Chelsea Girl
Nico
1967
Album Summary
Chelsea Girl is the debut solo album and second studio album by German singer Nico. It was released in October 1967 by Verve Records and was recorded following Nico's collaboration with the Velvet Underground on their 1967 debut studio album. It was produced by Tom Wilson, who added string and flute arrangements against the wishes of Nico. The title is a reference to Andy Warhol's 1966 film Chelsea Girls, in which Nico starred. Much of the album features instrumental work and songwriting credits from Velvet Underground members Lou Reed, Sterling Morrison, and John Cale. The song "I'll Keep It with Mine" was written by Bob Dylan, while three songs are by Jackson Browne, who contributes guitar.
WikipediaWe all piled on Rebecca black for having no talent but Nico makes the list of albums You Must Listen To Or Else You'll Die? At least RB's song was catchy and she paid for being famous with money rather than blow jobs. A goat being vivisectioned would be more melodic and in key. If I could give this zero stars I would, Nico is the fucking worst.
Don't deny the greatness. Don't deny the sadness. Don't deny the beauty.
Alright, I'll say it. I'm a sucker for this dark, pretentious, avant bullshit. I like the instruments, I like the vocals, I like the production. This is fanfuckingtastic.
Needs an injection of The Velvet Underground. It's nice, but a bit boring. The kind of thing Iris Law listens to on the tube I'd imagine. 𩱠Chelsea rent girl, Chelsea rent girl, whoooaaa whooooaaa
I love Lou Reed and the Velvet Underground so much that I have an automatic soft spot for Nico, but I'm not sure it quite carries a full album for me. I kind of liked the flutey compositions that I take it she hated. Sort of interested to hear some of the later stuff she had more control on.
Absolute shit. Production is awful - guitars quiet and muddy with terrible tone. Would have been better without strings and flutes. Bad lyrics, worked into even worse melodies. Not as smart as it thinks it is. Ended up skipping through a lot as I couldn't take it any more. Pretentious wank.
It is rare that I can't make it through a full album even it's not my thing. Nico's voice makes me want to cut my ears off.
This was horrible. Not my genre, awful voice, weird sounding pieces in between. Never again please.
Fucking horrible. I turned it off after 20 minutes cause it was too boring. These Days is still a jam tho
It sounds medieval and boring. In addition to being grating, the singer's voice doesn't fit the backing instruments at all, and the audio tracks sound like they were unmixed or at the very least mixed extremely poorly. Nothing in this album meshes, and I don't understand why this would be on this list.
Well friends, that was painful. Vocals are flat, monotone and boring. Some of the instrumentals would have been good as background music, but then Nico starts singing again. And what was that noise about 2/3 of the way through "It Was A Pleasure Then"? I've tried to avoid giving out 1's as a rule, but I think this one deserves it.
Oof. I hated this. Some pretty instrumentation on some songs, but not all, and her voice was terrible. Songs were also slow and sad. Not a fan. Song I didnât hate as much: âSomewhere Thereâs a Feather.â
Great album. Love her voice and the instrumentation is beautiful. Like getting a Velvet Underground record with just Nico vocals!
This album was interesting for several reasons. Nico's deep and untrained voice has a way of cutting through the often lush instrumentation that lends it an air of mystery and sadness. This is truly an enigmatic album, songs written by men sung by a woman who nobody really seemed to know. I was a bit tired of it by the end, but I believe this album deserves a few more listens.
This was going to be 2 stars, but I recognized that some of these songs have been in Wes Anderson movies. Giving them some context, and associating them with a time and place really allowed me to appreciate these songs more. They are certainly 'of an era'. They're the kind of thing you'd put on when someone broke up with you, or if you were having a very specifically-themed party.
Et bien moi j'ai beaucoup apprecié cet album, et d'ailleurs j'en profite pour dire à rob que je l'emmerde.
Honestly just... dull. The arrangements were okay, even interesting sometimes. The songwriting was passable. But man, Nico herself just does absolutely nothing for me. She was bearable on that Velvet Underground record, but here she has nothing to support her. Also, apparently she is super duper racist, so I am glad I didn't care for her music lol.
First Listen. At first, I didn't like it much. But, as the day went on I started enjoying it more and more. This is definitely different than what I was expecting. I like her when she sang with the Velvet Underground - and that was what I was expecting. This album definitely sound like the 1967, flower-power, peace-and-love scene, and I thought she would have more of that Berlin rock sound. After getting used to the sound, I started liking it more and found myself singing along a couple of times. I'll give it a strong 2/5 for now. It might be a 3/5 next time I hear it.
J'aurais envie d'écrire une joke, mais l'album me laisse tellement indifférent que j'ai rien de drÎle à dire. SKIPPPPP
It's painful, in so many ways. It goes beyond interesting and weird into the awful.
Nauseatingly bad. Two more albums this bad and Iâm quitting this list.
nope. Sound like someone is singing in the kitchen to themselves, kind of amateur
You call it âartisticâ...I call it âdog in painâ. Not gonna lie. This was one tough listen. It literally could be used as a form of torture. I could just imagine a Russian spy opting to spill the beans in preference to being subjected to another tune from Nico. Someone please tell this woman she cannot sing, for everyone elseâs sake. The out of tune droning with the comical flute playing in the background had me Googling if this album was in fact a parody. Unfortunately it is not and it is very real. Apparently real enough to be selected into this list and thatâs embarrassing. The only reason anyone would ever choose this album is because they are insecure and think selecting the shameful piece of noise would somehow elevate their coolness by the âinâ crowd. Hopefully Nico was locked up and institutionalised after this and they threw away her key. -100 Stars!
Dreary, one-note. The only reason itâs not forgettable is because of how annoying Nicoâs voice is over 10 songs.
not a fan of her voice. I'm guessing this is held in high regard due to her Warhol / Velvet Underground association? First one in awhile I opened Spotify to see how much was left...
An album that really hits all the notes on boring music from the sixties. An album that drags on for an eternity that has absolutely nothing to say.
I think this algorithm is fucking with me. They gave me this after I went about panning Velvet Underground. This is a slight improvement altho the German accent makes it seem almost satirical. Getting some nice Beatles vibes off the melodies and chord progressions but generally I found it a painful process trying to just get thru it. Had to listen to it one song at a time with breaks in between.
It's so bad that even Nico herself refuses to listen to it. Wondering if this album was included in the 1001 as an example of good intentions gone horribly wrong?
She sounds bunged up and posh. I sound bunged up and posh sometimes too, but I'm not sure it's something to aspire to.
Nico has talent... if talent is defined as an ability to sing every other note flat. Awful to listen to.
It was a folk album. I did not care for Velvet Underground and I did not care this album even though it is a solo album. Lyrically unnoteworthy. Nothing about it was good. I ending up skipping through some of the songs because I just wanted it to end.
Manages boredom and irritation. "It was a pleasure then" is a collection of cacophony. Did those great songwriters (Dylan, Jackson, Hardin) write bad songs, or did she wreck them? After listening to some other versions, the answer is that Nico can't sing
Just how old is Jackson Browne? Was he signed by Columbia when he was 4? How is it that These Days pops up on an album made in 1967, about 6 years before he recorded it? This odd record has so many cultural intersections, The Velvets and Jackson writing most of the songs and poor Tom Wilson having to do the impossible and "produce" this. To think he went from Highway 61 Revisited to Nico. Andy Warhol wreaked havoc on popular culture, and for Nico alone he stands condemned. If the climate change activists really want to make their case they should throw Campbell's soup over his Campbell's Soup paintings and then stick Nico album covers all over the soup, what a fitting finale that would be. Nico, dead on arrival. She'd be the Schrodinger's Cat of popular music, except Andy opened the box. Imagine wandering into a New York coffeehouse and sitting down to Nico in 1967, what price a cup of joe? The Wikipedia notes on this are hilarious, that she cried because Tom put strings and a flute on this record and denied her drums. I can't begin to contemplate what he was trying to do to cover up her appalling drone. There are some fine arrangements here in a desperate search for someone who can actually sing. I will never forgive her for the rendition of These Days (ditto I'll Keep it with Mine). I had to immediately play Glen Campbell's (oh aye, there's a Campbell's theme here) brilliant 2008 version, where, with the onset of Alzheimer's looming large, he so perfectly captured the pain of a four year old Jackson Browne lamenting day of yore. Nico needs to be deleted, thrown into the dustbin of history.
The blueprint for this album was laid out by Nico's performance on 'Femme Fatale' off of the Velvet's banana album; a lush and gorgeous instrumental that had all the life sucked out of it by her drowsy and uninteresting vocals. On Chelsea Girl, that same process is repeated 10 times in what is a 45 minute snooze-fest that perfectly encapsulates Nico's mediocrity as an artist. It is utterly remarkable how many listeners gloss over just how tone deaf Nico truly is. Each track sounds like she recorded the vocals before even hearing any instrumentals. Her vocal range and register are as wallpaper and monotone as one could imagine, yet this album has been lauded by critics as a timeless masterpiece. Not only did this album fail to push any boundaries, it hardly got out of centre field. The only redeemable quality going for this record are its arrangements and production. For the 10 to 15 seconds before Nico's voice puts me to sleep, the instrumentals are whimsical and pleasant on the ears, with the clear intention for a strong vocalist to realise the potential of each song. Nico squanders that potential time and time again, that said it would've made for some nice lobby music as an instrumental album. Nico was essentially handed these beautiful instrumentals on a silver platter, to which she adds absolutely nothing of note. In the same year as the Beach Boys release Pet Sounds; an album filled with diverse arrangements, ingenious songwriting and adventurous vocal melodies, it is one of the great mysteries as to how this album has remained relevant over half a century later.
Ć ta reÄi o ovom albumu osim da je blizu savrĆĄenstva? ZvuÄi jednostavno, ali je ovaj album mi puno znaÄi i definitivno mi je top 5 albuma koje si moram, al moram pustiti kada doÄe jesensko vrijeme. ZanemarivĆĄi njen privatni ĆŸivot, bila je vrsna umjetnica. Dakle ovo je album koji mi je jako blizu Äiste petice, i zato vjerujem da Äe dobiti peticu jer ono, 90% albuma je odliÄan. OdliÄne stvari na ovom albumu od 10 pjesama: "The Fairest of the Seasons, These Days, Little Sister, Winter Song, Chelsea Girls, I'll Keep It With Mine (mislim da je ovo cover od gospodina Dylana koji je oooodliÄno izvrĆĄen), Wrap Your Troubles in Dreams, Somewhere There's a Feather, a pjesme poput It Was a Pleasure Then i Eulogy to Lenny Bruce su groweri, i dobre stvari, ali ako veÄ moram neke slabije malo izabrati, to bi bile te.
Nico's vocals are absolutely splendid! This album is so gorgeous, I could listen to it 100 times over.
I listened to this a LOT in the early 2000s, it was one of my friends favourites - so I'm really familiar with it, it's lovely to hear it again. beautiful guitars, lovely wistful production and an unmistakable voice.
Chelsea Girls is an album that shows it's beauty in a subtle way. It captures the intimacy of somebody playing music for you (and you specifically) in a small room. This Aussie gives it four bags of Freddo Frogs out of five.
Sheâs got a unique voice, and the strings pair really well with it. A little like Joanna Newsom. Second half of the album didnât do much for me though
I'm kind of a sucker for anything related to sixties counterculture/New York/Warhol/Greenwich Village. This isn't up to the standards of the debut Velvet Underground album, but it's interesting and never dull. I can see why Nico wasn't happy with the production. In some songs the strings and flutes add a nice feel, but the album could use some drums as well. 4 stars.
Look, I like violins as much as the next person--maybe even more--but damn these overdubs (like they're trying to make every song sound like "Eleanor Motherfucking Rigby"). They're so tacked on, not matching Nico's voice at all, which sounds like she's pulling her jaw back into her throat. And then just listen to "Winter Song": the power is right there in the (rather frightening) lyrics. We don't need a flute to tell us "this is a pastoral song, in case you couldn't figure it out". RYM ranks "It Was a Pleasure Then" as the worst track on the album, but I think it's the best because it's not got those damn overdubs. Everything is more real--the music, the vocals. It's pretty VU at its heart, too, what with the short bursts of howling feedback and the minimalist experimental vibe threatening to explode into a welcome cacophony that never comes. Nope. Bring the flautist and string quartet back in. Break's over!
Have not listened to much of her solo stuff. What stands out is her haunting voice, it adds a mystical quality to the music. Unfortunately the same voice that charms me, grates on me before the end of the album.
This album is a total mood, and I quite enjoyed it. It has a couple of songs on it that I listen to frequently, but this is the first time I heard it all the way through. Had I known it was a part baroque folk, part stealth Velvet Underground album, I would have gotten around to it sooner. I see why Nico disapproved of the string and flute overdubs, because the arrangements aren't particularly well timed to her vocals. I quite agree when it comes to the flute, which is superfluous and doesn't really add anything to the album. I do think the strings in particular are suited to Nico's voice though. John Cale's viola, as always, is a gift. The rambling, noisy distortions of "It Was a Pleasure Then" were jarring, but actually really welcome. That song really cuts through the softer aspect of some of the other songs and it perfectly showcases the great musical chemistry of Reed-Cale-Morrison. "These Days" and "I'll Keep It With Mine" are pure perfection. Fave Songs: These Days, I'll Keep It With Mine, The Fairest of the Seasons, Somewhere There's a Feather, It Was a Pleasure Then
Interesting, but I don't feel it adds much to her output with The Velvet Underground.
Lovely voice - lovely songs - itâs very side A heavy - the most obviously beautiful songs lie there - it just had a little distribution problem - the sunnier songs are early and gets progressively darker so it feels like it tapers off towards the end. But all in all a wonderful record.
Nico is like wrapping yourself in a warm blanket on a brisk morning while having a cup of tea.
4.5/5 Quite the interesting and unique singer-songwriter album of the time. I can see how it influenced Bjork and Siouxsie + extra TVU vibes đ
Absolute Classic. Beautiful instrumentation and Nico's sonorous voice is such a good combo.
Sounds amazing at first but after a while it kinda blends together. Still great tho
strangely haunting and beautiful music. Her voice is unique and I am sure the style was fresh when this was released in 1967. 4/5
So all the hipsters and metalheads aren't into the 60's vibe? Never mind. This is an oddity and fits into the Velvet Underground/Warhol scene with contributions from a number of them. It's true the production and arrangements are pretty insipid though- it would have been good to hear what Nico's idea for drums and guitars would have been like?
This is my first time listening to this record and I liked it. Any album that has songs written by Jackson Browne on it is most likely to be good.
I feel like this is a really well-put together album, and I especially liked "Chelsea Girls", and "These Days", but I don't think I'd seek it out to listen to it again.
Not bad at all. Too many flutes. Shame about the addiction and racism.
What a shame she turned out to be a racist and also fucking hated this album. And also that you lot hated it. I have been enjoying Nico for years and this experience has somewhat spoiled it. I maintain however, there are great songs on this album.
Did Chelsea heard it at least? Is she still doing the 1001 album challenge with us?
"And if I seem to be afraid To live the life that I have made in song It's just that I've been losing so long" (These days) "The river shall flow through hollow green faces Of caricature's resentment etched out of the tongues. Both reluctant princess asleep before birth The classical sensitive failures. The worshipping wicked cling to the dark of your heart Lying there and wait with your angels Moan and ravish from dawn to dusk The avaricious young lovers." (Winter song) "I can't help it if you might think I am odd If I say I'm not loving you for what you are But for what you're not." (I'll keep it with me) Menos mal que nadie me pidiĂł que adivinase el gĂ©nero de este disco antes de escucharlo, porque "juglaresa mĂstica folklĂłrica" ni siquiera habrĂa estado en la lista.
I found it difficult to connect to this album at points. It made me feel mornfull and reflective though, which I think is the idea. I thought I didn't like 'Eulogy to Lenny Bruce' then right near the end I suddenly liked something about it. I think it's maybe the thing about his mother, I dunno.
Very sad. Her voice sets the mood. I don't even know what any of the lyrics are, just sounds sad.
Started off not liking it and almost thought it was a joke. But by mid-way it started to catch on. I'll definitely give it another spin.
solid 3 stars. Not really my style but definitely worth a listen. Her voice is nice and the songwriting and instrumentation is interesting. Easy to listen to - reminds me of a relaxing summer afternoon. Also interesting is her connection to other artists and musicians in the late 60s - Jim Morrison, Velvet Underground and Warhol.
Always want to like Nico coz sheâs cool but I find the music quite grating
Nico on tuttu nimi Velvet Undergroundin toisena laulajana, mutta tÀmÀ soolotuotanto osoittautui aika erityyliseksi. Levyn alku herÀtti mielenkiinnon heti ensisÀvelistÀ lÀhtien. PÀÀosin levy olikin oikein kiinnostava tuttavuus. It Was A Pleasure Then on valitettavasti muuten niin miellyttÀvÀn kokonaisuuden rikkova melusaastekappale. Positiivisesti mieleen jÀi erityisesti Somewhere There's A Feather. Peruskolmonen.
Okei taustamusaa siivoillessa, mutta en minÀ tÀtÀ asioikseni kuuntelisi. Jossain kohtaa tuli Beatlesit mieleen ÀÀnimaisemasta ja toisinaan oli aika folkahtavaakin menoa. Alakuloisia biisejÀ.
Distinctive voice for sure, but a hard one to love. Certainly evocative and laid-back, but also too avant-garde for me.
Not my favorite kind of music, but something different here, some interesting things.
I will always associate Nico, and especially this album, with "The Royal Tenenbaums". And that's a good thing.
Nico, perhaps best known for her collaboration with the Velvet Underground and Andy Warhol, went on to make some very sweet-sounding folk with a symphonic edge. Things take a left turn on It Was A Pleasure Then, with feedback from an electric guitar being used. Truthfully, the album never quite hits the same level of quality after the first two songs, but the overall product is a generally enjoyable listen.
I could read around this and the music of the era for days. But just listening to this purely for the music it's clear, crisp, and interesting: in small doses. The entire album in one sitting is tough - borderline dull.
Appreciate the country and baroque bits (flute!) there but no drum, or say, no clear rhythm is a harm. Her voice has some premitive sense there, sounding like some old-aged chanting. Perhaps that's why the procucer made it towards the country folk spectrum.
A album that stylistically might have been a bit ahead of its time but for today's standards lacks highlights and is rather boring
A very interesting voice that sounds mystic and mysterious, which really captures you. The issue is that the songs canât come to life with the production that plagues them. Itâs limiting their ability to stand out and removes dynamics from the albumâs experience.
3.5 for me , its good but a lot of the same, obviously the banana album is the king
I want to give it a 4/5, I really enjoy it, but by the end I am a little tired of her voice and tone. 3.5/5.
Never listened to solo Nico, definitely think I prefer her stuff with The Velvet Underground. It's not bad. Interestingly on Wikipedia she says she can't listen to this album because they wouldn't do what she wanted, they made it more orchestral/flute-y which she apparently hates. I can see why.
It worked for me until it got to "It Was A Pleasure Then." Had to skip that one. Definitely has some beautiful moments, but also has its share of painful ones. Wouldn't put on for my own pleasure but wouldn't leave the room if someone put this on. I know she didn't like the string arrangements but I honestly can't imagine it working without them - it'd be too spare. The flutes are a different story though - I feel like they are a bit too ornamental and out of place. Definitely uncool those arrangements were added without her permission, but it still ended up being a halfway decent album.
God I already know I love "These Days" The first riff is awesome. Damn "Little Sister" is dull. The way she holds the tones for the full duration of the bar really grinds my gears. Ok when it really gets to it, this sounds really horrible. But a 3 for the cover. Maybe this really has to grow on you idk.
It starts aiming for the stars but I think the rest of the record is an overstatement, I listened to it while cocking and was enjoying myself but then it went on and on with the same, âThese Daysâ is worth all of it
Nico was a fascinating mess of a person who would not fit with todays world. Don't share her views...she died in a sad and depressing manner...but...she was not right about one thing. That flute does not belong on this album. And if she had been able to get Maureen Tucker on drums for a couple of tracks this album might hold up more as a listening experience and less as a time piece. However, Chelsea Girls, Wrap Your Troubles in Dreams and These Days still end up on my list that listen and revisit some days.
Nautin! Jotenkin hypnoottinen. LÀhempÀnÀ kolmosta kun nelosta tosin. 3/5
Did her accent have some sort of weird Cold War resonance with fans? She sounds flat most of the time. Ok in an ensemble but on her own? Monotonous.
8th June 2022 Listened while driving round Gloucestershire picking up Facebook marketplace purchases in the sunshine! Very original voice and clearly not interested in promotion judging by total lack of info on Spotify. Haunting and rising like the sun at the same time.
The sound here is unique. Most of that is in her voice. Moody and dark. Plenty of strings, flutes, and organs that just hang thick in the air. This album has a humid, oppressing feel. I don't know that I remember happiness when listening but I do feel the earth beneath my feet.
I went into this expecting to really dislike it as I didn't really enjoy Nico on the album with The Velvet Underground, but her voice grew on me a little bit throughout this album and the orchestral instrumentation was really pretty. Not many tracks stuck with me afterwards though and I was a bit bored by the end, so not sure if I'll want to revisit this in full.
Th unique voice of Nico. Highly distinctive. Probably not the best of her work
Nico's contribution to the Velvet Underground's debut album was brief, yet effective with her haunting vocals and mysterious presence. Chelsea Girl allows her to expand her range somewhat more, though she is very limited vocally, but offers up some good songs. The sound is sparse and raw and at times the pace becomes boring, but if you take into consideration the time period and mood it's trying to create, she does a commendable job. It helps that she gets contribution from some of the VU members.
Although having an uncanny voice for a female artist, Nicoâs style is so fresh and has aged very well. I appreciate her singing for what it is, but Iâm not really the biggest fan of it. Nonetheless, the production and instrumentation (which I absolutely adored throughout the album) somehow complements her voice really well. Love all the orchestral/classical sounds and instruments, and the melodies, harmonies, and progressions are beautiful. Unfortunately, I find myself bored sometimes. Favourite songs are: These Days (fav), Little Sister, Winter Song (fav), Chelsea Girls (fav), Iâll Keep It With Mine (fav) Somewhere Thereâs a Feather.
It's such a singular sound that it limit the times and environments you would want to listen to it in.
honestly can't tell if this is genius or extremely up its own butt. also apparently this lady was "nazi-esque" yeesh
This is the kind of album that really illustrates just how weird and fucked up the music world is, and definitely was in the 60s. 3/5
Nicos smoky, deep, almost out of key is stellar. The light and baroque guitar and violins, neato. This isnt quite a 4, but it is an album you should listen to. Are you stuck in the whimsical woods? This album is too. Go get stuck suckers.
Really liked a few of the songs, particularly These Days. Most of it was kinda middling to me though, I dunno. Might need another listen.
Itâs okay but not one of my favourites on here it drags for what it is 3/5.
I find this a strangely pretty album. Her voice is an acquired taste, and was easier to accept on the Banana album because it is only used sparingly. A-grade songwriting on this record, with Jackson Brown, Tim Hardin, Dylan and the Velvets. The only song that she co-wrote ("It was a pleasure then") foretells the harrowing dirges that filled her subsequent records. Compare this with The Marble Index from the following year, and this is sunshine and puppies gamboling in a field of daisies. I love this quote from Nico: "I still cannot listen to it, because everything I wanted for that record, they took it away. I asked for drums, they said no. I asked for more guitars, they said no. And I asked for simplicity, and they covered it in flutes! ... They added strings and â I didn't like them, but I could live with them. But the flute! The first time I heard the album, I cried and it was all because of the flute.". I quite like the guitar and string arrangements, but kind of agree about the flutes. But let's all thank the deities that she hadn't discovered the harmonium yet. I find this an oddly charming record, but inessential. It doesn't surprise me that two tracks (These days and The Fairest of days) appeared in The Royal Tennenbaums. This is a quintessential Wes Anderson choice; 1960s, sort of obscure, charming, but also kind of cold and off-putting.
I love the fact that Nico hated this album, especially the use of flutes on so many tracks. Letâs face it, she was as much a singer as Marlene Dietrich, but it really didnât matter. Her part in the VU/Warhol album was great, partly because she only appeared on a few tracks. This album is a different kettle of fish however. Where she got lucky was the material she was given to sing. Three Jackson Brownes, a Dylan, a Tim Hardin & the rest written by her VU bandmates. Highlights : Iâll Keep It With Mine & These Days (one of Browneâs greatest lyrics) & It Was A Pleasure Then, which reminds me so much of her live version of The End. I had not played this for years but so glad to hear it again.
Not bad.... but too repetitive for me. I like Chelsea Girls, but that's all. Not a big fan of the genre.
She couldnât have gone up an octave? Had to skip some of the songs because I couldnât stand her voice.
Druids. Rivers. Flutes. Today, this music sounds like a joke. She is cute, she hung with VU, and like her voice so Iâll give it a 2
Two stars, for the first two songs from the Royal Tenenbaums which I actually like. Her schtick got old real fast after that.
Quand jâai entendu la premiĂšre chanson jâai dit Ouff, impossible jâĂ©coute cet album lĂ au complet. Mais jâai persĂ©vĂ©rĂ© et finalement changer mon avis avec mon progrĂšs entre les chansons. Jâaime bien la guitare, les violons sans percussion . Par contre ce qui me ne me permet pas dâapprĂ©cier cet album lĂ comme faut câest les criss de flĂ»tes et la colice de voix de pingouins !! Rajoute une voix plus grave dâun homme et enlĂšve les flĂ»tes enchantĂ©s et je suis convaincus que ça mĂ©rite un 3. Je lâĂ©vite; je vous ai parler des flĂ»tes et de la voix !!?? La pochette est laide en asti aussi Je lĂ©vite these days, le violon Ă et la guitare trĂšs bien agencĂ©, et mĂȘme la voix est mieux sur cette track la, wrap your troubles on a dream
Beautiful writing, lyrically and and musically. I find myself wishing it were someone like Stevie Nicks singing instead. Is that mean?
Started off good then proceeded to get very repetitive and I got bored.
De strijkers en fluit passen niet bij de donkere stem van Nico. Tegen het 4e nummer had ik al moeite met verder luisteren. Ook niet direct mijn genre.
Went in with low expectations thinking it would be Yokoesque, so was pleasantly surprised.
Some music requires a completely flat emotionless delivery: gregorian chant for example, so perhaps she should have tried that. Apparently she was unhappy about having flute added to the production, but I bet the flautist was unhappier to have a mad german nihilist droning all over his lovely musings. Occasionally she lights upon suitable material - her versions of All Tomorrow's Parties and My Funny Valentine are both great, but this album is terrible. Music archeologists and Jackson Browne fans can find some interest in his early songwriting here, but this criminal version of These Days shouldn't have been allowed to go unpunished. Nico was culturally important because of those who she moved amongst and this album is similarly important because of its historical context and those involved with it, but on its own merits alone is utterly forgettable.
Nope. I didn't like the music. I didn't like the quality of the vocals. The melodies as they are sung are uneventful and droning, to the point that the whole album feels sad and flat. I was unfamiliar with Nico, and the music. One listen seems like it was enough.
A lack of affect isnât necessarily fatal for a vocalist â David Byrne built a hugely successful band around it â but this isnât the right material for Ms. Pfaffgen.
Not...sure what this is, but it's not enjoyable. Atonal and folky, but not the good kind of folk.