that "Down on the Street" would be the stronger opener. An alternate version of "Down on the Street", featuring a Doors-style organ overdubbed by Gallucci, was pulled from the album and released as a single. It was released the same month as Fun House, and fared slightly better on the charts. Music and lyrics According to Billboard magazine, Fun House is set in hard rock and improvisation. Music critic Robert Christgau characterized the album as "genuinely 'avant-garde' rock" because of the music's apt "repetitiveness", "solitary new-thing saxophone", and "L.A. Blues", which showcases the "old avant-garde fallacy ... trying to make art about chaos by reproducing same." Greg Kot called Fun House "the Stooges' punk jazz opus". In 1001 Albums You Must Hear Before You Die (2005), music journalist Stevie Chick wrote that the sleazy tales of hedonism and reckless abandon on the album's first half are followed by "the comedown", as evoked by looser song structures, Steve Mackay's freeform saxophone, and "Iggy sounding like a scared, lost child, warning from bitter experience that 'The Fun House will steal your heart away.'" "L.A. Blues" concludes the album with a flurry of noise and disoriented dual drumming, which Stylus Magazines Patrick McNally interpreted as the Stooges being "lost culturally and spiritually in the smoke and riots and confusion of Detroit and America at the dawn of the seventies, but also in the overwhelming squall and clatter of the sound that they—from nothing, from nowhere—managed to create." Critical reception In a contemporary review, Charles Burton from Rolling Stone found Fun House to be "much more sophisticated" than the Stooges' debut album, writing that they sounded "so exquisitely horrible and down and out that they are the ultimate psychedelic rock band in 1970". Roy Hollingworth of Melody Maker was unimpressed however, calling it the worst record of the year and "a muddy load of sluggish, unimaginative rubbish heavily disguised by electricity and called American rock". Christgau wrote in his original review for The Village Voice that the Stooges' successful use of monotony and incorporation of saxophone had intellectual appeal, but questioned whether it was healthy as a listener for "[me] to have to be in a certain mood of desperate abandon before I can get on with them musically". He later said his criticism had been based on the album's "inaccessibility" as popular music, and wrote in Christgau's Record Guide: Rock Albums of the