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Nico, Songs They Never Play on the Radio, by James Young
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The story of Nico, former model, film actress, singer with the Velvet Underground and darling of Andy Warhol's factory.;In 1982 Nico was living in Manchester, alone and interested only in feeding her heroin habit. Local promoter Dr Demetrius saw an opportunity, hired musicians to back her, rented a decrepit van and set off with Nico and the band on a disastrous tour of Italy. Over the next six years, until her death in 1988, Nico toured the world with assorted thrown-together bands. They made next to no money, appalled many of their audiences and occasionally, on the rare nights when the music worked, pleased a few.;James Young played keyboards for Nico throughout those years. In this book, he records the never-ending antics of a picaresque circus of addicts, outsiders and misfits who travelled the world - East and Western Europe, the United States, Australia and Japan - encountering an equally bizarre and extraordinary mixture of people: poets, artists, gangsters, losers and drifters. John Cale, John Cooper Clarke, Allen Ginsberg and Gregory Corso are among those who appear in this story of Nico, the last Bohemian.
- Sales Rank: #576516 in eBooks
- Published on: 2013-05-18
- Released on: 2013-05-18
- Format: Kindle eBook
Most helpful customer reviews
23 of 27 people found the following review helpful.
The Poetics and Politics of Songs They Never Play on the Radio
By Yggs
I can't remember where I first read a few excerpts from this book, but I remember being pretty irate I didn't have the full text in front of me at the time. Years later, after bad breakups, fires, towers falling down around me, I finally stumbled across Songs They Never Play On The Radio again, devoured it like a starved cannibal on the tundra. This book is so much wider in its scope than the blurbs on the back make it out to be, primarily in its oblique commentaries on European political history, and the valuation of Art.
The book is a biographical snippet of singer/songwriter Nico's last years and tours. At the beginning she is living in Manchester, England, addicted to heroin and passing her days getting high and drowsing in the shadows. A vaguely ambitious and obscure producer named Dr. Demetrius lines up a tour for her and pulls together a band to back her up. James Young, the author, is the keyboard player for this band.
The ensuing narrative is what they call in MFA programs "creative non-fiction." (Yes, MFA programs ARE annoying, but sometimes pull-out the useful term or two). Anyway, it reads like a novel, imitates actual events, and doesn't change the names like in a roman-a-clef. Fortunately, Young lets his camera jump cut from scene to scene, across time, countries and continents, to land right where the action demands. We get portraits of the band--Echo, a mixture of sullen, backsliding pater familia and post-punk rock bassist... oh, and throw in junkie to boot. We get a variety of drummers--from an industrial junk-percussion virtuoso to a totem-wearing pretty-boy tabla diva to a hair-metal sorta-be. We get a lead guitarist desperate to meet Bob Dylan. We get so many mini-music pros, the portrait of the desperation of professional pop music and the love of heroin might fool the reader into thinking it's the subject of the book.
But the real subject is the struggle for recognition and accomplishment of pop artist Nico, and what that means for all struggling artists, especially those who deal with all things truly dark. Nico just happens to write deeply shadowed, literary-style poetry for lyrics, whether she or anyone else likes it or not. The poems themselves, from You Forgot To Answer to Nibelungenland to Frozen Warnings to Mutterlein (to name a few), are not just personal blues songs (though some do deal with relationships). They are elegies for the German tragedy of World War II, and the tragic side of the long and rich history of the country in general. Throughout the book exists a painful irony where Nico honestly responds to questions about Berlin's pre- and post- war culture, questions put forth by interviewers who really don't care at all about the tragedy of racism and war and the hangover it left on the consciousness of a country and continent. Subtler still we get vestiges in the persona of Nico herself, of these old, Central-European cultural mores (and her own quandaries over its single-mindedness). We also get Nico's passing comments on Hassidic Jews and gypsies and thoughts that members the Velvet Underground were hostile due to her Germanness (though the author ascribes it to the possibility of being upstaged).
James Young handles his insights with a tenderness I rarely witness when it comes to themes of prejudice, loss and cultural kinetics. Throughout the band's world travels, the reader gets the sense that stereotypes like American battle-cry egotism, Pacific rim commercialism, Eastern European old-style communism are animals born from group mentality, group forces much more easily decried than deleted. No character or ideology is oversimplified here. I am reminded of an old episode of Maury Povich where he tries to get a neo-nazi to get over his prejudice and shake his hand. Not a bad thing, but come on, let's talk about why so many rural American kids are entranced by that crap in the first place. Instead, Mr. Young addresses the depression, the lack of options and the insanity of the materially and emotionally impoverished.
Personal emptiness, economic emptiness and artistic emptiness run parallel throughout the narrative. There is a scene where a female Japanese fan offers John Cale a rare bottle of sake as a gift. Well, by then it's later in the 1980's, Cale has gone from beer swilling, snow snorting studio genius to clean living performing genius. He turns her down. Young gives what's due with Cale, always underscoring his musical talent. But he also uses him as a somewhat abstracted symbol for a cultural shift in the music business (and perhaps international business in general). In the narrative, his figure symbolizes 1960's psychedelic, imagination-oriented, hedonism-rich art product, where one must at least pretend the artwork comes first and commerciality second, that then shifts to the mall-shopping fine threads wearing 1980's rich intellectual for whom the cash is not shameful in the least. (Ironically, with the advent of YouTube and so many free venues for every variety of artistic output, we may be entering a strange amalgam of the two eras--the complete shamelessness of wanting to make money with art, but such an abundance of supply that nobody cares to pay for it).
In the center stands Nico, her art and her lament (addiction is a by-product). No one really buys or plays her songs. The penny-pinching carnival goes on. At one point, late in the book, after enduring many painful episodes and adventures, Allen Ginsburg appears as a not-quite Deus ex Machina. Young and Nico accompany him to a poetry reading in Manchester. He heroically recites detailed images of gay sex to a horrified conservative crowd. It is one of the story's happier occasions. Nico seems in good spirits. We get the sense that any latent cultural cruelties on anybody's part were being rubbed out by a non-contrived shared interest in poetry and music. It recalls a time when both artists were looking forward with their art and perhaps hoping, consciously or not, to use it as building block for the improvement of late Twentieth-Century culture and life. At the end of the chapter, however, Nico ominously comments that Ginsburg did not take off his clothes as he used to...
...so I've listed some scenes in this review, but have not revealed even 1% of the beauty of this book. Buy and read it. If it is a gravemarker of a bygone era, I hope its stone fist points to a coming love of insight and imagination in humanity's cultural and artistic output. It rescues Nico's true beauty and function, an imperfect elegy writer, a singer for her native culture's, as well as pop culture's, death dirge and chance at rebirth. And to the dude who commented on another review here on Amazon.com and claimed Young is "milking" Nico's memory for even more money: Dude, whose clean cash pays your bills?
10 of 11 people found the following review helpful.
Strangely inspiring
By Peter Uys
This book is a masterpiece of both style and content, and one of the very best rock biographies in existence. It explores the life of Nico after the Velvet Underground, covering her life in London and tours in Europe and the USA.
I found myself devouring the text in utter fascination. It includes descriptions of bizarre performances, wild parties, weird tour experiences, eccentric characters like her one-time manager Dr Demetrius, encounters with luminaries like John Cale, a visit to the motel where Tom Waits used to stay and much much more.
One of the funniest parts is the narrative of Nico's first experience with angel dust in Los Angeles. Underneath the humor there is a lot of sadness too but it is a strangely inspiring read. Songs They Never Play On The Radio certainly transcends the genre of rock writing. You don't have to be a fan of Velvet Underground to enjoy this classic work, as it stands on its own feet.
2 of 2 people found the following review helpful.
Surprisingly full of heart and funny as hell!
By Andrew C. Mertha
This book did more to make Nico a human being, albeit a deeply flawed one, than anything else about her I have seen or heard. It is full of great characters and excruciating situations that have as much laughs as the best Hunter S. Thomson, and as much heart, too. Best rock n roll bio I have read yet...
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