Stereo 1968 SHRINK NICO CHELSEA GIRL + VELVET UNDERGROUND = DARK MOODY PSYCH
  $   400

 


$ 400 Sold For
Mar 31, 2024 Sold Date
Mar 24, 2024 Start Date
26   Number Of Bids
  USA Country Of Seller
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Description

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  • Rare MINT 1968 ORIGINAL FIRST PRESS
  • STILL IN FACTORY SHRINK WRAP
     ..|/\|...............................................|/\|..
The Velvet Underground assisting
  • = NICO =
  • "Chelsea Girl"
  • ..|/\|...............................................|/\|..
  • USA - Verve Records - V/V6 5031
  • ............................................
  • MINT IN FACTORY SHRINK
  1. Rare and sought original 1968 first pressing on the royal blue silver letters VERVE label - containing the STEREOPHONIC production which differs from the mono imprint ...
    ..........................................................................

  2. The very first solo album by Velvet Underground's vocalist...NICO.... includes the original members of the Velvet Underground...
    backed by The Velvet Underground (minus Maureen Tucker) plus, hard to believe, the then uncorrected by commercialism hipster
    Jackson Browne, altogether now with the legendary Tom Wilson in the producers chair... heavy assembly here!
    ..........................................................................
    Because of the Velvet Underground band members involvement and the similarities with the softer The Velvet Underground and Nico tracks, Chelsea Girl is sometimes seen by fans as a companion record to that album. "Little Sister" and "Wrap Your Troubles in Dreams," and perhaps others included here, had also been played live by
    The Velvet Underground during Nico's time with the band.

    Nico first became known in the music world as a singer on the first Velvet Underground album, and her later solo records would plumb even darker depths than that famed New York band of iconoclasts. Her first solo album, CHELSEA GIRL, however, is another matter entirely. It's a delicate collection of orchestral pop-rock and chamber folk, with Nico's deep, Teutonic voice adding a subtle sense of discord. Like many interpreters of the time, Nico took on tunes by some of the era's most respected folk-rock song-poets (Bob Dylan, Jackson Browne, Tim Hardin). Even more impressive, though, are the compositional and instrumental contributions from Nico's Velvet Underground band mates John Cale and Lou Reed (Cale would go on to produce some of Nico's finest, most forward-looking albums). Unique in Nico's solo catalogue for its fragility and gentility, CHELSEA GIRL is both a poignant period artifact and a perennially affecting piece of work.
    Recorded March 4, 1967 -Mayfair Sound Studios, 701 Seventh Avenue, New York City, NY
    Overdubs May 1967 -Mayfair Sound Studios, 701 Seventh Avenue, New York City, NY
    Producer: Tom Wilson.

    Below is an interesting accounting published in a New York magazine just after the release of Chelsea Girl in 1967:

    ...I don't really know anything about her. Although we'd talked for more than an hour she'd requested that I not ask any "everyday questions;" questions like where she was born, her nationality, what she was trying to do.

    And so, factually, I know only that her name is Nico ... her mother lives in Paris ... her son is four and a half ... she was a top Parisian model ... she had a part in Fellini's La Dolce Vita ... she came to the States in 1965 ... and she is/was part of Andy Warhol's Velvet Underground.

    All learned from her manager, Paul Morissey, while Nico sat behind the bar of the dusky Dom down on St. Mark's Place and sang very soft, sad songs in a deep voice which, when stretched out, has a little mourn to it; like a child's last sob.

    I watched as she sat, her head hanging to one side, her long flaxen hair fallen to her waist, catching highlights from the kaleidoscopic light works projecting ever-changing images on the walls. She held the mike with both hands, her long neck reaching out towards the ceiling as she went for a note. There was a strange existentialness to her; she was at once both cool and warm and her style of singing stretched words to the point where they were out of shape — their meaning shaded in graduations until they were no longer words conveying thoughts but sounds conveying feeling.

    I'd seen Nico a year ago when Warhol first opened his Exploding Plastic Inevitable. I was rounding a corner of the stairs when this tall lithe figure moved past like a sudden thought-picture you saw so totally you saw no details; the parts creating none of the sum.

    Her set ended finally and her manager told me not to be surprised if she turned her head when introduced.

    "She's very shy, really," he said.

    "No, I'd like to talk. It's not that I have to talk ... I just don't see why I should be silent right ... now."

    Nico seemed relaxed and extremely feminine in that personal, yet distant, way which is the mark of so many European women.

    After promising that I wouldn't ask any everyday questions, I did just that: How long had she been singing.

    "Well, yes," she said, but instead of continuing she stopped and seemed to search back past all the timeless cop-outs, past the obvious to what she really did think.

    "I don't even see that it makes a difference," she replied finally, "because everyday I feel that the day before doesn't count ... so much happens ... I don't sing for the audience. I try to remain as much alone as I can ... not to make contact at all. (Except for the people who come every night)."I like sad songs, tragic ones ... I like to improvise with the notes, with the feeling I have at the time about the song.
Even those people who were friends of hers only six months ago she feels isolated from, because in this Underground movement (the italics are hers) things move so fast because yesterday doesn't exist.

"They think I'm not polite ... but whatever I have to say to these people seems so unnecessary ... I just can't be around ... be around anything that is forced ... I'd rather just remain how I feel ... what happened before happened ... now it's only sentiment that you can't scratch out."

People, places, the years no longer exist for Nico except as blocks of emotion that can't be recaptured but only re-felt.

"I can't respond in the old way ... it's, you know, fake ... with people that you like for good reasons but not the most important reasons."

One of Nico's favorite people she says, was Lenny Bruce. "I like him for that thing ... that nothing is wrong to do or to say or to take ... he really destroyed himself in the end."

Her voice is low but strong; sensuous but reserved. Sometimes she seems as if she is talking to herself.

Nico's speech is slow; she makes sudden leaps of thought jettisoning the bridging word. Like a movie camera her thoughts keep cutting, instead of panning, from one to another; if only feeling linking them up and leading her on. Her voice flies high as she talk putting her emphasis on the conjunctions instead of the adjectives or verbs.

The conversation changes to Andy and Chelsea Girls, three and a half hours long. "I like the last sequence with the Pope and Ondine and that quiet film beside it." Nico is also in his new film, all in color, which runs for twenty-four hours.

She says Andy likes other people to become Andy for him; that he doesn't want to be always in charge of everything.

"He would rather be me or someone else sometimes ... like the radio interview when I couldn't show up ... he went on and took my part — said the sings I would say."

"It's part of pop-art, I guess, that everybody can impersonate somebody else ... that you don't always be you.
If tomorrow I find somebody who is pretty much like me and I put her here to sing, she can be Nico while I go to do something else."

She is beautiful. And in a world where so much can easily be possessed on a whim or for a promise, she is unprepossessing. She has a clear, pure ring, a truthiness, like an arrow that has hit an inner mark and can't be wedged loose. Her voice and her manner, that stretch farther into the past than perhaps she realizes, may set the new style: and existential pop style that is as earthy as Mary Travers (Peter, Paul Mary) yet more elegant, more isolated.

Her name is Nico. I don't know where she was born, how old she is or anything about her life as a model in Paris, an actress in Rome, a beat in Ibiza or a member of the Velvet Underground.

I could easily find out. But I'd rather not. All that was yesterday."
Nico – vocals
Jackson Browne – acoustic guitar (A1-2, B2-3, B5)
Lou Reed – electric guitar (A3, A5, B1, B4)
John Cale – viola, organ, guitar (A3-5)
Sterling Morrison – electric guitar (B1, B4)
  1.   CONDITION:

  3. The cover: rated: MINT still in original factory Shrink Wrap!
  4. a perfect flat & square original with NO delete marks, no imperfections!
  5. no split seams, no bends, and no writing  ...

  1. The vinyl: Rated: M- clean Verve silver/blue '68 original, shiny over both sides, plays wonderfully enjoyable, both Verve labels are perfect


A cool addition to anyone's music library! 
SEE: SELLERS OTHER ITEMS (((similar grooves for "head" people...)))

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  GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M    Completely clean, no marks, plays clean
M-   Carefully used, looks clean, plays clean, shiny gloss, plays clean
EX   Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, enjoyable
VG+ a bit more scuff or marks still plays well with very minimal surface at worse VG   more marks/scratches only minor, nothing deep, no loud clicks or pops         this grade is abused by many, VG here does not mean "trashed" VG-  surface noise present, will not have skips or jumps     ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END   BIDDERS PLEASE = Do Not Bid If You Are Not Serious About  Following Through The Transaction!   ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!


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