Wednesday, 18 July 2007



We live in a world where for the best part of a quarter of a decade this record was generally ignored and failed to gain the full plaudits it always deserved. Listening to it now for such a brief record it contains as much power, energy and personality than most modern bands manage to squeeze into a lifetime and career.

As with all classic albums that have served to inspire just about every possible comment about this record has ever been made. So with that in mind here is my take on the album.

I have to concede I was late arriving to the party on this one. For years I insisted that The Stooges was their best album mainly off the back of containing “I Wanna Be Your Dog” but also the lesser lauded “Real Cool Time.” Then I wound up discovering a gnarly vinyl copy of Search And Destroy in a used record stall in Clacton’s indoor market which quite frankly possibly scared me away from purchasing any more Stooges records for a long time. A brief flirtation with Metallic TKO did not serve me or the band very well.

Unfortunately I got into Fun House too late. The reunion happened and I shrugged my shoulders with nonchalance and indifference even though my favourite ever musician Mike Watt was on board playing bass.

Funhouse opens fucking well with the pulsing and menacing “Down On The Street” that sets out the band’s stall early on, hanging in the air before a right hook punctuates proceedings and the song explodes into action in the form of a riot.

Following quickly is “Loose” and perhaps the most masculine number in the history of song with its explicit intentions of “stick it deep inside” and promiscuous gestures. If you can get away with singing this song to a lady without getting castrated you should marry her on the spot.

The barrage and assault on the senses continues with perhaps the most famous song on the album in the form of “TV Eye”. Here is where the riffs are at. This is another dirty dirty song.

Ironically after being so explicit and down right rude a sense of remorse and self flagellation interrupts proceedings with “Dirt” which goes beyond introspection and into destruction. The slow groove which takes place definitely upsets the momentum of the record and brings an even darker tone to the table suggesting Iggy is not a very happy man.

The assault on the senses resumes with “1970” which plays out like a combination of “I Wanna Be Your Dog” and “1969” but also serves as a state of the nation address for the state of mind of both the band and its audience. Well Iggy screams “I feel all right” it feels delivered in a sense of defiance rather than reassurance. As Ron Asheton flies off into the ether the record finds itself back on track with a vengeance.

The album plays out with two saxophone drenched jams in “Fun House” and “L.A. Blues” as proceedings reach a blood stained conclusion. The Doors never got as good as this. And neither did Iggy’s solo career.

Every home should have a copy.

PS Rhino please re-released the seven disc Complete Fun House Sessions boxset.

Thesaurus moment: granite.

The Stooges

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