A late‑80s Iggy Pop single that bridged cinema, alternative radio, and the final glow of the post‑punk era — charting modestly in the UK while making a stronger impact on the US Alternative Airplay chart.

Released: November 30, 1988 (UK) Label: Jungle Records Catalogue Number: JUNG 61 Format: 7" Clear Glitter Vinyl (Limited, Numbered) A feral blast from the final Stooges show — pressed in just 2000 glitter‑flecked copies for the diehards. Drawn from the notorious Metallic KO tapes, this limited‑edition single captured the Stooges’ last stand at Michigan Palace, February 9, 1974. Raw, chaotic, and unfiltered, it remains one of the most collectible Iggy/Stooges artefacts of the

A short single review from the UK music press critiquing Iggy Pop’s “I’m Bored,” released on Arista Records as part of his album “New Values.” The piece reflects the mixed reception of Pop’s post‑Berlin output. Writer: Uncredited Artist: Iggy Pop Date: April 28 1979 Length: 2 min read PUBLICATION Publication: Scrapbook (Contemporary UK Music Press) Date: April 28 1979 Country: United Kingdom Section / Pages: Single Review Title: One Step Forward, Two Steps Back FEATURE HIGHLI

A full‑page RCA Records advertisement from New Musical Express dated May 13 1978 promoting Iggy Pop’s live album TV Eye 1977 Live. The minimalist design features four circular motifs reading “TV,” “eye,” “1977 Live,” and “Iggy Pop,” arranged vertically beside a stylised television silhouette. The typography is bold and modernist, reflecting RCA’s late‑1970s graphic style Writer: RCA Records Promotional Department Publication: New Musical Express (UK) Date: May 13 1978 Length:

Released on April 7 1978, “I Got A Right” arrived as part of RCA’s final contractual sweep with Iggy Pop, drawing material from the live album *TV Eye Live 1977*. The single paired the ferocious A‑side with “Sixteen,” both taken from performances recorded across multiple US cities in 1977. Although assembled quickly and cheaply from soundboard tapes, the album and its associated singles captured Iggy at his most volatile and electrifying, backed by a band that included David

Punk didn’t arrive quietly — it kicked the door in. CREEM’s Spring ’78 spread captured the moment the future of rock stopped asking permission.

A mischievous wink from the music press: NME’s 1978 take on the Bowie–Iggy bootleg that blurred the line between myth and memorabilia.

A sharp, no-nonsense one-page review in the January 28, 1978 issue of New Musical Express sets the record straight on Iggy Pop’s Kill City. The piece clarifies that the album is not a “new” Iggy studio record but a collection of raw 1975 demos recorded with James Williamson during one of the darkest periods in both men’s lives — battling heroin addiction, financial desperation, and industry abandonment following the collapse of The Stooges. While acknowledging the album’s rou

A printed review from Circus Magazine dated May 12 1977, written by Wesley Strick, covering Iggy Pop’s album The Idiot (RCA Victor). The piece situates the record within Iggy’s post‑Stooges career and his collaboration with David Bowie, describing its dark, mechanised tone and morbid atmosphere. The review’s sharp prose captures the critical fascination with Iggy’s reinvention and the eerie minimalism of his new sound. Writer: Wesley Strick Publication: Circus Magazine (US) D