Iggy pop blah blah blah11/29/2022 ![]() But he eventually went with A&M and delivered a reasonable hit for the company the album went gold in Canada and made a decent dent in both the UK and US charts. Iggy pop blah blah blah tv#Promotional duties led to a very memorable appearance on the regional British kids’ TV show ‘Number 73’ wherein Iggy decided to simulate sexual relations with an oversized teddy bear:Īpparently Richard Branson heard an early pressing of Blah-Blah-Blah and phoned Iggy personally to invite him to Virgin Records. Blah-Blah-Blah even spawned Iggy’s first UK singles chart showing (#10) with ‘Real Wild Child’, a cover of Australian rock’n’roller Johnny O’Keefe’s only hit. ‘Little Miss Emperor’ tellingly quotes Allen Ginsberg and features a classic Bowie piano flourish in the ‘Absolute Beginners’/’Life On Mars’ style. The title track is a sample-heavy curio in the style of Sigue Sigue Sputnik’s ‘Love Missile F1-11’ (which Bowie later covered) with amusing ‘geeky’ vocal stylings by Iggy and some wilfully-gormless lyrics (‘Shimon Peres, whatcha gonna do?/I’m from Detroit’ etc etc). There’s some excellent, genuinely uplifting material in the shape of ‘Shades’, ‘Isolation’ (with gorgeous Bowie backing vocals) and ‘Hideaway’. ‘Baby It Can’t Fail’ features some of the best opening lines in 1980s rock: ‘You have loved me with energy/Backed up hard work and guts!‘ Iggy’s committed delivery always prompts a smile. Bowie and Iggy clearly had a great laugh writing these songs, with some preposterous couplets thrown in, especially on ‘Isolation’ ( ‘I need some lovin’ like a body needs a soul/I need some lovin’ like a fastball needs control, here I am!‘). ‘Winners And Losers’ particularly shows off his improved vocal range. He has developed a gloriously dark croon and finally has the right material to showcase it. ‘He’d be chucking down the coffee and fags, and it would be pretty neurotic and manic around him’, said Armstrong.īut Bowie was also a typically shrewd people-watcher – he apparently wrote the first verse of ‘Shades’ after watching Iggy give his girlfriend Suchi a gift, turning it around to make the guy the grateful, humble recipient.īlah-Blah-Blah features Iggy’s best singing on record. He was focused on helping his friend to the very best of his ability. Iggy pop blah blah blah professional#Bowie played most of the keyboards.ĭavid was apparently workmanlike and professional in the studio, ticking off daily tasks on a notepad with lots of nervous energy. Gifted Swiss multi-instrumentalist Erdil Kizilcay, who had worked on the Let’s Dance demos and also epic soundtrack single ‘When The Wind Blows’, played (excellent) bass and shared live drums with the Linn machine borrowed from Queen’s Roger Taylor. Iggy pop blah blah blah crack#Mountain Studios, owned by Queen and scene of the ‘Under Pressure’ recording, was booked for April 1986, and co-producer/tech guru David Richards came onboard for the sessions too.īowie recruited a crack band for Blah-Blah-Blah – Kevin Armstrong played guitar (joined by Steve Jones on one track), fresh from being David’s musical director at Live Aid and doing sessions for Prefab Sprout, Propaganda and Alien Sex Fiend! They disappeared off to David’s holiday home in Mustique with their respective girlfriends, then undertook a lengthy skiing holiday in Gstaad, taking a four-track tape machine with them. He suggested they co-write some more uptempo material and also offered to produce, apparently telling Iggy: ‘I can make this as commercial as hell.’ I didn’t want to admit I was in need of basic affection.’ Yes, Iggy was now singing boy/girl songs – love songs.īowie hooked up with Iggy in late 1985 to hear some of the new stuff. He later said: ‘Just expressing that openness frightened me. The latter lyric especially had opened up a new vulnerability in Iggy’s writing. Iggy and Jones came up with nine new songs, three of which – ‘Fire Girl’, ‘Winners And Losers’ and ‘Cry For Love’ – would make it onto Blah-Blah-Blah (though they were clearly inferior to the Bowie/Iggy material). While David Bowie was turning in one of his finest live performances of the 1980s at Live Aid, his good friend Jim Osterberg AKA Iggy Pop was ensconced in LA, writing songs with ex-Sex Pistol Steve Jones.īowie’s use of six Iggy lyrics on the Let’s Dance and Tonight albums had given Osterberg enough royalties to buy some much-needed thinking time after a disastrous run of early ’80s solo albums and the termination of his Arista record contract. Produced and mixed by David Bowie and David Richards ![]()
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