Nico’s music in general impresses me. You’ve got your melodies that are always sounding good. But, what becomes interesting is how the vocals sound remains. There’s no expression, or any sort of freak out. It’s just pure simple monotone period. And then, somehow it miraculously works well. It’s awkward, and yet again, really good. This is exactly what I felt after listening to her 1967 solo debut record, “Chelsea Girl.” I really didn’t know how to go about this because I was maybe expecting her leaning a-little bit more towards the rock world, since this was going to be her solo record, and maybe going to dig influences from New York’s former club, Max’s Kansas City. And I think at that point is when I realized that, I had my hopes a-little bit too high. I love the record, don’t get me wrong, because it also feels that she maybe wanted to grasp a-bit out of the rock and roll scene with her former band, The Velvet Underground, by incorporating more of a classical, and orchestral touch to her music. 

And, just to name you a few hits that she has sung with her former group, “I’ll Be Your Mirror,” “Femme Fatale,” and “All Tomorrow’s Parties.” They are great songs, don’t get me wrong, and I think maybe with “Chelsea Girl,” she wanted to stay within that musical realm, and didn’t feel comfortable tackling new challenges. She found what works, and decided to stick with it, compared to what her former band members, such as Lou Reed was heading in for.

But, if we’re diving right back into “Chelsea Girl,”she decides to keep the arrangements simple. No fuss, no guitar solo, none of that. An orchestral musical touch, an acoustic guitar that picks a repetitive melody, and Nico’s German voice blending oddly blending in, but sounding good, but odd. Great music doesn’t have to be that complicated, with a bunch of effects, distortion, or even loops. She maybe does incorporate some sort of feedback, and the melody is going all over the place with “It Was a Pleasure Then,” but Nico keeps that mono tone of a voice. Interesting.

And, it’s not just only about that awkwardness that the record pulls me towards, but I enjoy the fact that each of these songs can maybe add some sort of imagery. Because, if you stop for a moment, not think of anything, but the combination of the melody, and Nico’s vocals, your imagination starts to break out. would “These Days,” give me the impression that it’s raining outside, and you’re looking out the window with a cup of coffee, and just reflecting about life in general. Or, “The Fairest Of The Seasons,” does not only embrace the idea of reflection, but adds a hint of decision making within life.