Vertimus

There's also a lot of members who believe in manifesting things into reality---if only.

If LDR released an album of Old School upbeat songs like Making Out and Meet Me in the Pale Moonlight I'd be thrilled. I know TRPWS, however, will not be that.

I understand your feelings about the album, and in my more positive, objective moments, agree. We know almost nothing about TRPWS--look how different OB was from BB in terms of tone and mood--they are at least to me. Or how different Norman was from LFL. TRPWS might be fantastic, and while it seems it will be a mellow, slow, 'serious' album of countrified piano and acoustic guitar songs that are't too lyrically deep, as Hope and WFWF were, we also know LDR isn't always very accurate when describing her forthcoming music. Clearly, she and her team don't want to give much away. My hopes are not high, but that's just me.

Woke is dead, isn't it? Thank you, same to you, Paradixo, and everyone else here. Because Hope is a dangerous thing, but we have it.

THAT would be something I would love. And his last album had a few great songs.

Thanks—knowing the great number of unreleased outtakes as well as pre-LDR releases and projects, it could be anything, I agree. I fear an Unreleased would disappoint many unless it is really comprehensive, and I can't see that happening. And look at how many takes there are of numerous released, unreleased, and unleaked tracks—so many stans are bound to be disappointed unless it's really massive and comprehesive, like Tori Amos's 5-CD, 70-track A Piano.

Don't we have all of those? Some are among my least favorite LDR outakes. And didn't she completely **** up Lived or Die five years or so ago and call the new version final?

One of the things that bothers me is that LDR used to be cool—and she's stepped way from that, probably with good reason, maturing, and experience, to write songs mentioning doing the laundry, watching television, and walking to the mall—then, I think, made an effort to reclaim that cool with some of the OB tracks, especially A&W and Taco Truck---but a title like The Right Person Will Stay is about as far from cool and as clumsy as I can imagine. This is my problem to cope with, I know. One of the best ever.

There's certainly a LDR precedent for that, for scrapping what was planned and instead going with more of-the-moment songs; look at the 'five political songs' removed from LFL while Coachella and Change were added (and Yosemite scrapped too), whatever became of Rock Candy Sweet and the songs dropped from BB. Actually, as you probably know, this trend goes back further, to Tropico.

How could anyone know for sure at this point? It certainly didn't sound anything like Henry.

It appears to be a combination and reconfiguration of Lasso and all the songs she's been writing and recording over the last four years with this particular project in mind, except those that went on COCC, BB, and OB.

When I listen to the OB album over my Mac, the album sounds a lot better than it does over earbuds. When I listen to Arcadia, Violets For Roses, and IYLDWM via my earbuds, they sound pristine, as Money, Power, Glory and Sad Girl do. To my ears via my earbuds (which are Apple), Let the Light In sounds as there was a rag or pillow over the mic. It's not a clean or pristine sound at all. I can't imagine why someone would prefer such a final sound for a song, much less a LDR track. I like the song a great deal, but I have to ignore the recording, production, and mastering.

Dragonslayer is absolutely amazing, so beautiful and visionary, and beautifully produced. In terms of stripped-back sounds, I'd like more songs to have the calm, plain production of the non-Antonoff If You Lie Down With Me, which is so clear, so simple, you can hear Lana's voice and the instruments perfectly. Arcadia is, to my ears, equally clear in terms of production, simply-stated, and honest. On the other hand, I love the big production of Rick Nowels on tracks like the under-appreciated 13 Beaches, Heroin, and WTWWAWWKOD and the big but somber, twilit production on Swan Song. What I don't want is more messy production like several of the tracks on Ocean Boulevard, where some songs—like Let the Light In—sound muffled and fuzzy, which more or less ruins the song for me. Why is Lana's voice mixed so far in the background—which it also is on Candy Necklaces and Fishtail among others. Perhaps that's the way Lana wanted the songs to sound; but I don't get it.

This-- just get over it and appreciate her work that she loves to share with us instead of complaining and remembering her older stuff every single time--is especially true because we don't know how much longer LDR will record, release music, or tour. We know she wants to have at least one child (unless that's changed). Being Lana Del Rey is a big job; she might continue to create and release music as so many artists have into and past their middle age, or she might not. She may decide to give her time to poetry and other writing, acting, continuing getting her pilot's license, raising a family, or any number of other things. We probably will not know when LDR produces her last album unless she tells us--and even then, as we've seen with so many artists who have 'retired' or said 'this is the last tour'--and then come out of retirement or toured again.

C'mon--history has shown us that this is the essence of Lana Del Rey the public artist. Indecision, change, reversal, cancellation, replacement, poor/unprofessional communication skills in terms of projects, media, news, and product, etc. It's what we've come to expect from Lana and we keep receiving it. We're rolling with it.

The AI LDS version of Skyfall was amazing.

I've been listening to Diving Deep Live aka Diving Deeper by Tori Amos. Very disappointing—each song is padded by a long piano preamble, which should be a good thing since that's her instrument, but isn't. Her voice sounds terrible—this album suggests her best days of live performing are well behind her. Perhaps because of the changes in her voice, almost all the songs have had their melodies cut or reduced, presumably to make them easier to sing. Her last studio album, Ocean to Ocean, had some genuinely beautiful songs and Tori classics—Swim To New York State, Flowers Burn to Gold, Birthday Baby—and her voice sounded as perfect as always. If you're a fan, give it a listen, don't buy it. I'm sorry I did.

Thank you, NikoGo. At least that clears it up. Happy holidays.

Are we sure about that? If so, was it Lana who made the "two more singles" claim, or Ben or someone else on her team? If they meant two Tough remixes, then that's a bogus claim. I never believed we'd have two new songs from TRPWS by year's end.

For me it was coming to appreciate Hollywood Bowl and Suburban House as much as I have. They're definitely my most-played LDR songs of 2024.

I think I'd actually prefer that. I've become increasingly disinterested due to all the (now obligatory) changed release dates and album titles since the official announcement of Lasso, as well as the non-manifestation of the two singles before the end of this year, and I'm not even paying very close attention. Clearly, tight control over data, information, facts, communications, and media is not her forte. She's married now, I give her her due on that basis alone. I assume her life has changed significantly if the marriage is real and grounded in love--which I assume it is.

Who comes up with these categories?

Nor me.

It's terrific--there's a good chance I'll use it rather than the final album art, which usually disappoints me. Will the Christmas | Winter Solstice | Winter Holiday gods bless us with the leaked vintage Lana track on the 25th? A la Fine China?

It's terrific--there's a good chance I'll use it rather than the final album art, which usually disappoints me.