Review:
“Drunk on their own testosterone, Iggy Pop and Co. kept things simple, loud, and brutal.” MD “Of course the Stooges were stupid, that was the whole point.” DW “Three chords were okay, two were even better, one or none (the cacophonous L.A. Blues) was best of all.” MD
“The Stooges’ first album was produced by a classically trained composer; their second was supervised by the former keyboard player with the Kingsmen, and if that didn’t make all the difference, it at least indicates why Fun House was a step in the right direction.” MD “Producer Don Gallucci took the approach that the Stooges were a powerhouse live band, and their best bet was to recreate the band’s live set with as little fuss as possible. As a result, the production on Fun House bears some resemblance to the Kingsmen’s version of ‘Louie Louie’ – the sound is smeary and bleeds all over the place, but it packs the low-tech wallop of a concert pumped through a big PA, bursting with energy and immediacy.” MD
“Slow and thuddy as it sounds now, almost nobody had ever made rock as primal as this second album. Iggy howled like a psycho, the band sounded like they could barely play the elementary riffs, and occasionally a moment of bone-headed poetry made it through the glorious muck.” DW
“Ron Asheton’s blazing minimalist guitar gained little in the way of technique since The Stooges, but his confidence had grown by a quantum leap as he summoned forth the sounds that would make him the hero of proto-punk guitarists everywhere, and the brutal pound of drummer Scott Asheton and bassist Dave Alexander had grown to heavyweight champion status.” MD
“And Fun House is where Iggy Pop’s mad genius first reached its full flower; what was a sneer on the band’s debut had grown into the roar of a caged animal desperate for release, and his rants were far more passionate and compelling than what he had served up before.” MD
“The Stooges may have had more ‘hits,’ but Fun House has stronger songs, including the garage raver to end all garage ravers in Loose, the primal scream of 1970, and the apocalyptic anarchy of [the aforementioned] ‘L.A. Blues.’ Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak.” MD
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Last updated April 22, 2011.
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