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While the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eStooges\u003c\/strong\u003e' excellent debut, produced by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJohn Cale\u003c\/strong\u003e, had a clean, punchy sound that introduced the band's ragged, stripped-down rock, it did not capture the chaotic fury of the band's live spirit.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eThe Stooges\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ehired\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDon Gallucci\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(formerly of the Kingsmen) to produce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eFun House\u003c\/strong\u003e\u003c\/em\u003e, and he gave the album a murky, swampy ambience that lacks clarity and precision, yet compensates for that lack tenfold with immediacy and a staggering sonic punch in the gut. And where the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eStooges\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ecan sound like bratty teenaged music, this album sounds grown up, menacing, mercurial, dark, and relentlessly primal. The muddied production may add to the primitivism, but it is the band that truly conjures the magic.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Stooges\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eplays like unleashed banshees here:\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRon Ashton's\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003erazory guitar riffs and swirling squall create clouds of noise while the brutal rhythms of bassist\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDave Alexander\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand drummer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eScott Ashton\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ecrash all over the place.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eIggy Pop\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003escreams and howls like a man possessed, giving voice to a spirit that would find its final expression in the punk movement seven years later. From the panther-like strut of \"\u003cem\u003eDown on the Street\u003c\/em\u003e\" to the adrenaline-driven \"\u003cem\u003eTV Eye\u003c\/em\u003e\" through the caustic dirge of \"\u003cem\u003eDirt\u003c\/em\u003e\" to the avant squall of \"\u003cem\u003eL.A. Blues\u003c\/em\u003e\" (complete with wailing air-raid saxophone from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSteve MacKay\u003c\/strong\u003e), this set is one of the founding documents of alternative rock. And, like Pandora's box, once\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eFun House\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis opened there is no turning back.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Down On The Street \u003cbr\u003eA2 Loose\u003cbr\u003eA3 T.V. Eye \u003cbr\u003eA4 Dirt\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eB1 1970\u003cbr\u003eB2 Fun House \u003cbr\u003eB3 L.A. Blues \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eC1 T.V. 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