In the presentation of the album during the transmission of the popular program Jimmy Kimmel Live! Iggy Pop had his microphone muted so he wouldn’t lose his notes and drop anything. But this singer has always been appreciated not for the fives in solfeggio, but for the fact that his show is both music and a visit to a psychoanalyst and a circus with pirouettes, antics and tricks. It turned out that such an approach to creativity is useful both for success and for a confident and positive life: at the time of the release of Every Loser (that is, “Every Loser”), the artist and film actor was already 75 years old, but he again demonstrated mobility, enthusiasm and productivity. What is even more remarkable: Every Loser turned out to be a very good rock and roll album.
The fact that over the years Iggy Pop wrote music or songs for 43 films, and was invited mainly by star filmmakers (although in “Nightmares on Elm Street” without a singer and joker, who always remained in the form of “difficult teenager “, they also did not) – affected their successes. Cinema often demands tracks that don’t have distracting emotional accents or excessive modulations and screams, although the counterpoints and predictability of the harmonies are appreciated. An example of this is Iggy Pop’s most famous film hit: In the Death Car, which was highly appreciated by Emir Kusturica. Here the usual Iggy Pop albums have gotten less hyped over time.
Yes, there were times in the ’70s and ’80s when an artist wanted to please everyone. Once in Philadelphia, he told the stage workers for so long and emotionally how cool he was, they say, even splashed saliva and quarreled at the same time, that the guys could not stand it. And with the words: “Well, go and sing!” they just threw it on stage. But they did not calculate much. And a short, thin singer, skinny even, but who did not stop gesticulating violently, flew across the stage and fell into the audience, towards the audience. They were afraid or disdained to catch him then…
Now Iggy Pop doesn’t demand that everyone love him. In the energetic company of other stars, he simply sings and shouts catchy dance tunes to a sizzling beat of drums and guitar. There are muscular riffs on this album, too, as well as a dark, powerful groove that appears on more restrained compositions, such as Strung Out Johnny and Morning Show. And even, a nervous and disheveled soul with doubts and introspection. Isn’t it called “Every Loser” for nothing?! And all losers are usually characterized by complaints about fate, whims.
They also racked up with Iggy Pop, and producer Andy Watt (who had previously recorded two albums with Ozzy Osbourne) reminded him of a few episodes. But on this album these are already clever and insightful reflections, only remotely reminiscent – in essence, and not in presentation – of grievances and whims about life. Blessings are sung passionately, desperately, with vocal experience gleaned from years of punk and grunge career.
And Iggy’s furious joy at the fact that he can now calmly and furiously talk about the misfortunes and adventures of the past, sometimes annoying and evil, sometimes with a leisurely tragedy, but invariably under simple catchy melodies, sounds in this album both attractive and admonishing.