IGGY AND THE STOOGES "RAW POWER" 1973 VG+/GD PITMAN 1st PRESS.OOP W/INNER SLV.

$

52

TWO YEARS AGO I LOST ONE OF MY BEST FRIENDS TO CANCER, HE WAS A COOL MUSICIAN A DRUMMER BY TRADE, ORIGINALLY FROM SEATTLE, BUT RELOCATED TO L.A. IN 1985, HE AMASSED A VERY LARGE MUSIC COLLECTION, AND HAD KILLER TASTE FOR ROCK & ROLL, SADLY I AM SELLING OFF A LOT OF HIS COLLECTION ON BEHALF OF HIS WIDOW TO HELP PAY OFF DEBTS INCLUDING HOSPITAL BILLS, TAXES AND STORAGE UNIT FEES. I AM NOT TAKING ANYTHING FOR THIS SERVICE, DOING IT FOR MY FRIEND (MISS YOU DAVE!). THIS ITEM IS FROM HIS COLLECTION.

THE PHOTO'S MAY BE A LITTLE BLURRY, HAVE A LITTLE GLARE, SOME REFLECTIONS OR IN SOME CASES YOU MAY SEE SPECKS OF DUST. BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. I DO COMBINE SHIPPING. BUT I DO NOT ACCEPT “BEST OFFERS”, THE MONIES GO TO MY FRIENDS WIDOW.

THESE ARE VISUALLY & PLAY GRADED.

ARTISTS: IGGY AND THE STOOGES

TITLE: “RAW POWER”

TRACK LISTING: SEE BELOW

Companies, etc.

• Phonographic Copyright (p) – CBS Inc.
• Copyright (c) – CBS Inc.
• Published By – Mainman Ltd.
• Recorded At – CBS Studios, London
• Manufactured By – Columbia Records
• Produced For – Mainman
• Mixed At – Western Recorders
• Pressed By – Columbia Records Pressing Plant, Pitman
• Mastered At – Customatrix

Credits

• Bass, Vocals – Ron Asheton
• Drums – Scott Asheton
• Guitar – James Williamson
• Mixed By – David Bowie, Iggy Pop
• Photography By – Mick Rock
• Producer – Iggy Pop
• Vocals – Iggy Pop
• Written-By – Iggy Pop, James Williamson

Notes

Barcode and Other Identifiers

• Rights Society: ASCAP
• Matrix / Runout (Label Side A): AL 32111
• Matrix / Runout (Label Side B): BL 32111
• Matrix / Runout (Variant 1, Runout Side A): P AL 32111-2A
• Matrix / Runout (Variant 1, Runout Side B): P BL 32111-2A
• Matrix / Runout (Variant 2, Runout Side A): P o P AL 32111-2A
• Matrix / Runout (Variant 2, Runout Side B): P P AL 32111-2A

LABEL: COLUMBIA RECORDS

CAT.#: KC 32111

YEAR: 1973

RECORD CONDITION: THE RECORD IS IN VG+ CONDITION.NO VISIBLE WEAR, SCRATCHES, LINES ETC. NICE SHINEY LUSTER TO THE VINYL. BOTH LABELS IN EXCELLENT CONDITION. LOOKS AND PLAYS VERY CLEAN. NO SKIPS, POPS,CLICKS ETC. VISUALLY THERE ARE SOME LINES & AND A FEW PAPER SCUFFS, I EXPECTED TO HEAR MORE BACKGROUND NOISE THAN I DID, THERE IS SOME ESPECIALLY ON THE LEAD IN GROOVES, MAINLY ON SIDE 2. BUT THE SONGS SOUND GREAT

SLEEVE CONDITION: THE JACKET IS IN GOOD CONDITION THERE'S NO WRITING ON THE JACKET. STRAIGHT EDGES, THIS SHOWS OBVIOUS WEAR, LOTS OF RING WEAR, MAINLY ON THE FRONT, THE TOP HAS TAPE, SO THERE WAS A SEAM SPLIT ALONG THERE AT ONE TIME (SEE PHOTOS). THERE'S LIGHT CORNER CREASING IN THE BOTTOM CORNERS. SO ALL IN ALL IN PRETTY DECENT SHAPE.

MORE INFO: THIS RECORD IS CURRENTLY OUT OF PRINT. THIS COMES WITH THE ORIGINAL INNER SLEEVE WHICH HAS A SEAM SPLIT ALL DOWN ONE SIDE (SEE PHOTO). THIS IS THE ORIGINAL 1st PRESSING DONE AT THE PITMAN PRESSING PLANT THE MATRIX # IS “P A1 32111 2A”

MORE INFO ON THE ARTISTS/RELEASE:

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. 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 often involved acts of self-mutilation by Iggy Pop. 

After releasing two albums—The Stooges (1969) and Fun House (1970)—the group disbanded briefly, and reformed with a different lineup to release Raw Power (1973) before breaking up again in 1974. The band reunited in 2003 until dissolving in 2016 following the deaths of Scott Asheton and saxophonist Steve Mackay. Ron Asheton participated in the reunion until his death in 2009.

The Stooges are widely regarded as a seminal proto-punk act. The band was inducted into the Rock and Roll Hall of Fame in 2010.In 2004, Rolling Stone ranked them 78th on their list of the 100 greatest artists of all time. 

Raw Power and second breakup (1972–74)[edit]

With the band having broken up, Pop met David Bowie on 7 September 1971 at Max's Kansas City, and the pair instantly 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. In March 1972, DeFries brought Pop and Williamson to the UK, and the pair attempted to reconstitute the Stooges with British musicians, but finding no suitable additions, brought the Asheton brothers back into the band (this "second choice" decision rankled Ron Asheton, as did his change from guitar to bass). This line-up, billed as Iggy & the Stooges, recorded their third album, the influential Raw Power, which was released in 1973.

At the time, the album (which showcased Williamson's intensely melodic solos and chromatic riffs, in contrast to Asheton's minimalistic, groove-oriented approach) was criticized by diehard fans who said that Bowie had mixed it poorly (in subsequent years, various unofficial fan recordings were assembled and released as the album Rough Power; in 1997, the album was re-mixed by Iggy Pop and re-released). 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 become one of the cornerstones of early punk rock.

With the addition of a piano player (briefly Bob Sheff and then Scott Thurston), 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 15 June 1973 at the Aragon Ballroom, Chicago, Illinois), but Williamson soon returned to the group. 

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. The last half of the band's last performance of this era (on 9 February 1974 in Detroit, Michigan) was captured and was released later (in 1976) as the live album Metallic K.O. (along with the first half of an earlier show on 6 October 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.

Raw Power is the third studio album by American rock band The Stooges (credited as Iggy and the Stooges). It was released on February 7, 1973, by Columbia Records. Musically, the album departed from the "groove-ridden, feel-based songs" of the band's first two records in favor of more anthemic hard rock while featuring guitar and songwriting contributions by James Williamson. 

Though not initially commercially successful, Raw Power gained a cult following in the years following its release and, like its predecessor (1970's Fun House), is generally considered an influential forerunner of punk rock.

Recording history[edit]

After their first two albums, The Stooges (1969) and Fun House (1970) were released to little commercial success, The Stooges were in disarray: they had officially broken up, bassist Dave Alexander was fighting alcoholism, and singer Iggy Pop's heroin addiction was escalating prior to the intervention of David Bowie. Pop later recalled, "Very few people recognized the quality of the Stooges' songwriting, it was really meticulous. And to his credit, the only person I'd ever known of in print to notice it, among my peers of professional musicians, was Bowie. He noticed it right off." Pop relocated to London, having signed on as a solo artist to MainMan Management (who also handled Bowie) and Columbia Records. In London, Pop was to write and record an album with James Williamson, who served as The Stooges' second guitarist from late 1970 until the band's initial dissolution in July 1971. When they failed to find a suitable English rhythm section, Pop suggested that former Stooges Ron Asheton and Scott Asheton fly over and participate in the recording sessions, leading to the group's reformation under the new imprimatur of "Iggy and the Stooges." Although he was the band's founding guitarist, the elder Asheton reluctantly agreed to switch to electric bass.

Initial demo sessions were held at RG Jones Studios in Wimbledon with sound engineer Gerry Kitchingham and at Olympic Studios in Barnes with sound engineer Keith Harwood, with most of the songs rejected by the group's management. Pop said that Columbia executives insisted on two ballads, one for each side of the record; these two were "Gimme Danger" and "I Need Somebody". The album was recorded in London's CBS Studios, from September 10 – October 6, 1972, with staff engineer Mike Ross-Trevor. Pop produced and mixed the album by himself; unfortunately, his botched first attempt mixed most of the instruments into one stereo channel and the vocals into the other, with little regard for balance or tone quality. Tony DeFries, the head of MainMan, informed Pop that the album would be remixed by Bowie. Pop agreed to this, claiming that "the other choice was I wasn't going to get my album out. I think DeFries told me that CBS refused to release it like that, I don't know", but insisted that his own mix for "Search and Destroy" be retained. Due to budgetary constraints, Bowie remixed the other seven songs in a single day in a Los Angeles studio, Western Sound Recorders, in October 1972. Pop said of the production:

To the best of my recollection it was done in a day. I don't think it was two days. On a very, very old board, I mean this board was old! An Elvis type of board, old-tech, low-tech, in a poorly lit, cheap old studio with very little time. To David's credit, he listened with his ear to each thing and talked it out with me, I gave him what I thought it should have, he put that in its perspective, added some touches. He's always liked the most recent technology, so there was something called a Time Cube you could feed a signal into -- it looked like a bong, a big plastic tube with a couple of bends in it -- and when the sound came out the other end, it sort of shot at you like an echo effect. He used that on the guitar in "Gimme Danger", a beautiful guitar echo overload that's absolutely beautiful; and on the drums in "Your Pretty Face Is Going To Hell". His concept was, "You're so primitive, your drummer should sound like he's beating a log!" It's not a bad job that he did...I'm very proud of the eccentric, odd little record that came out. 

Bowie later recalled:

...the most absurd situation I encountered when I was recording was the first time I worked with Iggy Pop. He wanted me to mix Raw Power, so he brought the 24-track tape in, and he put it up. He had the band on one track, lead guitar on another and him on a third. Out of 24 tracks there were just three tracks that were used. He said 'see what you can do with this'. I said, 'Jim, there's nothing to mix'. So we just pushed the vocal up and down a lot. On at least four or five songs that was the situation, including "Search and Destroy." That's got such a peculiar sound because all we did was occasionally bring the lead guitar up and take it out.

I DO COMBINE SHIPPING! THE $4 FLAT RATE ALSO INCLUDES THE MAILER WHICH COST OVER $1 EACH. THANKS!

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