Down on the Street is a simple ode to style and indifference towards judgement. The Stooges don’t care what is said of them and they say so loudly. Instrumentally, the bass and guitar tones are chunky and full of energy, as is Iggy Pop’s vocal performance. Also, the more low-profile verses allow the shouted chorus to shine.

Mid-High 8.

Loose delivers another set of carefree lyrics, making allusions to drug use, sex, and vigorous live performances. Instrumentally, this cut has arguably more chaotic power than the last. Yet, the chorus, rather than being explosive, opts for an intimately implosive and refreshing hook with evocative delivery. Additionally, Iggy Pop’s almost-growled vocal performance is as powerful as it is playful.

High 8.

T.V. Eye is quite a sexual (albeit not explicit) song depicting attraction and allure. Sonically, this song continues the inertia of the album so far. One noteworthy thing is that the mix is noticeably tamer and quieter than in previous tracks — though this is not as hindering as it may sound. Other highlights include the dry snare tone, the distant though powerful and towering guitar tone, and the evocatively plump feel of the bass; which all come together powerfully along with Iggy Pop’s vocals (once again).

Mid-High 8.

Dirt: Here, the songwriting actually comes across as somewhat dejected (and cryptic). There seems to be a heartfelt duality between a hurtful past and a forward-looking “fire o’ life”. This line between a downcast and ardent disposition is convincingly and powerfully evoked by the vocal performance. Moreover, the atmosphere created is simultaneously calming, intimate, and entrancing — mostly due to the greatly arranged bassline and room-filling bass tone, as well as the whispered and mysterious vocal delivery. It is slightly long-winded though.

Low-Mid 9.

1970 seems to be a song of heartbreak and sexual attraction. It’s unclear whether the speaker actually “feel[s] alright”, but the raw energy of the delivery is convincing enough — maybe even enough for him to convince himself. Audibly, the mix once again becomes quite quiet. Other than this, the sonics and delivery continue to be attractively rugged, but that’s not to say that this cut is the same story as the previous ones. This is because of the unexpected addition of Steve Mackay’s saxophone accompaniment which is jagged, chaotic, and wholly commendable. The ‘shouted’ feel that his arrangement has also fits greatly with the rest of the performances.

Low 9.

Fun House is an absolutely all-over-the-place exploration of sexual attraction and of the love for performing music — and this messiness is precisely the charm. This is obviously carried over to the instrumental as well, where the panned sax and guitar create a dissonant duality which is as alluring as it is insane. Speaking of insanity, the bassline and vocal delivery also contribute in making this track a bombastic and discordant demonstration of near-automatistic musical expression. However, this track also ends up feeling a tad overlong.

Mid-High 8.

L.A. Blues is an instrumental cut but, funnily enough, it probably features the most impressive and compelling vocal contribution courtesy of Iggy Pop’s absolutely mind-boggling yelling, howling, and barking. Moreover, the guitar and saxophone continue with their inexplicable chemistry and simultaneous dissonance. This track is the pinnacle (and climax) of the ill-tempered explosivity this record is so undeniably oozing with.

Low 9.