When is hunky dory released
In fact, if you're an unpleasantly plump journo who had to beg his bank manager for the money to buy an Everton season-ticket, you'd have every reason to be jealous of the Jones boy. Never mind being fabulously rich and talented, this is the bastard who's spent the past decade living a life of matrimonial bliss with Iman. Living legends are a lot like busses.
You wait an eternity to meet one, and then two come along almost simultaneously. Having got full value for money and a trip to Stranraer out of Joe Strummer last month, my expectations of Mr. Bowie are obscenely high. He doesn't disappoint the year-old not only answering our questions with genuine gusto, but shooing away an over-zealous PR woman who keeps insisting that our time's up. The perception belongs to them. I have no control over it. I don't work like that. I go shopping.
I make sure that I'm not imprisoned. I never check. That's a fringe benefit of being a rock god. To make up for the headlines that his life of drug-free monogamy have deprived them of, the tabloids have taken to exhuming ever-more outrageous stories from Bowie's past. As indifferent as he is to what's written about him, there must be a temptation to clear up any confusion over his relationship with Mick Jagger, or whether that was really a Nazi salute he delivered at London's Victoria Station.
The one thing that's a possibility, if I can find the time, is taking all the apocryphal stories and turning them into a stage piece. Y'know, create a new person out of the myths and rumours. Even in my out-of-my-nut stages I seem to have not thrown anything away. I probably have more than anybody else around if that definitive book would ever come out. I think it's much more likely that I'll end up archiving completely on the net. Just assemble the stuff that's collected over the years.
Like a presidential library but for rock stars. How does he rate the current crop of fly-on-the-walls, kiss-and-tells and never-met-him-in-my-lifes? It's got to the point where the cut and paste is being cut and pasted, which makes for some really strange juxtapositions.
I've yet to read one that's made me go, Yeah, they've got it. There will be, though, I'm sure. Bowie is equally dismissive of Velvet Goldmine, Todd Haynes' retelling of the Ziggy story which was mainly noteworthy for the way it bombed at the box-office. A third of the way through the script, it had lost me completely. I didn't understand what was going on. There's an old axiom in film which is, If it's not on the page, it ain't on the stage.
You are no longer onsite at your organization. Please log in. For assistance, contact your corporate administrator. Arrow Created with Sketch. Calendar Created with Sketch. Path Created with Sketch. Shape Created with Sketch. He had done dancehall-kind of music before, here he returns to it with 'Kooks' and 'Fill Your Heart'. This album is good-natured, charming and very well produced. It may have some songs that are nothing special, and of course it's up to you what kind of Bowie you prefer how much you'll enjoy Hunky Dory.
But a classic, no doubt. A handful of standouts, like the immensely likable "Changes," intricately composed "Life on Mars? The other songs, while offering many points of interest for the careful listener, do drift somewhat into the background of acoustic and string textures. For me, the impression is that Hunky Dory would make excellent dinner-party music; inoffensive in its mild tone but also fun for its genuine charm.
There's a timelessness here and in Bowie's performance. Bowie's voice and lyrics are of course excellent, as is the songwriting in general. Instrumental work is fine; not much to laud but effective overall. Recommended but not essential. Hunky Dory is great if you're interested in Bowie the musician, or for thoughtful pop-rock that proves that the '70's really are the time to go for creative and genuine music.
The album received critical acclaim and is regarded as one of Bowie's best works. It has been described as an album having a kaleidoscope of different genres of music, tied together by the very personal Bowie's sense of vision about the world and society, such as his ambiguous sexuality, kitsch and class.
The album's cover was clearly influenced by a photo of Marlene Dietrich. The line up on the album is David Bowie vocals, guitar, alto and tenor saxophone and piano , Mick Ronson vocals, guitar and mellotron , Trevor Bolder bass guitar and trumpet and Mick Woodmansey drums. It's also remarkable the participation of Rick Wakeman on the album, playing piano as a guest musician in some tracks on the album. The first track 'Changes' is clearly a song chosen to be released as a single.
It became in one of Bowie's best known songs and it's also one of them where its lyrics show better his chameleonic personality with the frequent reinventions of his musical style throughout his musical career. The second track 'Oh! You Pretty Things' is a song based on Wakeman's piano and Bowie's voice.
This is a very simple song with a very catchy refrain which shows that a simple song can be a great song. The third track 'Eight Line Poem' is a song based on a sparse piano, a sparse guitar and Bowie's voice. This is another very simple song basically written around its lyrics. It isn't a bad song, but sincerely, I think it has less interest and quality than the other two previous songs. The fourth track 'Life On Mars?
It became also as one of Bowie's best known songs and it features a very beautiful piano work by Wakeman. The fifth track 'Kooks' is a song that Bowie wrote to his newborn son Duncan Jones.
This is also a very simple song, very beautiful, funny and humorous. Despite be a very light song, I always loved it because it sounds to me, as a very nice and warm song. The sixth track 'Quicksand' is a dark and depressing track where Bowie uses the concept of 'Superman' of Friedrich Nietzsche on its lyrics. Musically, it's a very beautiful song with multi tracked acoustic guitar and string arrangements by Ronson.
The seventh track 'Fill Your Heart' is the only song on the album which wasn't written by Bowie. This is one of Bowie's happiest tracks, with very uplifting lyrics and with a nice use of strings and saxophone. It's a song in the same vein of 'Kooks', but probably is even better than that song is. The eighth track 'Andy Warhol' is, as its name indicates, a song about one of Bowie's greatest inspirations, the pop artist Andy Warhol. It's an acoustic song with a very distinctive flamenco riff on the acoustic guitar that continues throughout the song.
This is an excellent folk rock song in the same vein of songs of their second studio album 'Space Oddity'. The ninth track 'Song For Bob Dylan' is also another homage song to one his greatest inspirations, but this time is Bob Dylan. It's interesting to note that the song is very similar to Dylan's songs and Bowie sings in the same style of Dylan.
This is a very good song with some nice electric guitar work. The tenth track 'Queen Bitch' is another homage song on the album. Bowie was a great fan of Velvet Underground and he wrote this song as a tribute to the band and Lou Reed. This is a typical rock song with a strong electric guitar riff. It represents perfectly the very well known Bowie's glam rock style. The eleventh track 'The Bewlay Brothers' is a song written as a ballad and it's also, probably, one of Bowie's most dense and impenetrable songs.
This is a very emotional song with some strange lyrics and is astoundingly performed. It has wonderful mellotron and nice acoustic guitar works. This is, in my humble opinion, one of the best songs of the album and one of the greatest Bowie's songs ever. Conclusion: 'Hunky Dory' is another excellent album of Bowie. However and despite be released one year after his previous studio album 'The Man Who Sold The World', it's a completely different musical work.
This is a more intimate album and a much less rocking album than its predecessor is. But we are talking about Bowie, the chameleon artist.
So, this isn't really a huge surprise. But, and despite I like very much of 'Hunky Dory' and considerer it one of the best and most fine albums of Bowie, it isn't one of my favourite albums from him.
Prog is my Ferrari. When talking about these highlights, the unforgettable Changes and Life On Mars? With Changes, while the verses are all around well constructed, it's the iconic chorus that really seals this as such a wonderful song, the wonderful escalating flourish of strings right before it erupts into such a simultaneously upbeat, yet wistful feeling burst of energy being charming no matter how many times you've heard it.
Life On Mars on the other hand takes a far more grandiose approach, where every moment of the song is leading up to the awe inspiringly climactic chorus.
While the melody of the verses is somewhat repetitive, the key changes give it the constant feeling of escalation that makes the song as memorable as it is. In terms of a couple of other songs that are particularly noteworthy, you've got Oh You Pretty Things, which is a similarly fun and infectious track with a very upbeat sound that manages to be outstanding once again based mostly around the charm and amazing melody that Bowie is able to create to such an effective degree.
The biggest outlier on the album, yet one of very high quality, is Queen Bitch, which is not only far more energetic, but utilises a more abrasive guitar tone, which when combined with the more sarcastic vocal delivery that Bowie provides on this track, makes this sound very much like a Velvet Underground song. Not only does this bring some freshness to the album, but it's a blast to listen to. While Hunky Dory likely contains some of the highest highs in David Bowie's career however, it's definitely another very inconsistent album, and one that's extremely top heavy, with most of side A being noticeably better than the second half of this, with the exception of the inconsequential, forgettable Eight Line Poem.
It definitely feels like this side of the album was dedicated to the quirkier cuts of the album, and this works to varying degrees of success, as while the majority of these songs are very good, they don't really compare for the most part to the breathtaking highlights of the first half. What makes this less of a problem for the album is that when I listen to songs like Andy Warhol and The Bewlay Brothers without thinking about the masterpieces that came before, they really do reveal just how great they are in their own right, ultimately revealing this to be an album largely composed of amazing tracks, just with some being on a higher calibre.
It's really easy to see why many people consider this album to be one of David Bowie's absolute greatest, given how many stunning moments this has spread throughout, with the filler still for the most part having some semblance of charm, even if FIll Your Heart and Eight Line Poem definitely feel a few cuts below the rest. This is just a really entertaining album all across the board that balances decent variety with a constant sense of fun in order to create a near unforgettable listening experience, and the start of the long line of truly amazing albums that David Bowie would release.
This is one of the albums that I'd consider a great place to start when listening to David Bowie's catalogue for sure, at least for his glam era. It's probably his most straightforward and unpretentious, but that's w Perhaps knowing what was to come, his new record label RCA did little to promote this album, and it initially sold poorly, despite some very positive reviews.
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