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World’, a survivor from the Idiot sessions – his laidback
humour was vital. He’d huddle with David after
his gruelling legal meetings, which went on for days
in a row, and use humour to ease him out of his
exhausted, emotionally drained, state.
Towards the end of the recording, Iggy’s jokes
developed into full-blown comedy monologues,
based on the endless, hilarious disasters he and his
fellow Stooges had suffered. One night he described
how Stooges’ drummer Scotty used MainMan’s
cash to buy a huge drum kit, which got smaller and
smaller at each show. ‘A simple beat is where it’s
at,’ Scotty assured the other Stooges, who soon
realised he was selling the kit off, piece by piece, to
support his smack habit. Another night, Iggy stripped
off his shirt to show the scars on his chest – then
mimed out how he was forced to roll in broken glass
to end a song, the only foolproof way of making his
fellow Stooges, nodding out on heroin, recognise the
final bars. ‘We would just fall about, aching with
laughter, our sides would hurt,’ says Visconti. David
would listen to these picaresque stories for hours,
shaking his head, telling Eno or Visconti, ‘This is
unbelievable, I can’t imagine any human being went
through this and lived.’ The tales of disaster, all true
and rendered without any self-pity, were somehow
soothing.
There were echoes of more ancient tragedies,
too, according to Tony Visconti, who claims the
spirits of the previous residents of the Château, starcrossed
lovers Frédéric Chopin and George Sand,
haunted the building. Bowie, too, considered it ‘a