cr01's Full Review: Hunky Dory [Remaster] by David Bowie
Those myriad of record companies requiring immediate result and payback in these impatient days only need to look to David Bowie for an example of their folly.
For if David Bowie was an artist today on an one-release contract, he would have produced Hunky Dory in 1971 to a generally disinterested public. No doubt, Bowie would have lost his recording contract and would probably today be a disappointed white haired and balding recently retired school caretaker living in a scummy tower block in South London. Instead, history turned out different and Bowie (probably) is a botox pumped space cadet who once stored his urine in bottles in fridges to stop the wizards from getting him.
Um, anyway... RCA, his record label persisted, and Bowie's second release, Ziggy Stardust created music history, and in the process created renewed interest in the earlier released Hunky Dory, today recognised as one of Bowie's classic recordings.
Funnily enough, despite the lasting power of Bowie, Hunky Dory does sound strangely aged, with a distinct hark back to the era of theatre and torch singers. Bowie generally exaggerates, and over pronounces his vocals. At this stage, early in his career, Bowie's voice hadn't deepened into its later baritone and so his singing on Hunky Dory is fairly thin and weedy.
I first heard Hunky Dory as a 7 year old in 1972, when my trendy fifteen-year-old next-door neighbour babysitter used to play it for me. I guess its one of those albums that has always been with me, and even if suddenly transported onto a desert island, I could probably recite the whole album.
Everything is Hunky Dory
The star of the show has to be Life on Mars, which a couple of years ago gained a lot of re-airing as part of the UK hit TV show of the same name. The track was so good despite the strange nonsense lyrics, RCA took a risk and successfully released it as a single a few years after Hunky Dory's release. Eight Line Poem by contrast is another lovely track, with particularly strong guitar work, and emotive Bowie voice, but which is rarely heard today.
The nicest track vocally has to be Fill Your Heart, the only non-Bowie written track on the album, with Bowie using a very sparce arrangement and a very strange "Noo Ywark" accent.
Changes, the opener is one of the more sensitive tracks on the album, and uses a mixed basic rock and roll backing. The backing music is rather slow and clunky, but it plays better for its simplicity, and is full of charm. In today's synthetic world, there is always the temptation to over-complicate a song.
Bowie the name-dropper
Andy Wahol is another classic song from this stage of Bowie, and I particularly love the brooding backing music, although perhaps Bowie tries just a little too hard to be trendy with the lyrics - "Hol as in holes". The old name dropper also references Bob Dylan, and in a strange "stars in their eyes" moment, tries to emulate the voice of his hero, before thankfully giving up for the chorus. Although the opener is a bit sorry, the song turns into an earnest sounding homage to Dylan. Queen Bitch seems to tip a nod to Lou Reed, and it offers a lovely and unusual raw edge to Hunky Dory, which is a generally warm recording.
Oh, You Pretty Things is a bit of a plodder, but with a lovely lively chorus, and one of those quaint nonsense men-from-outer-space type lyrics. The closing track The Bewlay Brothers is another quiet track, but offers a good example of Bowie being a considerable artist. I love the lyrics of this track, and it forms a grand exit to the album.
Bowie the kook
Kooks has a wonderful retro feel, with a really mid 60's sound, and a very gentle story for Bowie's son who had just been born at the point the album was recorded. Imagine having a father who could write a song of hope for you. On a darker vein, Quicksand, references both the Nazis and black magic (no, not the chocolate), which both were to prove to be sticky fascinations for Bowie a few years down the road. This is my least favourite track, with over dramatic parts and boring bits in places, despite its gently lilting chorus, and actually good vocals.
Spiders from Mars
Hunky Dory has probably lost a little something in the near 40 years since release, which is always the fate of a groundbreaker. However, the album was to launch Bowie as a major artist for decades to come, and forms the foundation of his reputation.
This was the first album to contain the classic Bowie backing band. Although Mick Ronson has some clunky and slow moments on this album in particular, he also plays his guitar beautifully, with some skilfully tight moments. The rest of the band follow Ronson's lead and are equally clunky or tight as necessary.
I find it very strange to think that on release Hunky Dory was ignored by the (then) hippy trippy public, but I guess it had too much of a hard edge for the times. Of course, by today's standards it has a gentle sound.
David Bowie: Hunky Dory (1971)
Changes Oh! You Pretty Thing Eight Line Poem Life On Mars Kooks Quicksand Fill Your Heart Andy Warhol Song For Bob Dylan Queen Bitch The Bewley Brothers ______________________________
cr01 asserts his right to be asserted as the author of this review -2008-
According to Wikipedia the origins of the term "Hunky Dory" comes from the Americanising of the Japanese term for a main street, the "honcho dori". Early US travellers in the 1850's easily got lost in the maze of tiny streets of Japanese towns, and so everything was alright when they finally found the "honcho dori".
Obviously, our Mr Bowie and his fine recording from old London Town qualifies as an English Find for Barbara's wonderful write off.
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