Do not fight with bullies and blackguards

Hunky Dory is for me a special disc in many ways. One of the cornerstones of my club:
- My first disc of Bowie, now one of my favorite artists.
- My first encounter daunting at first, then quickly reassuring, with a timeless classic rock, before the Beatles, the Stones, Elvis, the Velvet.
- The disk partitions on which I began to learn the guitar, although many songs are played on the piano.

This founding discovery took place there nearly 20 years, 20 years after the release of the disc, and again 20 years later did Hunky Dory has obviously lost none of its consistency or relevance. I listened in loop, I believed in exploring his every corner but still every listen reveals me details that I did not pay enough attention.

Musically quite distant from two albums in the surrounding Bowie discography, namely The Man Who Sold The World and Ziggy Stardust, much more aggressive and outraged, Hunky Dory is primarily a disk full of beautiful lovely pop songs, the melodies sophisticated, catchy and ostentatious arrangements (piano, strings, brass).
It's beautiful, bewitching, easy to enjoy, pleasant to the ear, remarkably worked and inspired.

The first four songs are essentially based on a delicious piano alert, as well as the inimitable voice of Bowie. Among them, the tube 'Changes' and its famous chorus 'Ch-ch-ch-ch changes', the superbly removed 'Oh You Pretty Things' and what I consider one of the most stunning pop songs of all time, the wonderful 'Life On Mars', which I never get tired I think.

The vivacious song written for his son Zowie, 'Kooks' is touching and encouraging. 'Kooks' and impulsive 'Fill Your Heart' are akin to guilty pleasures, delicacies which we delight with some bad conscience, light and sticky melodies and arrangements that would run down and find some easy otherwise touts but in fact systematically fill us with joy and gladness.

Each of the two sides ends in a tormented and surprising song, the lectures Quicksand and The Bewlay Brothers, including the instrumentation and the general tone reminiscent of many long compositions that can be found on Space Oddity.

Much of the second face fitness keyboards for pride to guitars and Bowie homage to artists who influenced him. Andy Warhol, Song For Bob Dylan, the names speak for themselves while Queen Bitch draws his inspiration from the Velvet Lou Reed, and is an ideal transition to the more muscular sound of Ziggy Stardust.

Key engineering entirely well surrounded, fan wise music on the lookout for new (and future) trends, composer at the top of his, David Bowie digests perfectly his influences to offer with Hunky Dory one of the first leaders absolute work, a more accessible, which remains one of the highlights of this prosperous period which will link the exceptional discs throughout the 70's.