{"id":7013,"date":"2016-08-03T16:00:00","date_gmt":"2016-08-03T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/down-on-the-street-the-stooges\/"},"modified":"2026-11-09T07:09:45","modified_gmt":"2026-11-09T06:09:45","slug":"down-on-the-street-the-stooges","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/canciones\/down-on-the-street-the-stooges\/","title":{"rendered":"The Stooges – Down On The Street"},"content":{"rendered":"

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Apertura de Fun House, Elektra Sound Recorders, mayo a julio de 1970<\/h3>\n

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Down On The Street<\/strong> abre Fun House<\/em>, publicado el 7 de julio de 1970 en Elektra. The Stooges grabaron el \u00e1lbum en Elektra Sound Recorders en Los \u00c1ngeles entre el 11 y el 25 de mayo de 1970 con el productor Don Gallucci, que hab\u00eda tocado el \u00f3rgano con the Kingsmen. El encargo era captar a la banda como si la sala fuera un club, no una sesi\u00f3n de radio. Elektra prefiri\u00f3 este corte como primer tema frente a Loose<\/em>, la elecci\u00f3n del grupo. Ron Asheton fija una figura de guitarra que se repite; Iggy Pop habla tanto como canta; la bater\u00eda de Scott Asheton se mantiene pesada y pareja; el bajo de Dave Alexander rellena huecos sin lucirse.<\/p>\n

Gallucci limit\u00f3 las partes a\u00f1adidas despu\u00e9s y coloc\u00f3 los micros para pillar aire y feedback en vez de brillo. En la toma del \u00e1lbum, el arreglo sostiene un solo pulso y rechaza un estribillo ordenado. Un single mono aparte, con una versi\u00f3n corta de 1970<\/em> (a veces titulada I Feel Alright<\/em>) en la cara B, a\u00f1adi\u00f3 una l\u00ednea de \u00f3rgano probablemente tocada por el propio Gallucci. Esa excepci\u00f3n confirma la regla del LP: la versi\u00f3n del disco se queda cruda, dos guitarras empuj\u00e1ndose en vez de una mezcla de radio adornada. La escritura la firman Pop, ambos Asheton y Alexander.<\/p>\n

El personal del tema es el cuarteto cl\u00e1sico de The Stooges. El saxo de Steven Mackay llega m\u00e1s adelante en el \u00e1lbum; aqu\u00ed la fuerza viene de la repetici\u00f3n y el volumen. Fuera de Michigan y de un c\u00edrculo peque\u00f1o de prensa rock, Fun House<\/em> se vendi\u00f3 mal al principio y fue ampliamente rechazado. M\u00e1s tarde se oy\u00f3 la plantilla del punk y del garage: una banda que trata el estudio como un escenario y deja que la fricci\u00f3n haga el arreglo. La caja Rhino de 1999 1970: The Complete Fun House Sessions<\/em> document\u00f3 despu\u00e9s cu\u00e1ntas tomas hicieron falta para fijar esa apertura.<\/p>\n

En el disco se oye por qu\u00e9 la apertura sigue funcionando. La figura de guitarra no se abre en un solo largo de exhibici\u00f3n. La voz de Iggy se sienta dentro del ritmo. Scott Asheton pega fuerte y mantiene el patr\u00f3n estable. Nada est\u00e1 pulido para la radio diurna. La canci\u00f3n fija un tempo y lo sostiene. La toma acaba con los bordes todav\u00eda \u00e1speros.<\/p>\n

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\n

La apertura ‘Down on the Street’, no contenta con una sola guitarra en el solo fren\u00e9tico, tiene dos que suben a la vez una contra otra: la subida de adrenalina es imbatible.<\/p>\n<\/blockquote>\n

(Jon Smith, Drowned in Sound, 2010)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb17839″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790423526{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

M\u00e1s de cincuenta a\u00f1os despu\u00e9s, post-punk y garage siguen tomando prestada la idea de que una figura dura que se repite puede aguantar una canci\u00f3n entera. Ponlo alto y el sonido de sala forma parte de la lista de instrumentos. El single mono con el \u00f3rgano de Gallucci sigue siendo una curiosidad; el corte del \u00e1lbum es la versi\u00f3n que sigui\u00f3 en circulaci\u00f3n.<\/p>\n

Down On The Street<\/em> no se detiene a explicar el riff. Toca y acaba. Dale al play solo por el loop de apertura, y f\u00edjate en la poca decoraci\u00f3n que a\u00f1ade la toma de 1970. El sonido de la sala y el volumen hacen el resto.<\/p>\n

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