record has ever so brutalized the concept of music like THE STOOGES'
HOUSE. It is still hard, today, to find such forms of musical captivity all
in one single release.
in 1970, when FUN HOUSE was issued, it barely sold
few copies, and was bound to be glorified only 5-6 years later, when, in 1976
Punk Movement came out and caused the decease of rock'n'roll and its fellow
what I simply defined THE GROUND ZERO OF ROCK MUSIC.
off with the raw, pounding DOWN ON THE STREET, the album, track after track,
peaks of subliminal animal-power, augmenting the inhuman climax which
to wrap the listener's soul. The opener, together with LOOSE and TV EYE,
the "ordinary standards" for this hystorical ante-litteram-punk opera.
only with DIRT, arguably their masterpiece, that Iggy and C's mood takes
true and definite shape: introduced by a hypnotic, obsessive bass riff,
silently launches himself into an erotic, "killing" performance,
astonished and pleasantly scared; it will be the only fragment of
in a record that does not seem to require melody. DIRT is a soothing,
"slow-acid-blues" featuring a wild, blistering solo by one of the
underrated and unknown guitarists ever, RON ASHETON: his guitar tones
appear you quite primitive and dumb-oriented, but you have to consider
contest, place and time when FUN HOUSE came out: a few guitarists
seemed to "kill" their own audience with demoniac, raw riffs that
in the "nowhere land", while Mr. Iguana screamed like a possessed man
search of dirty sex and never-ending pleasure. FUN HOUSE has also its
psychedelyc touches, as revealed by Asheton messy but irresistible
chops, topped by the evilly-raucous Iggy, singing his own desperation and
intentions like no-one else previously had ever dared.
B is where the murder "takes the stage". A menacing guitar chord
into the silence and leaves Pop's brutal vocals sinking into the realm
unknown madness: the air seems to be splitted by his "twilight zone
vomiting a music for hopeless men constantly on the border,
out of Society: Iggy is the prophet of nowhere, the "torn apart"-singer
wants no absolute compromise, a man who needs no favour or praise.
chants a never-heard underground drama, permanently hung on the
which divides consciousness from raw insanity. The "primal-screams-like
he delivers at the end of the track, leaves no reason to be ex-
the obsessive, maniacal "I FEEL ALRIGHTs" he "cries" and
on the microphone is probably the best ever example of over-
astonishing "musical murder".
following track (the title one, FUN HOUSE) confirms the overall
beneath IGGY POP'S savaged, tormented soul: it reaches new heights of "no-
marvellously adorned by a vaguely free-jazzy
courteously by STEVEN McKAY: his instrument, here,
to "steal the show" for a while and it's quite clear that without
the track itself would have lost much of its true potential.
HOUSE appears to be a messy, madness-related jam arranged
played by primitive musicians and this stated fact proves strong
THIS is the point, my dear friends: it's just the
intentions of the members who make this record
accomplished and highly seminal. By listening to FUN HOUSE
probably feel they can handle only a few chords and
more, or the fact
jamming is uneven or totally missing a common point. But
beauty of this masterpiece is it did not have to have ANY common
or particular musical solutions about creating a good, solid effort.
think it's the "inner secret" of FUN HOUSE's sheer immortality.
won't talk about L.A. BLUES, maybe the greatest provocation
Rock Hystory: 5 minutes of storming, devastating "no-chord-
and distortions": it's the triumph of the "un-listenable",
epitome of self-distruction, the absolute peak for a dead soul.
well... the most unbelievably depraved record of all time...
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