这是唯一一张不像Iggy Pop 风格的专辑，但这是一张让我摒弃原来的我，或者说是让我转身的契机，VC上有很多他的专辑，但就是没有这张，当然也肯定当年这张专辑销量很惨，因为它太不Iggy Pop了，全然没有Iggy Pop式的粗糙，龌龊，下流的朋克教父形象。 整张专辑确切的说是张配乐诗。大量管风琴和弦乐的伴奏使得这张专辑更加的凝重，深沉。柔和的旋律像是个老者用麻木的声音述说着他这大半辈子的人生感悟，处处散发着散淡豁达，却又萧瑟的氛围。或者引用Iggy Pop说他自己是恶魔与天使的共存体这句来说，就是年轻的恶魔遇到了天使，蜷缩在天使脚边呢喃着他的痛苦。封面昏黄的灯光下披头散发的iggy挣扎不动了，认了，豁达了，或许也因此而是幸福的痛苦了吧。谁知道。也许还是David Bowie年轻的时候看得准：Love is not loving。 by Stephen Thomas Erlewine Even though Brick by Brick successfully presented a mature Iggy Pop, he evidently felt that he needed to find a different way to grow old after the grungy detours of American Caesar and Naughty Little Doggie. So, he reteamed with producer Don Was, brought soul-jazz hipsters Medeski, Martin & Wood along for a couple of tracks, and crafted the subdued, semi-autobiographical Avenue B. "Craft" is an appropriate word -- the music is often used as background for spoken word pieces, and the entire album strives to be a sophisticated, revealing peek into Iggy's psyche, as if it's him confessing to you in a saloon in the middle of the night. Problem is, it just doesn't work. It's stilted, embarrassing, and awkward, never once finding the right note, no matter if Iggy is crooning or reciting his silly lyrics. He doesn't seem entirely comfortable with the experiment, either. The only time he comes to life is on a good, straight-ahead cover of Johnny Kidd & the Pirates' "Shakin' All Over." True, it's a selection that dates him somewhat, but he sounds more relaxed, mature, and dignified here than he does on the rest of Avenue B, leaving no doubt what direction he should pursue for the next album.