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''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his first two albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later.
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''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971.1971 through Creator/RCARecords. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his first two albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later.
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* ReCut: 8-track releases change the running order to "Changes", "Life on Mars?", "Kooks", "The Bewlay Brothers", "Quicksand", "Fill Your Heart", "Andy Warhol", "Queen Bitch", "Song for Bob Dylan", "Oh! You Pretty Things", and "Eight Line Poem" to fit a four-program format.
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Removing chained sinkholes.
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''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] before Bowie reunited with Visconti.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] before Bowie reunited with Visconti.
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''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] first two albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for[[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] three more albums before Bowie reunited with Visconti.
Visconti during the sessions for ''Music/DiamondDogs''.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for
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Like Bowie's [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] albums, ''Hunky Dory'' was supported by two singles: "Changes" and "Life on Mars?", both of which have now become strong candidates for Bowie's SignatureSong.
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Like Bowie's [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] first two albums, ''Hunky Dory'' was supported by two singles: "Changes" and "Life on Mars?", both of which have now become strong candidates for Bowie's SignatureSong.
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# "Bombers"
# "The Supermen"
# "Quicksand (Demo)"
# "The Bewlay Brothers (Alternate Mix)"
# "The Supermen"
# "Quicksand (Demo)"
# "The Bewlay Brothers (Alternate Mix)"
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# "Bombers"
"Bombers" (2:38)
# "TheSupermen"
Supermen" (2:41)
# "Quicksand(Demo)"
(Demo)" (4:43)
# "The Bewlay Brothers (AlternateMix)"Mix)" (5:19)
# "The
# "Quicksand
# "The Bewlay Brothers (Alternate
* TheGenerationGap: One verse in "Changes" notes how older generations scorn younger ones and force them to conform to their own values, while said youth view them as ignorant and unempathetic. Bowie sides with the youth in the song, encouraging them to eke out their own paths in life.
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* InTheStyleOf: "Life on Mars?," which Bowie wrote after Music/FrankSinatra's people preferred Paul Anka's translation of Claude François' "Comme d'Habitude" [[note]] "My Way" [[/note]] to Bowie's. As Bowie later noted, his plan to get Sinatra to cover "Life on Mars?" backfired rather spectacularly when it was instead covered by Music/BarbraStreisand.
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* InTheStyleOf: "Life on Mars?," Mars?" is a pastiche of Music/FrankSinatra, as indicated by a note on the back cover which reads "Inspired by Frankie." Bowie wrote the song after Music/FrankSinatra's Sinatra's people preferred Paul Anka's translation shopped around for an English version of Claude François' "Comme d'Habitude" [[note]] "My Way" [[/note]] to and picked Paul Anka's version, "Music/MyWay", over Bowie's. As Bowie later noted, his plan to get Sinatra to cover "Life on Mars?" backfired rather spectacularly when it was instead covered by Music/BarbraStreisand.
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* PepTalkSong: "Changes:"
--> ''Ch-ch-ch-ch-changes, turn and face the strange''
* PorkyPigPronunciation: "Changes:"
--> ''Ch-ch-ch-ch-changes, turn and face the strange''
* PorkyPigPronunciation: "Changes:"
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* PepTalkSong: "Changes:"
--> ''Ch-ch-ch-ch-changes, turn"Changes" revolves around finding confidence in nonconformity and face the strange''
reinvention, regardless of what others might think.
* PorkyPigPronunciation:"Changes:"The chorus of "Changes" features Bowie pretending to stutter during each TitleDrop:
--> ''Ch-ch-ch-ch-changes, turn
* PorkyPigPronunciation:
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* TheManIsStickingItToTheMan: "Life on Mars?" features the lines "now the workers have struck for fame/'cause Lennon's on sale again." This plays off of Music/JohnLennon's [[Music/JohnLennonPlasticOnoBand "Working Class Hero"]] (which came out six months prior to the album's recording sessions) and his last name's similarity to that of UsefulNotes/VladimirLenin to suggest that communism, a staunchly anti-commercial ideology, has itself become a commercial product to be bought and sold.
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''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later. To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] before Bowie reunited with Visconti.
to:
''Hunky Dory'' is the fourth studio album by Music/DavidBowie, released in 1971. After the heavy metal of ''Music/TheManWhoSoldTheWorld'', Bowie returned to his then-typical style of songwriting from his [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] albums, with lighter, easy-listening fare. However, instead of focusing on the art hall pop of his debut album or the progressive folk of its successor, he instead turned this album in the direction of art pop mixed with Music/VelvetUnderground-inspired art rock, presaging the GlamRock sound that would first truly make itself known a year later.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] before Bowie reunited with Visconti.
To help aid in this approach, Bowie enlisted the help of Ken Scott as producer, having broken ties with Tony Visconti due to the latter's frustration with manager Tony Defries and a perceived lack of enthusiasm from Bowie himself during the making of ''The Man Who Sold the World''. Scott had previously engineered ''Music/SpaceOddity'' and most of Music/TheBeatles' albums from ''Music/AHardDaysNight'' to ''Music/TheWhiteAlbum'' (barring ''Music/{{Revolver|BeatlesAlbum}}''), and would continue working with Bowie for [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars three]] [[Music/AladdinSane more]] [[Music/PinUps albums]] before Bowie reunited with Visconti.
