Hunky Dory (2015

Product Information

This 1LP brings together early mixes of HUNKY DORY tracks originally featured on the BOWPROMO album in 1971 along with new alternative Ken Scott mixes to create an alternative version of the Hunky Dory album, also featuring the session outtake ‘Bombers’. Michael Gallucci of Ultimate Classic Rock notes that it is Bowie's first record to include "a mix of pop, glam, art and folk wrapped in an ambisexual pose that would come to define the artist". Scott would retain the role of co-producer for Bowie's next three records: Ziggy Stardust, Aladdin Sane and Pin Ups. The album's cover artwork, photographed in monochrome and subsequently recoloured, features Bowie in a pose inspired by actresses of the Hollywood Golden Age.

You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. In their list of the 500 Greatest Albums of All Time, Rolling Stone ranked it number 107 in 2003, [108] number 108 in the 2012 revised list, [109] and number 88 in the 2020 revised list. Douglas Wolk of Pitchfork reviewed the album's remaster for the 2015 box set Five Years 1969–1973 and gave it a 10-out-of-10 rating, believing the songs to be "scattered but splendid" and finding Bowie's songwriting a "huge leap" from his previous works. In an interview with Mojo in 2007, KT Tunstall declared Hunky Dory her favorite album, saying: "It's the only record where I've experienced total jaw-dropping awe for the whole of it because that feeling of being lost and being taken somewhere else is so strong. I am aware that tape cassettes have 2 sides also, but sometimes the song lineup is altered, thereby compromising the artistic continuity.As a co-producer Bowie took an active interest in the album's sound and arrangements, an about-face from his generally hands-off attitude during the Man Who Sold the World sessions. Although Mercury had intended to renew it on improved terms, Defries forced the label to terminate the contract in May by threatening to deliver a low-quality album.

The remasters of Bowie's studio albums since around 2015 have just been awesome; bringing a newfound wealth of colour and sound to some already legendary LPs. According to O'Leary, the US date was before the UK one, although he questions Billboard 's reported date of Saturday, 4 December. In the mid-1970s, Bowie described the song as "a mixture of narrative and surrealism" and a "precursor" to the music of his 1977 album Low. The whole album sounds fresher, cleaner and more defined and is considerable better at meaningful volume than my original.

Though not my favourite of Bowie's, I do like this album but as its quite old and has already been heavily reviewed and raked over I feel there is little of constructive use I can add. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album. The lyrics contributed to his being dubbed the " chameleon of rock" and one of rock's greatest innovators.

Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. The original UK cover featured Bowie's name and the album title; in the US the title was instead printed on a sticker and placed onto the translucent wrapping. He signed a record deal with RCA, he met Andy Warhol, Lou Reed, and Iggy Pop while in New York, became a father and penned the song ‘KOOKS’ as a show of paternal pride, played live for the first time that June with Mick Ronson, Woody Woodmansey and Trevor Bolder, the band that would later be christened the Spiders From Mars and recorded the classic album HUNKY DORY. Pegg and Doggett believe the song highlights Bowie's struggle with identity, from his real name David Jones, to his stage name David Bowie and, very shortly, to Ziggy Stardust.Bolder described recording with Bowie for the first time as a "nerve-wracking experience", saying: "When that red light came on in the studio it was, God, in at the deep end of what! That said, the Parlophone reissue sounds truer to the original than the EMI edition’s rather odd EQ, which seems to spotlight upper-register instruments and bury some midrange information when played back on the two very different audio systems I used for critical auditioning. It features Bowie on a gentle, sporadic piano while he sings and a country-influenced guitar line from Ronson. To summarize, it's a nice collectible souvenir, but for practical high quality playback, I'll stick to the CD.

On the all-analog EMI pressing, vocals and some finer upper-register details are a bit clearer in places, but dense passages on tracks such as “Life on Mars” sound murky and muddled when compared to the U.Doggett notes that "Changes" is a "statement of purpose": as the opening track, the song provided a stark contrast to the hard rock sound found on its predecessor. The final cut, "The Bewlay Brothers", is a strange, somber song with lyrics that make no sense to me - again, Wikipedia backs me up. Aladdin Sane is the sixth studio album by English musician David Bowie, released on 13 April 1973 by RCA Records.