Bomp’s historically significant Iguana Chronicles series raucously continues with this dark’n’decadent trip into the crazed creative process of The Stooges as they aurally unwind during various practice sessions in the early ‘70s. This casual, laid-back archival recording contains one hour and six-and-a-half minutes worth of raw, ragged rehearsals and loose, drug-addled jams that sound as if they were recorded in a dimly lit garage in the wee whiskey-fuelled hours of early morning’s somber shadows – murky, muffled, and psychotically distorted, it is! Iggy’s vocals are mannish, gruff, and criminally intimidating, and James Williamson deftly swaggers all over the fiery frets of his demonically possessed guitar as if COOL were his middle name (I’ve always thought Jammin’ James was one of the most spectacularly proficient guitarists of all time, but he’s just so damn under-appreciated!). Then there’s the thunderously volcanic bass and drum interplay between the Asheton brothers and sporadic snakelike stirrings of a lone, bile-spewing keyboard. Of the thirteen deliciously deviant ditties contained herein, seven of ‘em have never before been released! And my very own smokin’ sweet personal picks: the alley-prowlin’ barroom debauchery of “Pin Point Eyes”; the haunting hypnotic urgency of Dylan’s “Ballad of Hollis Brown”; James Williamson’s extended solo jam, “Delta Blues Shuffle,” which begins life as a mudbug swampwater romp ala Led Zep’s “In My Time of Dying” before blossoming into a space-boogie whirlwind of Hendrixian riffage; a raunchy and unruly run-through of Bo Diddley’s “I’m a Man”; and the hellish suffocating swirl of “Til the End of the Night.” Take heed, children, The Stooges started it all For that, you should be eternally grateful. And Bomp continuously keeps the ragin’ spirit of The Stooges alive and thriving. For that, I’m eternally grateful. Now if you’ll excuse me, I’m gonna “move ass, baby”… -Roger Moser, Jr.