matheu and Jeffrey Morgan (authorized biographer of Alice Cooper) was published in hardcover by Abrams.[33]

In a May 2009 interview, Pop announced the band's plans to continue performing with James Williamson returning as guitarist.[34][35] Pop stated that "although 'the Stooges' died with Ron Asheton, there was still 'Iggy and the Stooges'".[36] Their first concert occurred on November 7, 2009, in São Paulo, Brazil. The band added material from Raw Power and several of Pop's early solo albums to its repertoire.

Ready to Die and final breakup (2010–2016)

[edit]
The Stooges, Katowice Off Festival, Poland, on August 4, 2012

The Rock and Roll Hall of Fame inducted the band in its Class of 2010, with Williamson, Pop, Alexander, Scott Asheton, and Ron Asheton as the inducted members.[37] The band had previously been nominated for election seven times, each unsuccessful. Their performance for the event included a guest appearance by former keyboardist Scott Thurston. Performances with Williamson continued, including the 2010 All Tomorrow's Parties festival in Monticello, New York, where they performed Raw Power in its entirety. A re-release of Raw Power was released on April 10, 2010, including the first remastering of the David Bowie mix and a live 1973 performance. The following year, Detroit author Brett Callwood published The Stooges – Head On: A Journey Through The Michigan Underground, a book that focuses heavily on the Asheton brothers' activities after the initial decline of the Stooges.[38]

On February 25, 2013, the band released what would become their last album, Ready to Die. The album was released on April 30 on Fat Possum.[39] Iggy and the Stooges played the final date of their 25-city 2013 world tour with a performance at the C2SV Festival in San Jose on September 28, 2013.[40]

On March 15, 2014, Scott Asheton died of a heart attack, aged 64.[41][42] Saxophonist Steve Mackay died in October 2015 at the age of 66.[43]

In 2016, Jim Jarmusch directed Gimme Danger, a documentary film about the band.[44]

On June 22, 2016, guitarist Williamson made an official statement for the band saying that the Stooges are no more: "The Stooges is over. Basically, everybody's dead except Iggy and I. So it would be sort of ludicrous to try and tour as Iggy and the Stooges when there's only one Stooge in the band and then you have side guys. That doesn't make any sense to me." Williamson also expressed a desire to stop touring.[45]

Musical style

[edit]

The Stooges are widely regarded as a seminal proto-punk act[5][6][7] and as instrumental in the development of punk rock, alternative rock, heavy metal, and rock music in general.[46][47] In the years before noise rock was named as a musical genre, the Stooges were combining noise with punk rock in the same vein.[48]

Legacy

[edit]

Music journalist Lester Bangs was one of the first writers to champion the Stooges in a national publication. His piece "Of Pop and Pies and Fun" for Creem Magazine was published about the time of the Stooges' second album, Fun House. Another music journalist, Legs McNeil, was especially fond of Iggy and the Stooges and championed them in many of his writings.

Former Tyrannosaurus Rex percussionist Steve Peregrin Took, interviewed by Charles Shaar Murray for the NME in 1972, cited Pop's stage act as an inspiration for his own chaotic onstage behavior during the band's late 1969 US tour (after which he was replaced by Mickey Finn).[49]

The Stooges' brand of rabid proto-punk laid the foundation for countless punk rock bands over the decades. The Sex Pistols recorded the first high-profile Stooges cover, "No Fun", in 1976. Sid Vicious also regularly performed "I Wanna Be Your Dog", "Search and Destroy" and "Shake Appeal (Tight Pants)" in his post-Pistols solo shows, and included both on his Sid Sings album. According to Dee Dee Ramone, the members of the Ramones felt alienated from their community growing up and started hanging out with each other due to a common love of Stooges, a band everyone else they knew greatly disliked. A typical social experience was listening to the Stooges together while miming/imitating a performance by Iggy Pop.[50] Joey Ramone's cover of the song "1969" appeared on his posthumous debut solo album, Don't Worry About Me. The Stooges were also a key early influence on Siouxsie and the Banshees frontwoman Siouxsie Sioux.[51]

Several punk bands took their names from Stooges songs or lyrics, including Radio Birdman, Penetration, Raw Power, Shake Appeal and The Streetwalkin' Cheetahs. Australian band Radio Birdman which included fellow Ann Arbor native Deniz Tek, named an early venue "The Oxford Funhouse", while on their 1977 album Radios Appear, they covered the Stooges song "TV Eye" and name-checked the Stooges in the Deniz Tek song "Do the Pop". The band's name was itself taken, although incorrectly, from the lyrics of the Stooges song "1970".[52]

Numerous other bands and artists spanning multiple genres have cited the Stooges as an influence, including Misfits,[53] Sonic Youth,[54] Bauhaus,[55] Dinosaur Jr. frontman J Mascis,[56] the Sisters of Mercy,[57] the Jesus and Mary Chain,[58] Mudhoney,[59] Ride,[60] Pere Ubu,[61] and Crime.[62]

Kurt Cobain consistently listed Raw Power as his favorite album of all time in the "Favorite Albums" lists that featured in his Journals.[63]

Joan Jett covered "I Wanna Be Your Dog" for her platinum 1988 album, Up Your Alley. The first album by British punk band the Damned, Damned Damned Damned, concluded with "I Feel Alright", a cover of the Stooges' "1970" under its accepted alternate title. In 1982, the Birthday Party released Drunk on the Pope's Blood, a live EP with a version of "Loose". On multiple occasions, the Birthday Party performed entire sets of Stooges covers. Their live version of "Fun House" can be found on their live album, Live 1981–82. Sonic Youth covered "I Wanna Be Your Dog" on 1983's Confusion Is Sex. English space rock group Spacemen 3 covered "Little Doll" on their 1986 album Sound of Confusion. Uncle Tupelo covered "I Wanna Be Your Dog", although they did not release it while they were active.[citation needed] In 1993, Guns N' Roses covered the song "Raw Power" on their album The Spaghetti Incident? The Red Hot Chili Peppers recorded a cover of "Search and Destroy" during the sessions for Blood Sugar Sex Magik; the song appeared on the B-side of the "Give It Away" single, and later on the Iggy Pop tribute album We Will Fall, the compilation albums Under the Covers and The Beavis and Butt-Head Experience, and the compilation EP Rock & Roll Hall of Fame Covers EP. They also played "I Wanna Be Your Dog" live. Soundgarden covered "Search and Destroy" on their live album Live on I-5. Thrash metal band Slayer cover "I Wanna Be Your Dog" on their 1996 cover album Undisputed Attitude (naming it "I'm Gonna Be Your God"). Rage Against the Machine covered the song "Down on the Street" on their 2000 album, Renegades. In 2007, R.E.M. performed "I Wanna Be Your Dog" with Patti Smith in their induction to the Rock and Roll Hall of Fame.[64]

In August 1995, all three Stooges albums were included in British music magazine Mojo's influential "100 Greatest Albums of All Time" feature.[65] Fun House was placed the highest, at 16.

The Stooges' "Search and Destroy" was featured in Harmonix's Guitar Hero II for the PlayStation 2.

In 2004, Rolling Stone ranked the Stooges No. 78 on their list of 100 of the most influential artists of the past 50 years.[66]

Layne Staley, of Alice in Chains, said that he was a big fan of The Stooges.[67]

Emanuel covered "Search and Destroy" on the Tony Hawk's American Wasteland soundtrack.

In 2009, Cage the Elephant gave away a free cover version of "I Wanna Be Your Dog" on their website if users registered with their mailing list service.[citation needed]

Slash, of Guns N' Roses, included their self-titled debut amongst his favorite studio albums.[68]

Peter Hook included their live album Metallic K.O. amongst his favorite albums.[69]

Band members

[edit]

Final lineup

[edit]
Image Name Years active Instruments Release contributions
Iggy Pop WOWGoth090818-213 (44961688755) (cropped).jpg
 Iggy Pop
  • 1967–1971
  • 1972–1974
  • 2003–2016
  • lead vocals
  • keyboards (1972–1973)
 all releases
Iggy_&_the_Stooges_@_Brussels_Summer_Festival_2012_(8371448222).jpg
 James Williamson
  • 1970–1971
  • 1972–1974
  • 2009–2016
  • lead and rhythm guitar
  • backing vocals (1972–1974)
Mike_Watt,_The_Stooges,_ATP_Festival,_May_2010.jpg
 Mike Watt 2003–2016 bass guitar all releases from Live in Detroit (2003) onwards, except You Don't Want My Name... You Want My Action (2009), Have Some Fun: Live at Unganos (2010), Live at Goose Lake, August 8th, 1970 (2020)
Larry_Mullins_-_L.J._Spruyt_Photography.tif
 Toby Dammit (Larry Mullins) 2011–2016
  • drums
  • percussion
 Ready to Die (2013)

Former members

[edit]
Image Name Years active Instruments Release contributions
Scott_Asheton.jpg
 Scott Asheton
  • 1967–1971
  • 1972–1974
  • 2003–2014 (until his death)
 drums all releases
Iggy_and_the_Stooges_-_Sziget_Fesztivál,_2006.08.15_(4).jpg
 Ron Asheton
  • 1967–1971
  • 1972–1974
  • 2003–2009 (until his death)
  • lead and rhythm guitar (1967–1971, 2003–2009)
  • bass guitar (1972–1974)
  • backing vocals (1967–1969, 1972–1974)
 all releases from The Stooges (1969) to Have Some Fun: Live at Ungano's (2010)
Dave Alexander 1967–1970 (died 1975)
  • bass guitar
  • backing vocals (1969)
Steve_Mackay_(15210162611_905649c60e_n)_(cropped).jpg
 Steve Mackay
  • 1970
  • 2003–2015 (until his death)
 saxophone
Bill Cheatham 1970 (died 1990s) rhythm guitar Have Some Fun: Live at Unganos (2010)
Zeke Zettner 1970 (died 1973) bass guitar
Jimmy Recca 1971 You Don't Want My Name... You Want My Action (2009)
Bob Sheff 1973 (died 2020) keyboards none
WK_with_guitar.jpg
 Tornado Turner 1973 lead and rhythm guitar
Scott_Thurston,_2017-08-28.jpg
 Scott Thurston 1973–1974 (2010, 2013 as guest)
  • keyboards
  • harmonica
  • backing vocals

Timeline

[edit]

[24]

Discography

[edit]
Main article: The Stooges discography

Videography

[edit]
  • Live in Detroit (2003)
  • Iggy & the Stooges Reunion at Coachella! (2003)
  • Escaped Maniacs (2007)
  • Gimme Danger (2016)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Stooges

View on Grokipedia
from Grokipedia
The Stooges, also known as Iggy and the Stooges, were an American rock band formed in , in 1967 by vocalist , guitarist , drummer , and bassist Dave Alexander. Pioneers of the sound, they are renowned for their raw, aggressive style characterized by primitive song structures, distorted guitars, and Pop's energetic, often theatrical stage presence, including antics like crawling on broken glass and confronting audiences. The band released their self-titled debut album in 1969, followed by Fun House in 1970, both produced by John Cale and noted for their minimalist, garage rock intensity. After internal tensions and Alexander's departure, they recorded Raw Power in 1973 with James Williamson on guitar, under the influence of David Bowie, before disbanding in 1974. The Stooges reunited in 2003 with a lineup including the Asheton brothers, Pop, and new bassist Scott Macdonald, releasing The Weirdness (2007) and touring until Scott Asheton's death in 2014, after which they performed final shows and disbanded in 2016. Their influence on , , and heavy metal is profound, inspiring bands like the , , and Nirvana, and earning induction into the Rock and Roll Hall of Fame in 2010. The Stooges' legacy endures through reissues, documentaries, and recognition as one of the most innovative acts of the late and early rock scene.

History

Formation (1967–1968)

Jim Osterberg, later known as , had been active in the Ann Arbor music scene as a for the band the Iguanas during his high school years and later joined the Prime Movers, a blues-oriented group, in 1966. Dissatisfied with the Prime Movers' direction, Osterberg decided to form a new band in 1967, inspired by a concert he attended in , which motivated him to create a raw, confrontational rock outfit that rejected the era's prevailing psychedelic trends. He adopted the stage name Iggy Stooge, drawing from his earlier nickname "Iggy" earned in the Iguanas, and envisioned a group that would channel primal energy and audience provocation. Osterberg recruited guitarist and his brother, drummer , whom he knew from the local scene, along with bassist Dave Alexander, to form the core lineup. Initially calling themselves the Psychedelic Stooges—a nod to Ron Asheton's fondness for the comedy trio —the band rehearsed in the Ashetons' basement, developing a minimalist, repetitive style influenced by free jazz pioneers like and the experimental ethos of composer . Their proximity to fellow Ann Arbor band further shaped their aggressive approach, as both groups shared a commitment to and political edge in the Motor City rock scene. The Psychedelic Stooges debuted at a in 1967 at the student union, quickly gaining a reputation for chaotic, improvised performances that featured atonal noise, oil drums as percussion, and Iggy's shirtless, taunting stage presence. They played early gigs at local venues like the in , including an 18-minute set opening for Blood, Sweat & Tears in early 1968, where their primitive, feedback-laden sound alienated some audiences but built a among those seeking an to hippie-era excess. This unpolished aggression, blending riffs with nihilistic minimalism, solidified their ethos during sporadic Midwest shows. By late 1968, the band's notoriety from these live outings caught the attention of publicist , who signed them on September 22 after witnessing a performance in Ann Arbor—initially there to scout the . Shortening their name to the Stooges, they secured a deal that positioned them alongside the on the label, marking their transition from local primitives to a national prospect despite their limited song catalog at the time.

Debut album and Fun House era (1969–1970)

The Stooges' self-titled debut album was recorded in April 1969 at in , with former member serving as producer. Cale aimed to capture the band's raw, primal energy, incorporating elements like viola on the track "We Will Fall" while encouraging minimal overdubs to preserve their live intensity. Key songs such as "I Wanna Be Your Dog," a gritty lament built on a simple blues riff and bow-wow chorus, and "," a sardonic nod to the band's formation year, exemplified their confrontational style. Released on August 5, 1969, by , the album featured eight tracks clocking in under 40 minutes, emphasizing short, abrasive bursts over elaborate arrangements. Despite its innovative edge, the album achieved limited commercial success, peaking at number 106 on the chart and failing to produce any hit singles. Initial was mixed, with some reviewers dismissing it as primitive noise, yet it quickly garnered underground acclaim for its unfiltered aggression and influence on emerging rock scenes. The release propelled the band into national touring, often sharing bills with fellow proto-punk act as Elektra's paired acts, performing at venues like the Toledo Sports Arena in late 1969 and building a reputation for chaotic, high-energy shows that blurred the line between music and . Building on this momentum, the band recorded their second album, Fun House, in May 1970 at Elektra Sound Recorders in , produced by Don Gallucci of . Gallucci, tasked with refining their sound without diluting its ferocity, set up the studio like a live stage by removing baffles and rugs to encourage bleed and natural reverb, resulting in longer, jam-oriented tracks that extended beyond three minutes. Tenor saxophonist joined as a temporary member, adding free-jazz-inspired bursts to songs like "Down on the Street," a stomping opener with streetwise , and the sprawling 11-minute closer "L.A. Blues," which devolved into noisy improvisation. Released on July 7, 1970, Fun House received even harsher contemporary reviews for its relentless intensity but later became a cornerstone of , praised for pushing boundaries toward punk and genres. Throughout this period, internal tensions simmered as the band clashed with Gallucci's direction, viewing him as an outsider meddling in their vision, which contributed to erratic live performances marked by onstage antics and growing substance experimentation among members. expressed dissatisfaction with the final Fun House mix, feeling it failed to fully replicate their untamed live chaos, exacerbating frustrations that strained group dynamics during tours.

First breakup and Raw Power (1971–1974)

Following the commercial disappointment and escalating internal tensions from the Fun House era, bassist Dave Alexander was dismissed from the Stooges in 1971 due to his severe , which had rendered him unable to perform reliably during rehearsals and shows. Efforts to replace him, including brief stints by other musicians, failed to stabilize amid ongoing drug use and financial strain, leading to their first complete breakup that summer. In the wake of the dissolution, frontman Iggy Pop relocated to London in early 1972, where he connected with David Bowie, who became a key influence and provided management support through his MainMan company, encouraging Pop to reform the group. Inspired by this backing and signed to Columbia Records, Pop reassembled the Stooges later that year, summoning brothers Ron and Scott Asheton from the U.S. to join him. Guitarist James Williamson, a longtime associate of Pop's from earlier Michigan scenes, also joined as the new lead guitarist, bringing a sharper, more aggressive edge to the lineup while Ron Asheton shifted to bass. The reformed band rehearsed intensively in London for several months before recording their third album, Raw Power, at CBS Studios in September 1972, with Pop serving as producer to capture their raw intensity. Released in February 1973 and credited to Iggy and the Stooges, the album featured standout tracks like the anthemic "Search and Destroy," with its explosive riff and Pop's visceral lyrics evoking urban alienation, and the brooding "Gimme Danger," which showcased Williamson's metallic guitar tone and the band's evolving proto-punk menace. However, Bowie's subsequent glam-influenced remix in Los Angeles, which panned elements extremely and emphasized Pop's vocals, sparked controversy among band members and fans for diluting the original's ferocity, though it facilitated the album's release. Despite critical acclaim in niche circles, sold poorly, exacerbating the band's financial woes as Columbia withdrew support. An erratic U.S. tour in late 1973 and early 1974, marked by chaotic performances, audience confrontations, and rampant use among members, culminated in a final, violent show in on February 9, 1974, after which the Stooges disbanded for good amid exhaustion and insurmountable drug problems.

Hiatus and solo activities (1975–2003)

Following the Stooges' disbandment in 1974 after a chaotic tour supporting , the band entered a prolonged hiatus that lasted nearly three decades, during which the members pursued divergent paths amid growing underground recognition for their pioneering sound. Original bassist Dave Alexander, who had been dismissed from the group in 1971 due to substance issues but remained a foundational influence, died on February 10, 1975, at age 27 from complicated by and chronic . His death marked an early tragic endpoint for the original lineup, underscoring the personal toll of the band's intense early years. Iggy Pop, the band's frontman, transitioned to a prolific solo career, most notably collaborating with David Bowie on two landmark albums in 1977. , released on March 18, 1977, via , featured Pop's vocals over Bowie's production and instrumentation, blending electronic elements with a brooding, atmosphere that influenced subsequent genres. This was swiftly followed by Lust for Life in September 1977, another Bowie co-production that shifted toward more upbeat, rhythmic tracks like the title song, drawing from Berlin-era experimentation while showcasing Pop's raw energy. Pop continued releasing solo material through the 1980s and 1990s, including Blah-Blah-Blah (1986) and (1990), solidifying his status as a enduring rock icon independent of the Stooges. Guitarist joined the experimental Detroit collective Destroy All Monsters, active from 1973 to 1985 with sporadic later activity, where he contributed guitar to their noise-rock and performance-art hybrid style, including tracks like "Bored" from their 1979 single. Drummer formed in 1978 with MC5 guitarist Fred "Sonic" Smith, ex-Rationals singer Scott Morgan, and bassist Gary Rasmussen, creating a high-energy hard rock outfit known for extended jams and grit, though they released no official albums during their run until posthumous compilations. Guitarist James Williamson, who had co-produced Raw Power, briefly collaborated with Pop on the unreleased Kill City sessions (recorded 1975–1977) before exiting the music industry in the late 1970s for a career in technology, including chip design at and standards work at , effectively retiring from performing until the early 2000s. During the and , the Stooges' legacy expanded through reissues and bootlegs that introduced their music to new audiences amid the punk and revivals. Elektra reissued The Stooges (1969) and Fun House (1970) in updated formats, while Rhino remixed and re-released in 1997 with expanded tracks, enhancing its cult appeal. Unreleased 1970s rehearsal tapes and live recordings circulated widely on bootlegs, such as those from the era, preserving raw performances and fueling archival interest among collectors. This period saw sporadic label overtures to Pop about potential revivals, reflecting the band's rising influence on acts like Nirvana and , though full reunions remained elusive until later.

Reunion and The Weirdness (2003–2008)

After nearly three decades of inactivity, Iggy Pop reunited with guitarists Ron Asheton and drummer Scott Asheton for a performance at the Coachella Valley Music and Arts Festival on April 27, 2003, marking the band's first show since the mid-1970s. The lineup included Minutemen bassist Mike Watt on bass, who filled in for the late Dave Alexander, and saxophonist Steve Mackay joined for the encore. The 47-minute set drew heavily from the band's early albums, featuring high-energy renditions of tracks like "I Wanna Be Your Dog" and "Fun House," showcasing Pop's enduring primal stage presence at age 56. The Coachella appearance sparked a series of tours, beginning with European dates in June 2003, including the Isle of Wight Festival, followed by U.S. shows such as the one at Jones Beach in August. Over the next few years, the band maintained a rigorous schedule, performing at festivals like Japan's Mt. Fuji Festival in 2003, Spain's in 2005, and the U.K.'s in 2004 and 2006, alongside North American gigs at events including in 2007. This renewed activity aligned with growing interest in punk rock's origins, drawing crowds eager for the Stooges' raw sound. In 2006, the band signed with to support their comeback efforts. Recording sessions for the band's fourth studio , The Weirdness, took place in in October 2006, with handling production to capture a live, unpolished feel reminiscent of the group's early work. The , released on March 5, 2007, consisted of 13 new original tracks penned primarily by Pop and , including riff-driven numbers like "Trollin'," "My Idea of Fun," and "The End of ," which explored themes of alienation and absurdity with the band's signature blunt force. Albini's engineering emphasized Scott Asheton's muscular drumming and Ron Asheton's savage, wah-wah-infused guitar attacks, though some tracks felt constrained by repetitive structures. Critics offered mixed assessments of , praising its ferocious energy and instrumental punch—particularly Ron Asheton's brutal riffs and the overall grimy punk ethos—but critiquing its dated lyrical references and lack of the original albums' menacing tension. Publications like noted the album's streamlined production as a strength for live-like immediacy, yet faulted songs for sounding more like echoes of a 16-year-old's than a mature evolution, resulting in a sense of subpar timelessness compared to classics like Fun House. , despite contributing solidly to the recordings, dealt with emerging health challenges that affected his stamina during this period. Touring continued into 2008, with performances at the Isle of Wight Festival in June and the in , in August, sustaining the band's momentum amid the punk revival's cultural resurgence. These shows highlighted the enduring appeal of the Stooges' chaotic live dynamic, even as the lineup adapted to the post-hiatus realities.

Final years and disbandment (2009–2016)

The death of founding guitarist on January 6, 2009, from a heart attack in his Ann Arbor home deeply affected the band, with stating, "I am in shock. He was my best friend," leaving the group in mourning amid their ongoing reunion activities. Asheton's passing, at age 60, compounded the challenges following their 2007 album and prompted reflections on the band's enduring but fragile lineup. In March 2010, James Williamson, the Stooges' guitarist from the Raw Power era, rejoined for their induction into the Rock & Roll Hall of Fame, performing alongside , , and other members during the ceremony in New York. This appearance marked Williamson's return to the stage with the band after decades away, honoring their legacy as inductees alongside figures like Dave Alexander. Williamson then fully reintegrated into the Stooges for their fifth studio album, , recorded in 2012 and released on April 30, 2013, via , featuring the lineup of on vocals, Williamson on guitar, on drums, on bass, and on saxophone. The album grappled with themes of mortality and aging, with Pop confronting his own limits in tracks like "," a fiery guitar-driven song evoking danger and finality, and "Beat That Guy," an elegy lamenting "I’m running out of space/ I’ve run out of time." Scott Asheton died on March 15, 2014, at age 64, following health issues that had already sidelined him from touring; remembered him as drumming "with a boxer's authority," underscoring the irreplaceable loss to the band's primal rhythm section. Saxophonist , who had rejoined for the reunion and contributed to , died on October 10, 2015, at age 66 from . The Stooges continued select performances on the tour with Toby Dammit (Larry Mullins) substituting on drums, a who had previously backed Pop in the . On June 23, 2016, Williamson announced the band's disbandment, stating it would be "ludicrous" to continue as Iggy and the Stooges with only Pop remaining as an original member amid the deaths of Ron and and , and noting Pop's shift toward solo endeavors. This closure followed their final live shows in 2013, ending over a decade of reunion efforts.

Artistry

Musical style

The Stooges pioneered a primitive form of rooted in minimal riffs, heavy , and influences, creating a raw, visceral sound that laid the groundwork for . Their debut album, The Stooges (1969), featured a grimy, psychedelic-tinged aggression with rumbling bass lines grounded in traditions and fuzzed-out guitar work that evoked a lava-like flow, all underpinned by pounding, basic drum patterns. This sonic blueprint emphasized simplicity and vicious energy over technical complexity, marking a departure from the era's more ornate rock styles. Central to their sound were the contributions of guitarist , whose aggressive, distorted riffs and searing solos slashed through the mix with minimal melodic structure, often incorporating feedback to heighten the chaotic texture, and drummer , who delivered primal, relentless beats with a boxer's authority—hitting hard yet swinging behind the beat to instill a trance-like authority without unnecessary flourishes. Frontman Iggy Pop's raw, snarling vocals—demented screams, grunts, and existential narrations—conveyed themes of alienation, drug addiction, , and , amplifying the band's confrontational . The addition of saxophonist on Fun House (1970) introduced free-jazz dissonance, pushing the album toward noise-rock with its apocalyptic garage meltdown of repetition and abrasive intensity. By (1973), the Stooges evolved from the primordial caveman blues of their debut and the proto-metallic grind of Fun House into a sharper glam-punk , characterized by treble-heavy in David Bowie's mix, loose repetitive workouts, and an overdriven lack of conventional melody as an explicit anti-commercial statement. Pop's commanding vocals thrust forward amid searing guitar solos and echoing, wood-chopping drum patterns, blending punk's raw edge with glam's theatricality while retaining the core feedback and that defined their innovations. This progression solidified their role as sonic architects of rebellion, prioritizing unstable compositions and primal fury over polished accessibility.

Live performances

The Stooges' live performances were defined by frontman Pop's development of that pushed the boundaries of rock theater and prefigured punk's confrontational ethos. Pop frequently performed shirtless, emphasizing his lean, athletic physique as a canvas for raw physicality, while crawling across stages on all fours to evoke primal, animalistic energy. These elements evolved from his early influences, including the Asheton brothers' , into a signature persona that rejected polished showmanship in favor of visceral provocation. A pivotal example occurred at the Pop Festival on June 13, 1970, where Pop smeared across his chest and hurled it into the crowd during songs like "TV Eye," before diving repeatedly into the audience, who hoisted him aloft by his legs in a moment of chaotic communion. Self-mutilation became another hallmark, as Pop cut his chest with and rolled amid shattered glass shards during performances, drawing blood to heighten the drama and test audience limits. Crowd interactions often descended into mayhem, with Pop inciting physical confrontations that blurred the line between performer and audience. He pioneered stage diving by leaping into throngs of fans, who sometimes carried him or pelted him with objects, fostering a sense of shared aggression that defined reciprocity. Equipment destruction was routine, as Pop smashed and amplifiers in of rage, mirroring the band's sonic and amplifying the shows' destructive . Marathon sets further intensified the experience, with performances stretching into hours-long jams, such as extended renditions of "L.A. Blues" that devolved into improvised , testing the band's and audience's endurance amid mounting chaos. The final original-era show at Detroit's Michigan Palace on February 9, 1974—captured on the live album Metallic K.O.—exemplified this, as bottles flew from a hostile crowd, sparking a that left Pop bloodied and the stage in ruins. The band's audiences evolved from the late 1960s hippie crowds at festivals, where their abrasive style alienated flower-power enthusiasts expecting psychedelic harmony, to increasingly hostile gatherings in the early 1970s that embraced the confrontation. Initial shows in Detroit's underground scene drew curious but bemused s, but by the Fun House and eras, Pop's antics attracted fans seeking raw rebellion, turning performances into battlegrounds that rejected countercultural complacency. During the Raw Power era (1972–1974), visuals amplified Pop's androgynous, glam-inflected persona, with greasepaint enhancing his gaunt features for a theatrical, otherworldly intensity, while outfits like shimmering silver lamé pants added a layer of decadent flair to the proceedings. These elements underscored the era's shift toward sharper, more visually striking aggression, influencing punk's DIY aesthetics. Post-reunion tours from 2003 onward emphasized endurance and legacy, with the band delivering intense sets of classic material across global dates, though tempered by safer production to avoid the original era's perils. At Coachella in April 2003, their first show in nearly three decades, Pop and the reformed lineup—featuring Mike Watt on bass—powered through high-octane renditions of "I Wanna Be Your Dog" and "Search and Destroy," sustaining the primal energy while navigating festival constraints for a more controlled ferocity. Subsequent tours, including European and Japanese legs, highlighted the aging members' remarkable stamina, performing marathon-length shows that paid homage to their chaotic roots without the attendant violence.

Legacy

Influence on music and culture

The Stooges are widely recognized as pioneers whose raw, aggressive sound and confrontational performances laid the foundation for the movement. Formed in , in 1967, the band's debut album in 1969 introduced a stripped-down style that rejected the polished of the era, influencing key punk acts such as the and the . Johnny Rotten of the described the Stooges as a massive influence, noting they demonstrated how to embody authenticity in rock music. Similarly, Joey credited Iggy and the Stooges as the blueprint for the Ramones' fast-paced, minimalist approach. Nirvana's also hailed the Stooges' 1973 album as his favorite, highlighting its impact on grunge's raw energy, though the band drew more broadly from their ethos rather than direct covers of tracks like "." In the , the Stooges experienced a significant revival through reissues by Rhino Records, which introduced their catalog to new generations and solidified their influence on and . Bands like frequently covered Stooges songs, such as "," and drew from their noisy, experimental edge; of called the Stooges the perfect embodiment of what should be. These reissues, including expanded editions of Fun House and , helped cement Ann Arbor's status as a birthplace of punk, with the Stooges' chaotic early shows at local venues like the inspiring global punk scenes from to . This resurgence amplified their reach, turning their music into a touchstone for worldwide. Beyond music, the Stooges shaped broader youth culture through Iggy Pop's androgynous persona and anti-establishment attitude, which challenged gender norms and societal conventions. Pop's shirtless, acrobatic stage antics and ambiguous style—blending raw masculinity with glam influences—pioneered punk's boundary-pushing fashion, influencing later scenes from glam rock to normcore. His rebellious ethos, rooted in rejecting conformity from his Michigan upbringing, resonated as a symbol of defiance, impacting performance art and countercultural expression. In film, the 1996 movie Trainspotting featured "Lust for Life" in its iconic opening sequence, resurrecting Pop's visibility and linking the Stooges to themes of hedonism and rebellion, which contributed to increased use of Iggy Pop's music in subsequent film soundtracks. Literature also reflected their legacy, as Irvine Welsh's Trainspotting novel evoked Pop's junkie-punk archetype, blending Stooges-inspired attitudes with narratives of urban alienation.

Awards and recognition

The Stooges were inducted into the Rock and Roll Hall of Fame in 2010 as performers, with of presenting the honor and highlighting their innovations. The band reunited for the ceremony, performing "I Wanna Be Your Dog" and "Search and Destroy" with original members , , and , alongside James Williamson. Guitarist , who had died in 2009, received the induction posthumously. In 2007, the band was awarded the Lifetime Achievement Award at the Mojo Honours List in , recognizing their enduring influence on . The Stooges accepted the honor amid a that celebrated their role in shaping alternative and punk genres. The group received regional acclaim through the Detroit Music Awards, where their 2013 album Ready to Die won Outstanding Album of the Year in 2014. This marked one of the few formal music industry awards for the band during their reunion era. In 2020, received a , honoring his foundational work with the Stooges. Tributes to the Stooges include the 2004 compilation album I Wanna Be a Stooge: A Tribute to Iggy & the Stooges, featuring covers by artists such as and . Their songs have also been prominently featured in film soundtracks, including "Search and Destroy" in The Crow (1994) and "I Wanna Be Your Dog" in Lock, Stock and Two Smoking Barrels (1998). Following Ron Asheton's death, a concert was held in his honor at the Michigan Theater in Ann Arbor in 2011, with and surviving Stooges members performing alongside guests like . After Scott Asheton's passing in 2014, local memorials in , including Ann Arbor's recognition of the Asheton brothers' contributions to the city's music scene, paid homage to their foundational roles in the band.

Band members

Final lineup

The final active lineup of The Stooges, which carried the band through its reunion period until the last performances in 2013, centered on core members who bridged the original era and the post-reunion period. served as lead vocalist throughout, from the band's inception in 1967 through the initial disbandment in 1974 and the 2003 reunion up to the end. His enduring presence defined the group's raw, confrontational energy, even as health issues and lineup changes tested the ensemble's continuity. James Williamson rejoined on guitar in 2010, following Ron Asheton's death, and remained until the band's final shows in 2013, infusing performances with the aggressive riffing he originated on the 1973 album . His return revitalized the band's live sound, emphasizing distorted, feedback-laden solos that echoed the proto-punk intensity of their early days. Scott Asheton, the original drummer since 1967, contributed to the reunion from 2003 until his death from a heart attack on March 15, 2014, at age 64; he had scaled back touring due to health problems starting in 2011 but played on the final studio album, (2013) and the band's last live performances in 2013. On bass, supported the band from 2003 to 2013, providing a steady low-end drive during tours and recordings, including (2007) and (2013). The band ceased live performances after 2013 due to health issues, with no further activity following Scott Asheton's death; Toby Dammit (Larry Mullins) had served as a touring substitute on drums prior to 2013 due to Asheton's health. The group officially disbanded in 2016 after the death of saxophonist .

Former members

Ron Asheton was a founding member of The Stooges, serving as the lead guitarist from 1967 to 1974 and contributing to the band's raw, proto-punk sound through his primitive yet powerful riffs on the debut album The Stooges (1969) and Fun House (1970). During the recording of Raw Power (1973), Asheton switched to bass guitar to accommodate James Williamson's addition on lead guitar, a role he maintained until the band's initial disbandment in 1974. Asheton rejoined the reformed Stooges in 2003, returning to guitar and co-writing material for The Weirdness (2007), before his death from a heart attack on January 6, 2009, at age 60. Dave Alexander served as the original bassist for The Stooges from 1967 to 1970, forming the rhythm section with drummer and providing a stinging, bass line that anchored the band's early recordings, including The Stooges (1969) and Fun House (1970). His contributions were essential to tracks like "Down on the Street," where his playing stayed firmly in the pocket amid the group's chaotic energy. Alexander was fired in August 1970 after freezing onstage at the due to intoxication, which exacerbated his struggles with . He died on February 10, 1975, at age 27, from and fibrous related to his . Steve Mackay joined The Stooges as saxophonist in 1970 for the recording of Fun House, where his experimental, weaving lines added a unique, atonal texture to tracks such as "Fun House" and "1970," enhancing the album's improvisational intensity. His tenure was brief, ending in 1971 as the band faced internal turmoil, but Mackay's contributions helped define the group's boundary-pushing sound. He rejoined for the 2003 reunion and remained through 2015, participating in tours and recordings like (2007) and (2013). Mackay passed away on October 10, 2015, at age 66, following complications from a liver transplant. Mike Watt served as bassist for the reunited Stooges from 2003 to 2013, invited by to fill the role for the band's first performance in nearly 30 years at the Music and Arts Festival. His tenure included contributions to The Weirdness (2007) and (2013), where he provided a driving bass foundation that honored the band's punk roots while infusing his own punk bass style from experiences with the and fIREHOSE. Watt's involvement helped sustain the group's live energy during tours across and until he departed in 2013. The Stooges also relied on brief touring members during their turbulent period, such as bassist , who filled in on bass from late 1970 to early 1971 after Dave Alexander's departure, supporting live performances amid the band's lineup instability before his own death in November 1973.

Timeline

PeriodCore Lineup
1967–1970 (vocals), (guitar), (drums), Dave Alexander (bass)
1970–1974 (vocals), James Williamson (guitar), (bass), (drums)
1975–2003Inactive (hiatus following disbandment in 1974)
2003–2009 (vocals), (guitar), (drums), (bass), (saxophone)
2010–2013 (vocals), James Williamson (guitar), (drums), (bass), (saxophone) (following Ron Asheton's death in 2009)
2014–2016Inactive; no performances after 2013 following Scott Asheton's death in 2014; Steve Mackay died in 2015; official disbandment in 2016

Discography

Studio albums

The Stooges released their debut studio album, The Stooges, on August 5, 1969, through . Produced by of , the album consists of nine tracks, including the proto-punk staples "" and "No Fun," capturing the band's raw, energy in recordings made at New York's . It peaked at number 106 on the chart. The band's second album, Fun House, arrived on July 7, 1970, also on Elektra Records. Produced by Don Gallucci, formerly of the Kingsmen, it features seven extended tracks such as "Loose" and the title song, emphasizing improvisational jams and escalating intensity during sessions at Elektra Sound Recorders in Los Angeles; this was the final Stooges release with original bassist Dave Alexander. The album did not enter any major charts upon release. Raw Power, credited to Iggy and the Stooges, was issued on February 7, 1973, by . With James Williamson joining as guitarist, the eight-track effort was produced and initially mixed by , though later remixed it; key songs like "" and the title track highlight the band's aggressive shift toward punk influences, recorded at in . It reached number 182 on the US 200. Following a decades-long hiatus, the reunion album The Weirdness came out on March 6, 2007, via . Produced by at in , the 12-track record reunited with brothers Ron and Scott , alongside bassist , delivering tracks like "Trollin'" amid the band's Hall of Fame induction year. It debuted at number 130 on the and number 81 on the . The Stooges' final studio album, , was released on April 30, 2013, by . Co-produced by James Williamson with contributions from the Asheton brothers and Toby Dammit on drums (recorded prior to Scott Asheton's death in 2014), the nine songs—including "" and "Job"—return to the band's primal sound across sessions in and . It entered the US Billboard 200 at number 96 and the at number 77.

Live albums and compilations

The Stooges' live albums primarily capture the band's raw, energetic performances from their original 1967–1974 incarnation, often released posthumously or as official reissues of bootlegs, reflecting their status and chaotic stage presence. One of the earliest and most notorious is Metallic K.O., initially issued in 1976 by Skydog Records as a semi-official bootleg compiling shows from October 1973 at the Michigan Palace in and February 1974 at the Whitehouse in ; it was reissued officially in 1998 by Jungle Records, showcasing the lineup's final, violent gigs marked by audience confrontations and Iggy Pop's provocative antics. Later official releases include Have Some Fun: Live at Ungano's (2010, Rhino Handmade), an audience-recorded set from August 17, 1970, at New York's Ungano's nightclub, featuring the classic lineup performing tracks from their debut album and Fun House with unbridled intensity shortly after the latter's release. In 2020, released Live at Goose Lake: August 8, 1970, a high-quality soundboard recording of the original quartet's penultimate show at the in Leoni, , highlighting their pre-Raw Power ferocity on songs like "I Wanna Be Your Dog" and "TV Eye." Post-reunion live efforts are represented in Raw Power: Live! In the Hands of the Fans (2011, Iggy Pop Productions), a fan-recorded performance from September 3, 2010, at the All Tomorrow's Parties festival in Minehead, England, emphasizing the Raw Power era's aggression with James Williamson on guitar. More recently, Georgia Peaches (Live at Richards, Atlanta, Georgia, October 1973) appeared in 2023 as part of the Raw Power – 50th Anniversary Legacy Edition (Columbia/Legacy), offering a 60-minute set with pianist Scott Thurston augmenting the core trio's sound during their 1973 tour. Compilations and archival releases often draw from unreleased tapes, outtakes, and live fragments to document the band's evolution, particularly the transitional 1972–1974 period. Open Up and Bleed! (1995, Bomp!), subtitled "The Great Lost Stooges Album," compiles 1973 CBS rehearsal demos and live tracks from Detroit shows, providing insight into material intended for a never-realized fourth album. The expansive box set Heavy Liquid (2005, Easy Action), a six-disc collection, focuses on Raw Power-era London rehearsals and sessions from 1972–1973, remastered from multitrack tapes to reveal alternate takes and unreleased songs like "I Got a Right." Posthumous archival efforts continued with (2009, Shout! Factory), a comprehensive incorporating unreleased 1973–1974 live recordings, demos, and radio appearances, curated to highlight the band's dissolution-era creativity and influence on punk. Earlier, the 1991 (Revenge Records) gathered rare tracks, live cuts from 1970–1974, and outtakes, serving as an early retrospective of their Elektra years. In 2024, ' Vault #62 released – The 7-Inch Edition, a limited archival compilation packaging select tracks from the 1973 in 7-inch single format. These releases, while not charting commercially, underscore the Stooges' enduring archival value, with no major hits compilations emerging due to their underground appeal.

Videography

The Stooges' videography encompasses official concert films, a major documentary, and select music videos, primarily from their post-2000 reunion era, with some archival footage from their original 1967–1974 run reissued in later compilations. These releases highlight the band's raw live performances and enduring legacy in rock. A key documentary is Gimme Danger (2016), directed by , which explores the band's formation, chaotic early years, and cultural impact through interviews with and surviving members, including rare archival clips from their 1969–1973 performances. Prominent concert films include Live in Detroit (2004 DVD), filmed during the band's 2003 reunion show at Detroit's State Theater, featuring Iggy Pop, Ron Asheton, Scott Asheton, Steve Mackay on saxophone, and Mike Watt on bass, performing classics like "I Wanna Be Your Dog" and "TV Eye." Another is Escaped Maniacs (2007 DVD), capturing a full 2005 set at Belgium's Lokerse Festival with the reunited lineup delivering high-energy renditions of tracks from Fun House and Raw Power. Raw Power Live: In the Hands of the Fans (2011), directed by Joey Carey and Luis Valdes, documents a 2010 performance of the band's 1973 album Raw Power in its entirety at the All Tomorrow's Parties festival in Minehead, England, uniquely shot by six selected audience members for an immersive, chaotic perspective. Archival live videos from the band's final original-era shows appear in the 8-disc box set From K.O. to Chaos (2020), which includes a DVD with footage from their infamous 1974 concerts at the Michigan , synchronized with the audio of the Metallic K.O. album and featuring the lineup of , James Williamson, , and . Post-reunion music videos are limited but include a 2007 promotional clip for "," filmed during the band's tour supporting their album, emphasizing 's signature stage antics with the reformed group. Early 1969–1971 footage, such as performances from the Pop Festival and , has been reissued in and DVD compilations like those tied to the band's 1969 self-titled debut and Fun House re-releases, often as bonus material showcasing their primitive, feedback-laden sound.

References

  1. https://www.britannica.com/topic/Iggy-and-the-Stooges
  2. https://rockhall.com/inductees/stooges/
  3. https://www.rhino.com/article/the-stooges
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  43. https://www.allmusic.com/album/the-stooges-mw0000195830
  44. https://www.allmusic.com/album/fun-house-mw0000195831
  45. https://faroutmagazine.co.uk/iggy-pop-describes-brilliance-scott-asheton-drumming/
  46. https://global.oup.com/us/companion.websites/9780195396300/instructor/ppt/12_3_punk.ppt
  47. https://pitchfork.com/reviews/albums/14125-raw-power-legacy-edition-raw-power-deluxe-edition/
  48. https://www.allmusic.com/artist/the-stooges-mn0000562304
  49. https://www.rollingstone.com/music/music-news/see-iggy-pops-infamous-peanut-butter-incident-in-stooges-doc-clip-105084/
  50. https://www.cincinnati.com/picture-gallery/entertainment/2020/06/13/50-years-ago-cincinnati-summer-pop-festival-crosley-field/3182726001/
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  52. https://www.rollingstone.com/music/music-lists/20-wildest-iggy-pop-moments-72545/
  53. https://ultimateclassicrock.com/iggy-stooges-metallica-ko/
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