Lust for Life (Iggy Pop album)

Lust for Life
Studio album by Iggy Pop
Released	September 9, 1977 (1977-09-09)
Recorded	May–June 1977
Studio	Hansa (West Berlin)
Genre	Garage rock hard rock proto-punk new wave
Length	41:53
Label	RCA
Producer	David Bowie Iggy Pop Colin Thurston
Iggy Pop chronology
The Idiot (1977) Lust for Life (1977) Kill City (1977)
Singles from Lust for Life
"Success" / "The Passenger" Released: September 30, 1977 "Lust for Life" / "Success" Released: October 1977

Lust for Life is the second solo studio album by the American musician Iggy Pop, released on September 9, 1977, through RCA Records. It was his second collaboration with English musician and friend David Bowie after The Idiot, released in March the same year. Shortly after Bowie released his own album Low in January, Pop went on a tour to support The Idiot with Bowie as his keyboardist. At the tour's conclusion, Pop and Bowie regrouped in Berlin to record the former's next solo album.

Lust for Life was recorded at Hansa Studio by the Wall in West Berlin from May to June 1977, with production being handled by Bowie, Pop, and engineer Colin Thurston. The touring band of Pop, Bowie, guitarist Ricky Gardiner, and brothers Tony Fox and Hunt Sales on bass and drums, respectively, comprised the primary lineup for the album. After The Idiot was mostly composed by Bowie, Pop was adamant about having more control over Lust for Life, often composing his own arrangements, including for "Sixteen". This resulted in a hard rock and proto-punk sound more akin to his older style with the band the Stooges. Pop would use Bowie's arrangements for some songs, including the well-known title track.

Upon release, Lust for Life received little promotion from RCA but nevertheless peaked at number 28 on the UK Albums Chart and remained Pop's highest-charting album there until 2016's Post Pop Depression. It also peaked at number 8 in the Netherlands and number 120 on the US Billboard Top LPs & Tape chart. Critically, Lust for Life was well-received, with many praising Pop's energetic performance throughout and his greater role compared to The Idiot; the former would later be regarded as one of his best works and has appeared on several best album lists. It also marked Pop and Bowie's final collaboration until the mid-1980s.