BluVelvUnderground

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

I honestly think "Love" was meant to set the mood for the album overall. It has the guitar, but it has the "wall of sound" hip-hop to it, as well. And then, from "Lust for Life" to "Coachella", it really is like a stretch of sexy, summer-driven hip-hop tracks and ends on a positive track that is political - and then, we get all the guitars, and the veteran folk singers (or related to them) rather than the contemporary artists that feature in the first half. I think it's very intentional that the last half is going to have a Woodstock-vibe, only through some of the familiar hip-hop additions that modernize classic sounds. "Tomorrow Never Came" sounds very 1967-71 rock. Definitely see where she's connecting the "two generations", and why she probably feels kids looking into vintage music may find it denser if they understand that history is sort of repeating itself through the anxiety of the current political American heat. It's exactly what she said she wanted to do with the album, and her chronology of the tracks seems to really suit that concept. Even at around the half-point of the album, if you count "Love" as just the intro/combination of the two sounds, and "Coachella" the track that moves the hip-hop into its poltical, folk-driven side.
 
Lana still doing concept, for sure. 
 
A SORT OF CHART (lol):
 
INTRODUCTION (folk guitar strings open the album, but blends into spacey, "wall-to-wall" hip-hop noises)
01. Love
 
SEXY, SUMMER-Y, HIP-HOP ("wall-to-wall" hip-hop noises)
02. Lust for Life
03. 13 Beaches
04. Cherry
05. White Mustang
06. Summer Bummer
07. Groupie Love
08. In My Feelings
 
THE BRIDGE (a more stripped back hip-hop beat, letting the album kind of cool off a bit before getting more poltically-minded)
09. Coachella..
 
POLITICAL "GANGSTA" FOLKY-Y ("wall-to-wall" hip-hop noises, but more laid back, with heavier guitar and folk featured artists)
10. God Bless America..
11. When the War Was at War...
12. Beautiful People, Beautiful Problems
13. Tomorrow Never Came
14. Heroin
15. Change
16. Get Free
 
It's like she takes us from "Coachella" to "Woodstock" by using that track as a bridge. As I predicted, the song works in concept of the album; but releasing it as a single is bizarre. From what we have in the snippets, this album seems to be very well-thought out. 

It's gonna be a grower. It's a bit inaccessible, to be honest - if not simply because of how "horror" it actually is. Like some kind of seductive, scary, dirty, everything track. But I think once it clicks, it will - and people are gonna drool over it. 

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

The background "fuck" before Cherry's chorus drops is everything. 

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

It's gonna be a grower. It's a bit inaccessible, to be honest - if not simply because of how "horror" it actually is. Like some kind of seductive, scary, dirty, everything track. But I think once it clicks, it will - and people are gonna drool over it. 

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

Just wanna say that I adore "Groupie Love". I was caught off-guard a bit when I first heard it, but I've come to realize that it's the closest Lana's studio tracks have come to the "Driving in Cars with Boys"/"Queen of Disaster"/"Prom Song" days. And her vocals are superb.

The background "fuck" before Cherry's chorus drops is everything. 

The background "fuck" before Cherry's chorus drops is everything. 

I think a big flaw in how many judge Lana's tracks comes from the fact that she's more concept with her albums than "one-track minded". I mean, damn, Honeymoon has some chill bops - but overall, you won't like some of those songs unless you focus on the work as a cumilative whole. 
 
I'm sure "Coachella"'s barebones hats and hooks seem "eh" on their own - but considering some of the heavy, wall-to-wall production we've got from the two singles, as well as the heaviness insinuated with "Cherry" and "White Mustang" - it's possible the "polished, light" nature of "Coachella" may come like a breather in an album that is otherwise "heavy". 

My attempt at a "greatest hits" kinda thing; keep in mind a story that goes along.
 
DISC 1
1.           BORN TO DIE
2.           PAWN SHOP BLUES
3.           BLUE JEANS
4.           MUSIC TO WATCH BOYS TO
5.           AMERICAN
6.           BEL AIR
7.           MONEY POWER GLORY
8.           NATIONAL ANTHEM
9.           OFF TO THE RACES
10.      IS THIS HAPPINESS
11.      OLD MONEY
12.      TERRENCE LOVES YOU
13.      CHELSEA HOTEL NO. 2
14.      VIDEO GAMES
15.      WITHOUT YOU
16.      YAYO
 
DISC 2
17.      GOD KNOWS I TRIED
18.      YOUNG AND BEAUTIFUL (ORCHESTRAL VERSION)
19.      SUMMERTIME SADNESS
20.      ONCE UPON A DREAM
21.      FREAK
22.      ART DECO
23.      BROOKLYN BABY
24.      SHADES OF COOL
25.      SALVATORE
26.      BLACK BEAUTY
27.      CRUEL WORLD
28.      THE BLACKEST DAY
29.      FLIPSIDE
30.      WEST COAST
31.      RIDE
32.      LOVE

I think a big flaw in how many judge Lana's tracks comes from the fact that she's more concept with her albums than "one-track minded". I mean, damn, Honeymoon has some chill bops - but overall, you won't like some of those songs unless you focus on the work as a cumilative whole. 
 
I'm sure "Coachella"'s barebones hats and hooks seem "eh" on their own - but considering some of the heavy, wall-to-wall production we've got from the two singles, as well as the heaviness insinuated with "Cherry" and "White Mustang" - it's possible the "polished, light" nature of "Coachella" may come like a breather in an album that is otherwise "heavy". 

I think a big flaw in how many judge Lana's tracks comes from the fact that she's more concept with her albums than "one-track minded". I mean, damn, Honeymoon has some chill bops - but overall, you won't like some of those songs unless you focus on the work as a cumilative whole. 
 
I'm sure "Coachella"'s barebones hats and hooks seem "eh" on their own - but considering some of the heavy, wall-to-wall production we've got from the two singles, as well as the heaviness insinuated with "Cherry" and "White Mustang" - it's possible the "polished, light" nature of "Coachella" may come like a breather in an album that is otherwise "heavy". 

I think a big flaw in how many judge Lana's tracks comes from the fact that she's more concept with her albums than "one-track minded". I mean, damn, Honeymoon has some chill bops - but overall, you won't like some of those songs unless you focus on the work as a cumilative whole. 
 
I'm sure "Coachella"'s barebones hats and hooks seem "eh" on their own - but considering some of the heavy, wall-to-wall production we've got from the two singles, as well as the heaviness insinuated with "Cherry" and "White Mustang" - it's possible the "polished, light" nature of "Coachella" may come like a breather in an album that is otherwise "heavy". 

I honestly will not get the hate for this song, at all. It's actually got a pretty fascinating concept about time going on. 

Just watchin you guys talking about her lip injections and her body like its a relevant subject but stoning me to death when i make a top 10 from her career

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