Fun House专辑介绍
以Iggy Pop为核心的早期美国朋克乐队Stooges的第二张专辑，首发于1970年。专辑在商业上的成就可以说是不值一提，但在摇滚乐圈内却得到很高的评价，比如拿过葛莱美奖的Jack White就认为Fun House是最棒的一张摇滚专辑。是不是最棒是个很主观的评价，但这张专辑里的音乐确有震撼人心的力量，有人形容这种感觉是“在压抑中发泄，在绝望中获得解放，在痛苦中感受快乐”，不可谓不贴切。可以想见，这种音乐并不适合作为催眠曲，聆听的时候需要带上一点自省精神。
本专辑在滚石杂志评出的500张历代最强专辑中排名第191位。
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. 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. The Stooges were also a much stronger band this time out; 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. 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. 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 "L.A. Blues." Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak.
本专辑在滚石杂志评出的500张历代最强专辑中排名第191位。
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. 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. The Stooges were also a much stronger band this time out; 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. 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. 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 "L.A. Blues." Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak.