“That story is really interesting because it shows Iggy had nothing to lose,” says Cam Sims of south London pub rockers Hotel Lux. Iggy, on the other hand, realised he was bound by no such rules. Bowie wanted to replace the Roland with a real drummer because he didn’t think he could put out a record that sounded like that. When the pair came up with ‘Nightclubbing’, a song about their wild nights out across Europe, they used a cheap synthesizer and a Roland drum machine. There was plenty that Iggy could teach Bowie, and plenty of things Iggy could do musically that Bowie couldn’t get away with. That’s not to say the influence only flowed one way. “Those albums were Iggy’s way of growing while battling his demons” – LIFE’s Mez Sanders-Green
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He knew how to choose a wine – and what the hell is an entrecôte?” On the ‘Edits + Outtakes’ disc, you’ll find a cool old recording of Iggy recalling all the things he learned about from his mentor, including expressionism, impressionism and “what happened in Zurich with Tristan Tzara and the Dadaists.” He adds, modestly: “I didn’t know anything about any of this stuff. This week both albums will be reissued in remastered form, along with a seven-disc box set called ‘The Bowie Years’. 43 years on, those two records have become inspirational touchstones for a whole generation of young British bands.
LIFE aren’t alone in their love for ‘The Idiot’ and ‘Lust for Life’. His lyrics are so potent and haunting, and he was expanding what he could offer, which you hear on both ‘The Idiot’, with its krautrock influences, and ‘Lust For Life’, which is a bit more rock’n’roll.” “I think those two albums were his way of growing while battling his demons. “He was looking for a different outlet,” says Mez Sanders-Green, frontman of Hull punks LIFE. The two albums he released that year under Bowie’s guidance, ‘The Idiot’ and ‘Lust for Life’, were the lizard-skinned punk icon’s first venture into solo territory since his band The Stooges had imploded in a hail of beer bottles, eggs and jelly beans at the Michigan Palace in Detroit three years earlier. Inspired, Bowie writes a chord progression on a ukulele and turns to Iggy.
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Before the show begins the network blasts out a series of beeps in an urgent rhythm that sounds almost like a Motown beat. They are watching their television set, waiting for the Armed Forces Network telecast, which will deliver them their beloved Starsky & Hutch. A Thursday night in the divided city of Berlin in 1977: Iggy Pop and David Bowie are sat together on the floor of their Schöneberg apartment, having come to the conclusion that chairs are unnatural.
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