Renowned rocker Billy Idol brings an unplugged, career-spanning show to Monterey.

In front of a backdrop of sex-crazed punk zombies in music video director – and Texas Chainsaw Massacre mastermind – Tobe Hooper’s hazy post-apocalyptic world, Billy Idol’s upper lip snarls like a rabid dog ready to pounce. He rocks black shades like an assassin from the future, and his baritone vocals add up to a rock ‘n’ roll cornucopia of Lou Reed, Joe Strummer and Jim Morrison:

“On the floors of Tokyo, down in London town’s a go go/ With the record selection and the mirror’s reflection, I’m a dancin’ with myself.”

“Dancing with Myself” is one of the first times Idol’s mug scored international publicity, thanks to MTV. He looked then like he could be the lovechild of Sting and Johnny Rotten – fitting for the artist who transformed punk for the video generation.

Idol was punk, rock, new wave, rockabilly and all business. He sported a Flying V explosion of razor-sharp towheaded aloe plant spikes, leather pants, fishnet vest, a belt of spikes and an oversized silver crucifix pounding his bare chest like some overly vicious vampire-killing machine.

The rocker had just jumped from his short-lived punk outfit Generation X to his solo career. And the timing was perfect.

Along with fellow Brits including the Police and Elvis Costello, Billy Idol helped fuel MTV’s popularity back in its infancy in the early ’80s with a slew of mega hits. Songs like “Dancing with Myself,” “White Wedding,” “Mony Mony” and “Rebel Yell” represented just the tip of Idol’s video iceberg on perpetual rotation.

At Idol’s side for most of his journey throughout the past 40 or so years is guitar shredder Steve Stevens, a rock legend himself. He also looks the part: with stark black hair and a wardrobe full of matching leather garb, he could be a goth overlord from a dark heavy metal fantasy.

Spanning all his musical projects, including Generation X (sometimes referred to as Gen X), Idol has churned out an abundance of material that’s helped his records achieve platinum status several times over and sell out numerous shows. There’s more Idol to get your ears on that you may have missed, or that you’ve heard and is worth revisiting.

“L.A. Woman”: Idol’s cover of The Doors’ classic fits like a shiny, leather, spike-studded glove. The tempo is sped up a bit, taking the tune from Los Angeles psych blues to Hollywood vampire glam. The best part about Idol singing Morrison is he doesn’t try to replicate the late great Lizard King. He simply lets it all unfold naturally.

“Shock to the System”: One of the lead singles released off Idol’s most ambitious record,Cyberpunk. There was no in-between criticism when the album came out: It was panned or praised. Aside from being an experimental tune that delivers some stellar riffage, the song’s theme represents some big-time foreshadowing in an era that was pre-YouTube and social media.

“Heroin”: Also off Cyberpunk, Idol takes on the Lou Reed tune, which is as equally ambitious as the overall album. It’s Nine Inch Nails meets Daft Punk – before those bands existed – anchored by a metronome heartbeat.

“I have made very big decision, I’m goin’ to try to nullify my life/ ’Cause when the blood begins to flow, when it shoots up the dropper’s neck, when I’m closing in on death,” Idol cries out, propelled by the pain of an unshakable addiction. He knows firsthand.

“Wild Youth”: This 1977 fiery Generation X ditty clocks in around two minutes long. It’s simple and straightforward U.K. punk rock with undertones of Buddy Holly & The Crickets. The overall vibe points to The Clash’s London Calling. Surprisingly, Idol’s look changed very little from what it was during these days.

“King Rocker”: Another early Generation X classic shines a fast and rowdy rockabilly spotlight on Idol’s star-destined vocals, which yodel and crack with the elasticity and show-defining power of Elvis.

“Cradle of Love”: It’s not a deep cut or a hidden gem, just a megahit with a catchy hook that many millions of folks have heard over and over again. It also seems like Idol is presenting the conflict of finding inspiration in rebel rocker Jerry Lee Lewis: “It burned like a ball of fire when the rebel took a little child bride/ To tease yeah, so go easy yeah… If you tease me tonight, if you sleaze me all right, if you appease me tonight.”

“One Hundred Punks”: When Generation X released their eponymous first album, the response from the punk rock crowd was tepid. The songs had an airplay sound, with influences drawn from mainstream acts like The Who and Bruce Springsteen. But Idol had been an active part of a club – if one could call it that – of Sex Pistols fans who followed the band and their often unadvertised gigs.

And this salvo from that album celebrates the devotees of punk rock. With the refrain “One hundred punks rule” and verses touting the kinship, the life and even the fashion of punk fans, it’s a glimpse of what bonded youth and a type of music in the late ’70s. “A hundred punks run the loaded gun/ They look so sharp they look like one/ If you ain’t got the look you’ll never be one.”

BILLY IDOL AND STEVE STEVENS: TURNED ON, TUNED IN AND UNPLUGGED 8pm Monday, March 11. Golden State Theatre, 417 Alvarado St., Monterey. $66-120; $454/VIP. 649-1070, goldenstatetheatre.com