Ross is the classic ambitious British entertainer aping the American style but falling short because he ain't got the chops or pizzazz. Bargain bin shit
That doesn't really surprise me, after all he had a few chart hits in the 1980s (eg "Wild One").i read somewhere he is worth $30 million
he's monetized his legend astutely and who can blame him really? deserves to live in comfort. i just wish he would keep his shirt on in photographs.
yeah it's the $30 + p+p that is putting off making a bid on I Need More. i wish there was a pdf of it out there lurking.
All too often, fans of musical legends clamor for one last look at their icons only to end up on the wrong side of the adage “Be careful what you wish for.” The reformed Iggy and the Stooges, on the other hand, actually managed to exceed expectations in bringing the noise with the venomous intensity of their heyday — but without the narcotic ephemera that hastened the band’s demise.
Any concerns about potential sonic flabbiness were dispelled in the first moments of “Down on the Street,” which remarkably retained all its revolution-for-the-hell-of-it vitriol — a sharp contrast to the campy staging the Rolling Stones displayed when playing the similarly themed “Street Fighting Man” on their recent tour.
Iggy Pop prowled the stage with a physical abandon that suggested he might have a Dorian Gray-like voodoo doll stashed away somewhere — one that’s taken on the creakiness and infirmity he ought to display after three decades of onstage abuse. Still gymnast lithe at 56 — as evidenced by multiple stage dives and amp-top dance routines — Iggy can still raise goosebumps with nihilistic anthems such as “1969” and “1970.”
No punches were pulled during the 75-minute set. Volume was pushed to near-pain threshold levels, with Ron Asheton’s guitar and Steve McKay’s abstract-expressionist sax seemingly soldered into a single metal-flaked entity. Asheton, who’s busied himself in Michigan-based cult bands since the Stooges’ initial implosion 30 years ago, belied his surprisingly mild-mannered look — that of a slightly less-disheveled Michael Moore — by wielding his instrument like a switchblade.
Recent recruit Mike Watt held down the bass role with appropriate primitivism on both adrenalized songs like “T.V. Eye” and the downbeat elegies (a truncated “L.A. Blues”) that the band once referred to as reaching the O-Mind — a tabula rasa state of pure emptiness.
Material — other than the title track of Iggy’s forthcoming Virgin album “Skull Ring” — was drawn exclusively from the first two Stooges albums. The Ashetons, it’s been said, put the kibosh on including anything from the band’s swan song, “Raw Power,” but the hole left by that omission was easily filled by the jack-hammered tones of an extended “Fun House” and two distinct versions of “I Wanna Be Your Dog.”