IT’S been a long time in coming, but the lost weekend that’s been pretty much ongoing for the past 40 years of Iggy Pop’s life seems to have finally ended.
And these days, the man who has tried just about everything to get high (including, in desperation, self-electrocution with kitchen appliances, and smoking spider webs), looks for kicks no further than a couple of glasses of red before bed.
Oh, and sleeping with his half-Irish girlfriend, he tells Paul Byrne in today’s HQ magazine, inside the ‘Evening Herald’. After The Stooges broke up, it took almost 30 years for Iggy Pop to reunite with lead guitarist Ron Asheton and the latter's drummer brother, Scott.
In the intervening years, between three seminal albums (their eponymous debut in 1969, ‘Fun House’ in 1970, and ‘Raw Power’ in 1973) and the band’s reunion for Iggy’s 2003 solo album, ‘Skull Ring’, the man credited as the godfather of punk bounced between LA, Berlin, London and beyond while enjoying a steady diet of self-destruction (ending up homeless at one point), hard drugs and fine women.
The Stooges put their trademark sound to good use when they were recently called upon by Madonna to perform two of her songs at her induction into the Rock ’N’ Roll Hall Of Fame.
“If you give The Stooges the National Anthem, the Rites of Spring, or the telephone book, or a Madonna song, or anything else, it’s going to pretty much sound like The Stooges by the time they practise their reductive arts.”
So what does Iggy Pop consider to be a bigger thrill – getting his first chart hit with ‘Real Wild Child’ or having his essay, ‘Caesar Lives’, appear in the second volume of ‘Classics Ireland’ in 1995.
“Ah, ‘Real Wild Child’ relieved me of a certain burden,” says Iggy, “but the ‘Classics Ireland’ thing was actually more fun. I heard from a lady who was part of the chair group for ‘Classics Ireland’. They put out a little volume every so often, and I really enjoyed them. It was just a new way to express myself…” Iggy & The Stooges play Dublin’s Royal Hospital Grounds on June 16.