The first disk of A Million in Prizes showcases this aspect of Pop's music, but the second disk has the unenviable task of summing up everything since, from New Values and Soldier to Beat Em Up and Skull Ring.
Just like his body, his voice was wiry and exposed and graceful, slithering and bleeding and peanut-buttery. It wasn't the lyrics that made his songs dangerous, but Pop's yelping insistence, the depraved howls that punctuated his verses and hid a curiously smooth baritone. Instead, it points out his distinct accomplishment- the performative aspect of his music. A succession of 60s artists from Jim Morrison to Lou Reed had already cleared the way for Pop's anarchic aesthetic, but just as this lineage doesn't dull his music, neither does it dull his legacy. The Stooges' distillation of rock is no small feat, but Pop wasn't a first amendment pioneer.
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Instead of defining a movement (that already had a leg up with MC5 and wouldn't hit full steam for several more years), the Stooges simply stripped 50s rock and roll down to its animal essence- broken-glass blues riffs, steady backbeats, and punctuating hand claps- then exaggerated its hedonistic appetites and self-destructive tendencies to brutish, nearly comic proportions on their first three albums, which are represented by 10 tracks on A Million in Prizes- almost a fourth of the compilation. While it's tempting to assign that extra meaning to his stage surname, influence does not necessary produce a positive paternity test. Murmured rumors and outright statements claim that Pop's the father of both punk and the garage-rock revival.
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Todd Haynes made a movie about him, Jim Jarmusch made a movie with him, and we here at Pitchfork placed four Iggy-related albums on our Top 100 Albums of the 70s list. In the intervening decade, Pop has become a legend to the garage rock bands and punk nostalgics while remaining a guiding saint to throngs of disaffected adolescents (including the dropout who used to blare "Lust for Life" in the apartment above me all hours of the day and night). A Million in Prizes: The Anthology, however, seems just the opposite: several years of revisiting and reconsidering his past work have finally culminated in a retrospective anthology that might be the crest of a second wave that started with Trainspotting (did it really? or did it just seem to?) and has been building ever since.
Most collections like this give us an opportunity to reassess an artist's accomplishments and reconsider the shape and effect of their output.
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