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.