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Video: Stooges, Mudhoney Rock All Tomorrow's Parties

'Rolling Stone' captures 'Raw Power,' catches up with Mudhoney, and shows you T Model Ford's impromptu performance

September 4, 2010 3:00 PM ET

“Leave the lights on for the rest of this — fuck that dramatic hocus-pocus,” Iggy Pop demanded toward the end of the Stooges' headlining set at All Tomorrow’s Parties Friday night. The band gave a raucous performance of 1973’s Raw Power — Pop slammed the microphone into the stage during “Penetration,” brought audience members up to dance during “Shake Appeal” and dove into the crowd at least a dozen times. In our exclusive video, the band kicks off their set with the album’s explosive title track.

“If Mudhoney is still around in twenty years, I just hope it hasn't become a nostalgia act,” frontman Mark Arm told Rolling Stone in 1998. Friday the grunge pioneers embraced elder statesmen status, running through their groundbreaking 1988 debut EP Superfuzz Bigmuff. “I’m pretty stoked to be on the oldies circuit,” Arm told RS backstage. The band members were also thrilled to join their heroes on the lineup. “The Scientists and the Stooges — there aren’t two band I can think of that are any more important to the Mudhoney universe,” Arm said.

90-year-old bluesman T Model Ford, who is scheduled to perform Sunday, played a surprise set on a couch in the lobby early Friday. T Model is a Mississippi bluesman who didn’t start playing guitar until he was 57. He sipped Jack Daniels and treated curious onlookers to fuzzed-out renditions of Muddy Waters staples “I’m a Man” and “Hoochie Coochie Man.” “I’m the baddest guitar player there is,” he said. “People walk for miles to see T Model Ford.” Stay tuned for more ATP coverage tomorrow.

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Song Stories

“San Francisco Mabel Joy”

Mickey Newbury | 1969

A country-folk song of epic proportions, "San Francisco Mabel Joy" tells the tale of a poor Georgia farmboy who wound up in prison after a move to the Bay Area found love turning into tragedy. First released by Mickey Newbury in 1969, it might be more familiar through covers by Waylon Jennings, Joan Baez and Kenny Rogers. "It was a five-minute song written in a two-minute world," Newbury said. "I was told it would never be cut by any artist ... I was told you could not use the term 'redneck' in a song and get it recorded."

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