If You Stay With Us You're Gonna Be Pretty Kooky Too (Hunky Dory - David Bowie)

Member Name: AllyPally1991

Product:	Hunky Dory - David Bowie
Date:	13/03/09 (76 review reads)
Rating:

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Hunky Dory was the 1971 release by David Bowie, the predecessor of the 'Ziggy Stardust' era. Peaking at number 3 in the UK album chart, it is the epitome of Bowie's early style, with songs such as Oh! You Pretty Things and (of course) Changes really standing out amongst the melee. It is one of Bowie's most popular albums, and is more easy-rock than the hard-rock of its predecessor, 'Man Who Sold The World.

**Introduction**
After reviewing The Rise And Fall Of Ziggy Stardust & The Spiders From Mars, I could hardly wait to review my favourite Bowie album of them all, Hunky Dory. Released almost 40 years ago, it is one of the classic albums of the 70s, and features many of the futuristic ideas which are frequently used in Bowie's later work.

Some of the songs on here are so risque that its brilliant. I personally love the reference to 'Homo Superior', which many see as ambiguous, both relating to the expansion of the human race and also Bowie's questionable sexuality. I think that is what makes Bowie's songs great - it is so easy to read into the lines if you desire, yet it is also possible to appreciate the lyrics at face value.

**TRACKS**
*Changes*

Time may change me
But I can't trace time

Changes is one of those songs which is immediately recognisable on the album. The reference to Bowie's chamelionic personality, sexuality and fashion is palpable, whilst the notion of accepting the mutation of life is quite meaningful, and seems to suggest that the listener should adapt to the world which they find themselves a part of. It never broke into the british charts, and peaked outside the US top 40, so could be considered a flop. However, I defy anyone that claims this is a bad song, as it has all the qualities of a great, and is often recognised as one of the best songs of all time.
9/10

*Oh! You Pretty Things*

Oh You Pretty Things
Don't you know you're driving your
Mamas and Papas insane

I don't know why I love this song as much as I do, but I think it is fair to say that this is my favourite song on the album. It has a certain charm that some of the others lack, and its placing at the beginning of the album works in its favour, with it's immediate appearance being a welcome distraction from the meaningful lyrics of 'Changes'.
10/10

*Eight Line Poem*

But the key to the city
Is in the sun that pins the branches to the sky.

One of the slower songs on this album, Eight Line Poem's long introduction makes me feel quite impatient. I love it once it starts, but the minute long interlude is a bit unwelcome. Bowie's lyrics in this song are almost incorrigible, but luckily the power of the instruments in this song prevents it from seeming completely disjointed. The fact that it only has eight lines is completely unique, and I can think of very few other songs which have so few lines yet so high an impact.
7/10

*Life On Mars?*

It's a god-awful small affair
To the girl with the mousy hair

I had so much trouble picking one lyric from this song, honestly, the entire thing is a work of lyrical genius. However, surely everyone has quoted the line above at least once in speech, and I think it is the immediate impact of that line in its simplicity that makes this song brilliant. BBC Radio 2 once crowned it the best Bowie song of all time, and although I disagree, I can see entirely why they might claim that. Its impact is indisputable, to the extent where there has even been a TV show named after the title. It reached number 3 in the UK singles chart.

The references to Lenin/Lennon and 'the workers have struck for fame' would suggest to me that this is partially based on the post-Marxist revolution, especially when you consider that Bowie refers to Mickey Mouse, a character often symbolic with the consumerist nature of Western society. Once again, I think that this song has so many subplots and different meanings between the lines that it is impossible to find a singular comprehensive meaning in the lyrics. This instability in comprehension works in favour of the track, as you can take what you want out of the lyrics, and it is well supported by the powerful instruments.
10/10

*Kooks*

Will you stay in our Lovers' Story
If you stay you won't be sorry
'Cause we believe in you

My second favourite song on the album, this is another that has immediate charm. Written after the birth of his son, Zowie Bowie (that poor kid), it details the trouble and strife that he feels his son will have to live with if he stays in the family. However, this is counteracted with positive imagery, for instance the parents bringing their son home from the hospital after his birth. This song is innately personal, which adds to its impact upon the listener. The ending however is slightly disappointing, with the lyrics ebbing into infinity, where you almost wish for a more dramatic use of the fantastic backing instruments to bring about a conclusive moment.
9/10

*Quicksand*

I'm the twisted name on Garbo's eyes
Living proof of Churchill's lies

As a psychology student, this sarcastic approach to the humanistic approach to life is one of my favourite things ever. Its almost as if he is discussing the failings of the belief that all beings are inherently good; instead it takes on a buddhist/occultist approach, as if the individuals he mentions are striving for self-actualisation and to achieve their own life goals as opposed to the communal goals.
9/10

*Fill Your Heart*

Forget your Mind And you'll be free-yea'
The writing's on the wall

This song is a pretty light hearted affair, and I love the offbeat nature of the lyrics. The enjambment used by Bowie in this song is evident, with some phrases spanning several lines. The idea of being 'free' in ignorance is really unique and works really well with the song. The song was a late addition to the album, and you can sort of tell - it doesn't seem to fit particularly well with the other tracks on the album. Nonetheless, it is a really good song, though its placing within the album is perhaps not beneficial - it seems to be lost within the middle of the album.
7/10

*Andy Warhol*

I'd like to be a gallery
Put you all inside my show

This is one of the songs on the album directly related to a real individual. Its not one of my favourites, but I think it is easy to appreciate the guitar in this track. It resonates really nicely with the lyrics, and makes for easy, perhaps mindless, listening.
7/10

*Song For Bob Dylan*

I wrote a song for you
About a strange young man called Dylan
With a voice like sand and glue

The instruments used in this track produce a very Dylan-esque feel, and I actually really like this track, but I do know a lot of people who do not like it. The changes in tempo do it no favours, but it is a really powerful and heart felt tune. It is an ode to Dylan to make music great again, and it is one of the tracks that does epitomise Bowie's style.
7/10

*Queen Bitch*

She's so swishy in her satin and tat
In her frock coat and bipperty-bopperty hat
Oh God, I could do better than that

The principle riff in this song is lifted straight out of Eddie Cochran's Three Steps to Heaven. It works quite well, though is more similar to the work of the Velvet Underground than Bowie, which is disappointing - this is Bowie's album, and I sort of wish that he had stuck to his own style as opposed to adapting someone elses. That said, its near enough to the end of the album for the appearance of this song to not cause too many problems, and I think it does have its own sort of charm.
5/10

*The Bewlay Brothers*

I was stone and he was wax
So he could scream, and still relax, unbelievable

This song is not as impacting as some of Bowie's other closing numbers (for example Rock & Roll Suicide). However, it is undoubtedly a good song in terms of power and lyrics. You can listen to this song a million and one times and still not really understand what on earth Bowie is on about, but in a way that adds to the brilliance of the track.
8/10

**Artwork**
The frontal artwork for the album is simplistic, with Bowie dressed and made up in an androgynous manner. The small typing in the corner works well, and allows the simplistic lines in Bowie's face to do the talking.

**Conclusion**
What more can I say about this album that hasn't already been said? I am in love with David Bowie's music (and, well, David Bowie in general) and no music lover's collection is complete without this album. It is an everlasting classic, which some of the 'stars' of today should be forced to listen to so that they can appreciate the meaning of the words 'great music'.

Summary: This classic album is an essential for any music enthusiast