Vertimus

Absolutely. If I find 3-4 songs on a new album I love, then I'm more than satisfied. If I find more, then all the better. So far, from my POV, the new album seems to have a dark, ingrown vibe that makes me apprehensive, but we'll know nothing factual until another single drops, or an album sampler. I'd like it not to have an 'ingrown,' 'looking in' quality, but it will be what Lana wanted it to be. I'm sure there will be a number of tracks that I really like.

To me, there is no perfect Lana album. So I can't throw mud at BB for not being 'perfect.' Expecting 'perfect' from any album by any artist is just a set-up for disappointment. I don't think I can think of a 'perfect' album by any artist, older or contemporary, not in my opinion.

BB would most likely have been a great album if she had left off the leaked tracks and replaced them with the songs that the leakers said were originally produced for the album. As much as many of us like or love the leaked songs as songs, we've heard them a 100 times before, 1,000 times before. Not remastering them was a boner move. At least now those tracks have a wider audience, which they deserve. While I'm not a fan of the title track, I love or like everything else produced for the album (except 'The Trio'). To me, 'Dealer' comes across as a novelty track, but BBS, VFR, IYLDWM, and 'Arcadia' are really wonderful, optimistic, and relatively light in tone. TB and WFWF show her growth as a songwriter, and the 'Black Lives Matter' shout out doesn't bother me any more than the timely references to COVID on the album. It's of its time. It's one of my favorites.

It’s a two week delay now. That doesn’t mean in two weeks it won’t be a five week delay.

Paris, TX is also a Wim Wenders movie from the 1980s for those who don’t know. Perhaps it’s worth checking out (or watching again).

I have a feeling—an intuition—the entire album is going to leak sooner rather than later. Especially if delayed two weeks. Of all the artists I follow, Lana is the only one whose albums are always delayed.

Here comes my notoriously bad taste: BTD: VG, BTD, SS. Paradise (the hardest for me): Ride, Cola, American UV: WC, OM, Black Beauty HM: SS, TLY, Salvatore LFL: Heroin, 13B, BPBP NFR!: VB, MAC, TG COCC: Yosemite, COCC, WAH BB: IYLDWM, VFR, Arcadia Unreleased (Also very difficult): Live Or Die, SQ, Dragon Slayer (shout out to AFFA AND Hollywood)

Full agree about your second paragraph. Yeas, I don't take the Lipsters too seriously, of course, but it's sad to be recognized in that category alone. But maybe there are even worse categories; I haven't read through them all; I just knew there were many categories for which I would have no answer, so I didn't participate. I like BTD a lot, especially the title track, 'VG,' 'BJ,' 'Radio,' 'DMD,' and 'National Anthem.' I miss that light touch of Lana's that we saw on 'Radio' and 'NA.' I'd like to see her return to some of that sort of humor and word play. I loved the Trip Hop Lana. The rest of the tracks, I'm not much of a fan of and never play. There are a few duds on LFL, and I like the original LFL title track a lot more than the one on the album, but there are so many challenging and dynamic songs, like '13 Beaches' (which for me has everything that the HM album lacks), 'WTWWAWWKOD,' 'BPBP,' 'Heroin,' 'White Mustang,' 'GBA,' 'Summer Bummer,' 'TNC'--and I like 'In My Feelings' too. I'm not a great fan of 'Cherry' or 'Love,' but I like them well enough ('Love' has grown on me over time). I like the diversity of the material, and I think '13 Beaches,' 'Heroin,' and 'When The World Was At War' really broadened her scope. I know 'BPBP' isn't perfectly produced in a lot of ways, and I know some younger fans cannot relate to Stevie's voice, but I think it's a beautiful song. So I'm a big fan of that album, because it feels alive and there's a whole range of emotions in play. To me, though I don't care for the title track much, 'BB' is fantastic. Lana is maturing and it's an album, as 'COCC' was, that reflects an individual approaching early middle age. 'VFR' and 'IYLDWM' are among, as I've said before, my Top 5 Lana songs. And I love 'Arcadia,' 'WFEF,' 'TB,' and 'BBS' too. I love most of 'COCC,' including the title track, 'White Dress,' and 'Yosemite.' For me, most of 'NFR!' doesn't work. I love 'VB,' 'The Greatest,' and 'MAC,' and 'Hope' is obviously a brilliant song, but it's not what I look to Lana for. The rest doesn't do anything for me, and seems lazily written--like 'Love Song,' and the title track. If 'CG' had been produced better, with more booming base, it would have worked better for me, but it has that empty feeling that I find on HM tracks like 'Art Deco.' I'm glad we've connected. Thanks for sharing your thoughts and taking the time too.

Thank you, I appreciate that. It's just a matter of favorite LDR albums--you know how fervently many or most here love NFR!, HM, and UV. I'm glad they're passionate and enjoy those records so thoroughly. I| wish I liked the new single, but I so not. I like UV and HM too, just less so. Both, but HM, especially, seem like albums about alienation and sterility, and there's no catharsis, except on 'Old money' and 'TLY,' so I'm not greatly attracted to them or the persona Lana adopts in most of the songs. That's part of the reason I didn't contribute to the poll. Member with worst taste? Who am I to say that? I don't even categorize members along those lines when I read everyone's mostly insightful posts here. Some members stand out as 'main contributors,' like Venice Peach, and others as very funny, like Chaotic Lipster, and others as always involved like Gemini Lana Fan, but now that the truly vicious and rude members of a few years ago have stopped participating, I like everyone and recognize that taste is subjective. It's why people like a certain song or album that interests me, or what people see in a song that I don't, or what someone points out that I may have missed in a lyric. I always think of 'Old Money' as sung/narrated by a mature women looking back on her life, but other people's interpretation that she is a relatively young woman forced me to look at it from that perspective, and while I still see the narrator as mature, it was interesting to step into someone else's shoes and see it the way they saw it--which I was able to do. Things like that are what make LanaBoards valuable to me. And where else, and to who else, can I talk about Lana all day and night, which I am wont to do?

People who say things like that are really insulting Lana in a round-about way, which they have every right to do, because ultimately we're talking about her work. It's like saying, 'Paradise,' 'LFL,' 'COCC,' and 'BB' are shit. Thank you. I also don't love the new single, so it's to the dog house with me.

It's because I favor 'Paradise,' 'LFL,' 'COCC,' and 'BB' over 'NFR!,' 'HM,' and 'UV.' 'It's like smiling when the firing squad's against you And you just stay lined up,' Or, as the Christians thrown to the lions said, 'Hail, Cesar. We about to die salute thee," in other words, fuck you.

I got voted for worst taste, which I can only say, from my POV, boomerangs back on those for voted for me in this category. I know who has good taste.

I care about you, you're one of my Top Five favorites. You have the funniest, driest, most understated sense of humor, among other things.

I agree about WFWF, and even 'Hope'--Lana is now doing some of, or something like, what Tori originally did, and of course, Tori was in turn inspired by Kate Bush's early work. I could also see WFWF being from 'Boys For Pele,' Tori's most personal and darkest record. Understood about Fiona, but her career kind of floundered after 'When the Pawn...' due to her record company troubles. I have no trouble with artistic expressions of rage and anger from any individual, but Amos was just exhausting, again, as I said, especially in interviews. There was one after 'To Venus & Back' where she went berserk because some British laborer had said, "pussies are bullshit," referring to the then-trendy practice of men preferring to sodomize the women they slept with. She was so easily baited by almost anyone...she might have taken the statement in the context of the rest of his rant, just "considered the source," probably some English lout just come from the local pub, and ignored him and his comments, instantly forgot them. Living in NYC as I have for a while, I know women, on occasion, still have to listen to coarse comments and cat-calls from some men when they pass by construction sites, which are all over New York. As I see it, if the guy looks and acts like a drunken Neanderthal (and many of them smoke weed openly while working), who cares? It just proves he's a moron. And if a polished-looking man in a suit makes the same sort of commentary, then he's also a Neanderthal.

'cause you're beautiful, baby.

Yeah, and TerrenceLovesYou have also noted how often I bring her up...their careers really bleed right into one another, time-wise. I'm not a great fan of FTCGH but BFP is one of my all-time favorite albums, my favorite of Amos's albums, and SW is just beautiful. Having been working in Manhattan on 9/11, I have great appreciation for it. I also love 'Abnormally Attracted to Sin,' and 'The Beekeeper,' while not cohesive, is a great combination of pure pop songs and much heavier material. Glad you're a fan.

Ah, got it. Thanks.

Did we hear a snippet of Candy Necklace?

Well! The reason that happens is because, before Lana, Tori was the most 'recent, still working and releasing albums' artist that meant the most to me. And she still does. But, as I've said here, the relentless intrusion of knee jerk politics into her work, and especially into her interviews, always turned me off and made it hard for me to dream while listening to her work. And she's so full of outrage, and always feels, in a very boring manner, that she, and only she, has to and can save the world, like a momma lion with her cubs. So I was always only 2/3rds able to relate to her and settle into her music. Tori is a brilliant musician and instrumentalist. Then I heard Lana, who has a much wider scope, vision, and focus, and Lana fulfilled/fulfills me in a manner that Tori does not. Occasionally, they have themes in common.

A lot of women, especially young women, are fascinated by prostitutes and sex workers. Camille Paglia has written about it at length, and yes, Tori Amos has written a couple of songs about it, and expressed her compassion for them in interviews. For example, her song, Amber Waves, that opens Scarlet’s Walk. I think a lot of women, regardless of how they respond and react to them, feel like they could easily have found themselves in similar positions in life.

Here though, she doesn’t say it’s interlude unless I missed it somehow. Thanks.

I remembered the interview but not when and where it took place exactly. One of our fellow Stans pinned down the time and place.

We need to make a RBFY thread to settle this matter once and for all, as the truth just isn’t reaching the Stans of LB. Can someone do that? Pretty sure Lana said it in the Annie Mac interview just after the release of LFL. I know I heard it.

She said she did record it only as an interlude (or intro/outro)! We heard it from her own lips.

What about MAC and that song, I think a German song, someone posted? Who was responsible for that on NFR!? I remember how Lana said JA gave her a little of little piano melodies and intros. It seems unlikely that LDR would be familiar with that song, but believable that JA might have.