1001 Albums: Chelsea Girl

#77

Album_77_Original.jpg

Artist: Nico

Album: Chelsea Girl

Year: 1967

Length: 45:04

Genre: Folk-Pop/Chamber-Folk

“Here they come now
See them run now
Here they come now
Chelsea Girls”

It’s rare that I stumble upon an album on this list that I didn’t like. Even The Beatles ones I found myself enjoying to a certain extent and as far as I can remember an album I don’t like is more an exception to the rule than something I’ll come to expect. Unfortunately this album is one of those exceptions. It’s not that I thought it was bad, it just didn’t do anything for me. Although I think it was pretty funny that it followed the other two relaxing albums and added to my attempts to relax (musically it remains calm but unlike the other two is a little more chilling and has that gloomy subtext that made it a little difficult to truly relax, but whatever).

Nico was known for her work with the Velvet Underground, a band I never really listened to and the little I tried to I just wasn’t into that much (this was awhile ago so maybe my feelings will have changed now to being more open-minded but if it’s anything like this one chances are slim). And there’s a good chance it’ll be like that because her Velvet Underground band mates join her as her backing band throughout the album. There’s no denying they are all very talented musicians who capture that mellow gloom (guess the word of the day) that underlies the entire album. And there’s no denying that Nico herself is one hell of a singer, although I’m not crazy about her particular voice especially when she sings deeper notes, she has a one-up on most singers today in that she actually sings with emotion. Though she does come across as that emo girl from your high school what she does well is she never crosses the line into full-on melo-drama and feels relatively genuine.

Ok, now what didn’t I like? Well, the production of this album is pretty awful. Apparently, Nico herself was extremely disappointed with it to the point it actually drove her to tears. She was so upset with the final product that she grew to hate her album. The producers were really tough on her and she wasn’t able to get the album she originally wanted. She asked for drums, they said no, she asked for this, they said no, they asked for that, they said no. Then behind her back they added fucking flutes and strings tot he whole mix, which is what made her cry. The fucking flutes. They sound awful, they add absolutely nothing to the music and they’re simply just terrible those fucking flutes. If it had stayed with the simple guitar arrangements I probably would have liked it way more than I did and the music itself would definitely have been more powerful, but nope instead we have to endure those cheesy string arrangements and stupid ass flutes.

Also, “It Was A Pleasure Then” was an incredibly difficult song to sit through as the instrumentation goes into a wild distortion that hurts the ears rather than gives you a musical experience. This song sticks out too much as musical experimentation within an album of chamber folk and could have probably done without. ┬áThat being said there are some good songs that blanket this one, the self-titled “Chelsea Girls”, which was named after an Andy Warhol film Nico acted in, and “I’ll Keep It With Mine”, originally a Bobby Dylan song he recorded but never released.

Apparently Nico’s work gets even darker as her career progressed (according to my friend Graham, because I would have no clue about this) and based on what I was told, it’s not surprising. Nico was apparently raised by Nazis, her dad having fought for the Germans in world war 2, and she was raised with fascist ideology that definitely stuck in her subconscious even if she disagreed with it. She was also a complete nutcase it seems. My friend told me a story about this one time she was at a restaurant with a few other people. Seeing how she wasn’t getting any attention, it seemed the best solution was to exclaim she didn’t like black people, smash a bottle and stab the black woman at their table in the eye with it. Andy Warhol had to drag her away, that’s right, the weirdo Andy Warhol had to drag her away for being too much. I don’t know if any of it is true, but if it is we’re dealing with one crazy psycho here.

There’s not much else I can really say about this album. I can definitely see people loving it and why they would love it but it didn’t do anything for me. But hey, we can’t like everything, right?…. RIGHT?!…. oh…

Song of Choice: Eulogy to Lenny Bruce

-Bosco

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