David Bowie ‎– Hunky Dory

Label:
RCA Victor ‎– SF 8244, RCA Victor ‎– LSP 4623
Format:
Vinyl, LP, Album
Country:
Released:
Genre:
Style:

Tracklist

A1 Changes 3:33
A2 Oh! You Pretty Things 3:12
A3 Eight Line Poem 2:53
A4 Life On Mars? 3:48
A5 Kooks 2:49
A6 Quicksand 5:03
B1 Fill Your Heart 3:07
B2 Andy Warhol 3:53
B3 Song For Bob Dylan 4:12
B4 Queen Bitch 3:13
B5 The Bewlay Brothers 5:21

Companies, etc.

Credits

Notes

Original UK issue, 1st pressing with laminated front cover & spine, un-laminated back.
Cover has a colour variation differing from represses. in which this release is green in tinge. A repress will not have this rich green colour to the front image.

Sepia-print liner with lyrics. Rice-paper inner sleeve has blue text with Patent No. and "Made In England".
(All later issues of this have print-finish cover)

All titles published by Chrysalis Music Ltd./Titanic Music ℗ 1971
Printed in England by Robert Stace.

RCA Limited, Record Division
RCA House, Curzon Street, London W1.
℗ ©1971 RCA LIMITED

Barcode and Other Identifiers

  • Matrix / Runout (A-Side Run-out): APRS 5947 - 3T - BOBIL
  • Matrix / Runout (B-Side Run-out): APRS 5948 - 3T - RASPUTIN

Other Versions (5 of 159) View All

Cat# Artist Title (Format) Label Cat# Country Year
LSP-4623 David Bowie Hunky Dory(LP, Album) RCA Victor LSP-4623 Germany 1972 Sell This Version
INTK 5064, NK 13844 David Bowie Hunky Dory(Cass, Album, RE) RCA International, RCA International INTK 5064, NK 13844 UK 1980 Sell This Version
INTK 5064, NK 13844 David Bowie Hunky Dory(Cass, Album, RE) RCA International, RCA International INTK 5064, NK 13844 UK 1980 Sell This Version
SF 8244, LSP 4623 David Bowie Hunky Dory(LP, Album, RE) RCA Victor, RCA Victor SF 8244, LSP 4623 UK 1972 Sell This Version
066 791843 1 David Bowie Hunky Dory(LP, Album, RE, RM, Gat) EMI 066 791843 1 Brazil 1990 Sell This Version

Reviews Show All 8 Reviews

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amerkatz

amerkatz

February 5, 2016
Question: My copy of Hunky Dory seems to be a 1st pressing: except for "blue letters on inner sleeve" mine says "made in great Britain" Not England. The LP cover has a green/blue hue. I dont know what "Laminate front an spine mean, but the cover is thin. Judging from the pictures where the two covers are compared above mine is exactly like the one on the left which looks like the 1st pressing but on the back it does have "A Gem Production" Logo . Can anyone help me? I'm new at collecting records well sort of new, Ive always had records/vinyl/Lp etc.. Any whoooany advice would be nice thank you. Truly it really doesn't mean much to me on this particular record because Id never let it go...its IMO top 3 Bowie releases and will always be in my collection... :)
PapaE

PapaE

January 12, 2016
I can't find this issue here, any clues?
SF 8244, LSP 4623
aprs 5948 3E A4 AAC - Side 2, aprs 5947 4E A2V
dscprlnt78

dscprlnt78

January 12, 2016
Wow... the record collector vultures... this is a $20 record at most. Thousands upon thousands of copies were pressed.
motorbooty

motorbooty

January 12, 2016
Wow the price of this has skyrocketed.... Don't feed the idiot money grubbers
BRIADA

BRIADA

January 11, 2016
HUNKY DORY - I have a vinyl RCA INTS 5064 still with the price of £2.99 the track listings on the record are incorrect both sides being marked thus :- RCA NL83844 The King of New Orleans jazz, Jelly Roll Morton and his Red Hot Peppers , track lists are listed for songs 1 to 8. Has any one else heard of this? Is it rare?
w4toosh

w4toosh

December 12, 2015
edited about 1 month ago

I suspect the printers at RCA were running low on ink at the time. The earlier the copy you have, the greener the cover image and the more orange the insert will be. If you ever get to hold more than two next to each other at the same time, no two are the same. They all differ in green tinge but first pressings definitely hold a stronger/brighter green than later copies.
streetmouse

streetmouse

November 9, 2013
edited about 1 year ago
There was a boy, there was always a boy ... this one lived in a tiny furnished attic-room of his parents home on the Main Line, where the ceiling slopped at a step angle, and I could never stretch out my legs without knocking over his bamboo bong. He was in love with me ... that I didn’t know, though as I look back over the years, I wonder how I could have missed it. He was as gentle and shameless as this album, and he never made fun of me or my short hair. He stood proudly next to me at the airport, me wearing an Army uniform others only mocked or turned away from. He brought me a stack of magazines, I’m sure he sensed my nervousness, I was headed back to Vietnam, he would stay behind, and I would never see him again. And before I boarded the plane, he slipped a cassette of Hunky Dory into my pocket saying, “It’s my favorite.”

Hunky Dory has to be one of the most affectionate albums I have ever heard, and still today, the old-fashioned musical settings swell in my heart like the soundtrack to some bygone grainy black and white movie, a movie filled with unpretentious characters who dream of breaking out of the mundane, only to find that the mundane is forever nipping at their heels. Sure, I could go on for hours regarding the strange visions that make up Bowie’s semi-stream of conscious lyrics ... I could go on and site how he’s dovetailed many of the songs together by repeating a single word in each ... or the fact that he reduces the charismatic nature of the counterculture saints of the day to mere static on the TV screen. But that would be pointless, just listen to the backing strings set a mood that conjures a new atmosphere, an atmosphere that hints of Ziggy Stardust, an atmosphere where Mick Ronson’s brilliant guitar seems to be confined to a closet, a closet that will not long hold his sonic wanderings. Yet through all of that, Hunky Dory very much sounds like it could easily be the reprise for Ziggy Stardust; perhaps only really heard if one attended a live performance, with these tracks drifting out of the speakers at low volume as the crowd filters out into the night.

Hunky Dory is a kaleidoscope of visions that may or may not exist, it's twilight, it’s a half empty nightclub conversation of cinema and low brow art set on plexiglass pedestals and whispered about, it’s postmodern, it seeps into your soul without crashing down the doors, and stands in stark juxtaposition to all the hype of the day. So [?], is it any wonder that in this small room on the other side of the world, that “The Bewlay Brothers” drifted half heard, word for word, from my lips as I cooled ghostly young upturned faces with towels filled with brown ice, hoping my friend from the furnished attic room would never show up here.

Review by Jenell Kesler