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The End [Import]

Nico Vinyl
4.6 out of 5 stars  See all reviews (9 customer reviews)

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Product details

  • Vinyl
  • Number of Discs: 1
  • Format: Import
  • Label: Island
  • ASIN: B003XOQ8J2
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (9 customer reviews)

Product Description

NICO The End (Scarce deleted early 1980s Japanese blue Island label issue of the 1974 8-track vinyl LP manufactured by Polystar housed in a picture sleeve with integral orange print obi-strip/lyric insert - still in original opened shrinkwrap. Hard to find complete! 20S-80)

Customer Reviews

4.6 out of 5 stars
4.6 out of 5 stars
Most Helpful Customer Reviews
24 of 25 people found the following review helpful
5.0 out of 5 stars The ultimate gothic album 20 Dec 2002
Format:Audio CD
An experimental mixture of electronic noise, haunting vocals, and surreal lyrics that somehow comes together to create a masterpiece of subtle, timeless, but desperately emotional music.
Its hard to listen to Nico's work without placing it in the context of her life and death, but this steps outside all that and simply stands alone on its own merit.
Once you've heard this anything else that claims to be 'gothic' simply fails miserably.
Its beautiful, poetic, savage, and very dark, and it leaves you feeling vulnerable, enchanted, and totally spaced out.
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13 of 14 people found the following review helpful
4.0 out of 5 stars Nico ueber alles! 28 Mar 2007
Format:Audio CD
Nico on voice and harmonium is assisted by Phil Manzanera on guitar, Eno on synths and producer John Cale on a range of instruments including bass, xylophone, organ, glockenspiel and piano. Together they create a bleak and chilling musical landscape for Nico's funereal vocals.

All compositions are by Nico, except The End by The Doors and Das Lied Der Deutschen by German romantic composer August Heinrich von Fallersleben. If her contributions to the Velvet Underground were melancholy, this music is way beyond lugubrious, but quite listenable on account of the great arrangements.

Of her own songs, the atmospheric You Forget To Answer, the frightening Innocent And Vain with its terrifying sound efects and the morbid Valley Of The Kings stand out; they all fall within the realm of the art song. Nico's accented pronunciation contributes to the almost classical feel.

The End and Das Lied Der Deutschen are something else. The first is well-produced, as awesome as the original and serves as a suitable introduction to the second, which is the highlight, or lowlight, of the album. Scary stuff, not for the faint of heart. To hear Nico rocking out, I recommend the album Drama Of Exile.
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14 of 15 people found the following review helpful
5.0 out of 5 stars Bizarre, austere, beautiful 10 Dec 2000
By A Customer
Format:Audio CD
This album is thoroughly bleak, and yet strangely enchanting. The austere minimalism of the vocal and harmonium parts gives it an almost medieval feel (it has the sort of gloomy beauty found in Gregorian chant) - but this is counterbalanced perfectly with an ambient backdrop by Brian Eno and John Cale (who produced the album). The combination of these two musical elements gives the album a unique and modern sound, so different from anything else you've ever heard that it will never date. If you are depressed by bleak music, avoid this album - but if you like your beauty on the stark side, but it now!
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4.0 out of 5 stars Start with 'The Marble Index' and 'Desertshore' 10 Oct 2007
Format:Audio CD
I was on the edge of giving this three stars; but I've relented because I think it's suffering in comparison to Nico's previous two albums, which have just been re-released in an expanded edition as 'The Frozen Borderline'. Partly it's because it's not as well re-mastered as the new release of those albums; but it is definitely the weakest of the three, regardless. It suffers from meandering tunes and too much busy accompaniment from guest musicians Brian Eno and Phil Manzanera. I think it works better with just Nico's harmonium and John Cale doing the rest. Also, I think the material was stronger in 'The Marble Index' and 'Desertshore'.

So, if you're looking to investigate Nico's austere, brilliant work after the folky 'Chelsea Girl', I'd start with 'The Marble Index' and work forward to this. I'd also investigate the live version of 'The End' on the Kevin Ayres/John Cale/Nico/Eno album 'June 1, 1974'

I'd say this rates 3 and a half stars, with the hope of a properly remastered version sometime. To hear the difference check out the same tracks from this album which also feature on the remastered 'The Classic Years' compilation.
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7 of 9 people found the following review helpful
5.0 out of 5 stars The end, my friend 8 Feb 2006
Format:Audio CD
Ex-Velvet Underground singer Nico was one of the most entrancing pop singers of the 20th century. And the most enigmatic. In "The End," Nico put her talents to use in a series of dark, dreamlike songs that center on death, loneliness, despair and capture.
It opens on a note that sounds almost whimsical, like a xylophone being stroked. Pretty, and a bit delicate... until you realize that Nico is singing ominously about hunters, swords and bleeding. The next few songs have a more stately musical sound, and tend to focus more on typical pop problems, like lovers who don't listen.
But that vaguely savage element comes back in in the synthy organ ballad "Innocent and Vain," where she sings, "I am a savage violator/A valet innocent and vain." But the oddest track is also best -- Nico does a defiant cover of the Doors' "The End," which may be even better than the original. Her smoky, eerie style turns Jim Morrison's opus into a beautiful sonic nightmare.
One would think that after a band like the Velvet Underground, there would be no place to go but down. Surprisingly, Nico does far better as a solo artist than she did with the legendary Lou Reed-led band -- they tend to be slower, thicker and darker.
Nico's vocals really shouldn't be as good as they are -- she rarely lifted herself out of her thickly-accented monotone, and tended to sing as if she didn't want to bother. However, there's a strange allure to her singing style, which manages to rescue mediocre songwriting like, "We've got the gold, we do not seem too old." Whatever that means.
Nico also played the harmonium, backed by Eno's synths and her ex-bandmate John Cale who played... well, quite a few instruments, including the xylophone, glockenspiel, piano and more synth.
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