"Chelsea Girl", Nico, 1967
Dia: 18
Mês: Abril
Ano: 2013
Ano: 2013
O álbum "Chelsea Girl" foi lançado em 1967, no mesmo ano do álbum da banana dos VU; editado pela Verve, a mesma editora do álbum da banana; produzido pelo Tom Wilson, que também produziu o álbum da banana (juntamente com o Warhol). Para além disso, conta com a participação dos membros dos VU (Reed, Cale e Morrison), que compuseram metade do álbum, e de Jackson Browne. Conta, ainda, com Tim Hardin e Bob Dylan na composição de uma canção cada um.
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): Chelsea Girl, her maiden voyage on a solo musical career, is of interest mainly for its link to the band Nico had just left [The Velvet Underground]. Five songs were written by Velvet Undergrounders; three others were written or co-written by a very young Jackson Browne. The material, however, is sabotaged by tepid arrangements and weak production. Highlight: the hypnotic "It Was a Pleasure Then", on which Nico's sepulchral voice is accompanied only by feedback guitar, undoubtedly played by Lou Reed.
AllMusic: At the center of the project are the extended "It Was a Pleasure Then" and the stunning semi-autobiographical Reed/Morrison title track. The juxtaposition of such honest and at times harrowing imagery to Nico's inherently bleak delivery is nothing short of an inspired artistic statement which has since long outlasted its initial socially relevant context – similar to the more modern contributions of Laurie Anderson, Ann Magnuson, and Patti Smith. An unqualified masterpiece. ★★★★1/2
Pitchfork: Nico’s beloved 1967 solo debut Chelsea Girl is her aura commodified by men who were intoxicated by the idea of Nico. Despite the fact that each song on the album feels extracted from Nico’s soul, she did not write any of the lyrics. Of course, men writing music for women is a constant in the history of pop music. But there’s something about Nico’s qualities—ennui, detachment, mystery, beauty—that make Chelsea Girl a double-edged sword. (...) The record takes its name from Warhol’s split-screen 1966 experimental film Chelsea Girls, which documents the mundane activities of scenesters at the legendary Chelsea Hotel. [8.9]
Rolling Stone: On later albums she wrote all her own material, but for Chelsea Girl she unleashed that voice on compositions by Bob Dylan, folk singer Tim Hardin, a sixteen-year-old Jackson Browne and VU's Lou Reed, Sterling Morrison and John Cale. The material ranges from Browne's somber folk songs to Cale and Reed's bleak, art-damaged experiments, yet the mood remains consistently dark, gothic, mysterious, with barely more than flute, guitar, violin, cello and harmonium accompaniment. The eight-minute noise experiment "It Was a Pleasure Then" is virtually a spoken-word piece, with just Cale's electric guitar whining and screeching in the background. ★★★★
Spectrum Culture: From the cover of her solo debut Chelsea Girl, German chanteuse Nico stares with heavy, smack-filled eyes, as if into the Great Abyss, like a porcelain statue of some mesmerizing, terrifying queen: the perfect image to represent one of the most melancholic, deceptively beautiful albums of the ’60s.
BBC – 7 massive albums that artists don't want you to hear: "I still cannot listen to it, because everything I wanted for that record, they took it away," [Nico] said in the liner notes for a reissue of the LP. "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 - 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."
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