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Iggy Pop: Lust For Life

British cinema wasn’t in a good place in the mid 1990s. D’you remember highly touted films like Sarah and Jack? Blue Juice? Shopping? Just imagine, a time of such utter mediocrity that some critics actually hailed Sadie Frost as the country’s most promising young actress.

Or what about The Englishman Who Went Up a Hill But Came Down a Mountain? It was still officially a hill by the time I’d fled the Glasgow Film Theatre and hotfooted it to the nearest bar, believe me.

Then along came Trainspotting and, what’s more, not a dreary social realist version of what remains Irvine Welsh’s finest novel but an inventive, stylish, visceral and fantastically funny take on it.

You watched Ken Loach’s Ladybird, Ladybird feeling equally bored and depressed but you stepped out of Trainspotting, feeling, well, a lust for life.

Trainspotting is here

One of the best things about the movie was, of course, its soundtrack.

Like Tarantino and Scorcese, Danny Boyle is one of those directors that possess a near perfect knack of combining sound and visuals perfectly to lift a movie.

Just think of that frenetic opening of Trainspotting. Renton and Spud being chased down Edinburgh’s Princes Street by a couple of security guards while we hear the famous ‘Choose Life’ voice-over, accompanied by Iggy Pop’s searing uber-classic Lust For Life.

Renton and Spud on Princes Street

I’d read snippets of Welsh’s novel in several of the Scottish litzines that began springing up in the first half of the 1990s and Scream, If You Want To Go Faster, the ninth installment of the annual New Writing Scotland anthology series. I obviously read the novel too when it was first published and, later, went to see Welsh give a reading at the Paisley Arts Centre. I was also lucky enough to nab a ticket for Harry Gibson’s adaptation at the Citizens Theatre in the Gorbals.

Guess what? I dearly wanted the movie to succeed and by the time Boyle freeze-framed on Renton as he a grins at the horrified man who has just run him over, I was confident that this would be the single most exciting Scottish film I had ever seen. And we were only thirty seconds into the action.

I still can’t hear Lust For Life without thinking of that scene, the combination of the two, in all likelihood, will always be indelibly linked in my head, although usually that hyperactive opening rather than the 5-a-side match, the cooking up and injecting the junk in Mother Superior’s or the friends and family decrying heroin while Iggy’s song surges on, still sounding sensational.

From the album Lust For Life, here it is, one of the very finest tracks ever recorded, with the single greatest drum intro ever, ever, ever – the equivalent of a pitbull on steroids straining at a particularly tight leash – and those pounding, primal drums brilliantly balanced by a stunning, stalking Motown bassline from Tony Sales and some itchy yet glistening guitar work from the genuis that is Carlos Alomar and Scotland’s very own Ricky Gardiner. Not forgetting James Newell Osterberg, Jr crooning his Burroughs inspired badass surrealism and his pal David Robert Jones helping out with the backing vocals:


Instead of putting out Lust For Life on 45, RCA in Britain decided to choose Success, another track from the album. With The Passenger somehow relegated to B-side status.

The reasoning behind this decision remains a mystery to me. Not as big a mystery as why around 100,000 folks thought it was a good idea to watch Chris Martin and his bed wetting brethren in Coldplay headline the main stage of Glastonbury on Sunday night, but a mystery all the same.

I obviously didn’t bother watching this myself but it sounds like it just might have been the cosiest ever moment in rock history, the polar opposite of the days when the Ig would goad biker gangs in his audience, snort angel dust and lacerate his bare chest with broken bottles.* I’m sure the numpty readers of Heat and OK! would have lapped up Martin’s antics though. OMG! Apple & Moses r up onstage @ Glasto 2 sing! Awesome!

~

Iggy has recently released another album, Post Pop Depression, which the New York Times has claimed: ‘picks up where Lust For Life left off.’ I wouldn’t go that far myself but it really is worth seeking out. From it, this is American Valhalla.


For more on Iggy: http://iggypop.com/

* Okay, none of these things are in reality very big or very clever but you’ll see where I’m coming from.

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