Vertimus

I agree, that would have been amazing, and add to the poignancy of the lyrics. I'd love to see them do an actual collaboration together.

You've expressed that perfectly. The sense of sadness, trouble, and even a hint of doom is mesmerizing. I'm always drawn to artists who express all facets of life, not just the happy, sunlit, upbeat moments. Lana touches on everything, ignores nothing.

I'd say so.

Why not? It's in the broad style of 'Yayo,' Wait For Life,' and 'Terrence Loves You,' three of her best.

I don't think the version I have is the LQ version. Yesterday, yes, this morning, no. Things happened overnight.

I agree, I'd say his version is the better of the two, but that doesn't take anything away from Lana's sultry, torch singer-style version. She uses what I call her 'siren' voice in parts, and we haven't heard that in a while, nor have we heard her doing torch song-style numbers. It makes me realize how great the 'American standards' album really could be, if she tackles some jazz vocal classics and really puts her imprint on them.

Thanks.

It’s on IG on Lanadelrey_News.

What about this new rumor about Taylor Swift releasing an EP on 4/15 with a collab with Lana??

I've always felt the torch song was one of her fortes. Jazz, brass, and Lana go together.

The song has leaked in LQ, though I haven't found/heard it yet.

The truth, obviously, is that 95% of the buzz for his new album is due to Lana's participation on BR. Who is enthusiastic about a new FJM album at this point? Misty has pretty much blown his opportunity to reach audiences with his last two dense, discordant albums. Had he stayed in the mold of his first two, he'd have achieved some commercial as well as critical success. It's self-sabotage.

The only thing I don't agree with is that "she tells a story with each album." Many people here say this, and I believe everyone when they say they perceive one, but I have never seen a story on her albums, even loosely, only a set of moods and attitudes, some which blend into one another, and some that don't. For example, on UV, the singer of 'CW,' 'FMWUTTT,' and 'MPG,' if in fact the same persona, doesn't seem to be the person or persona singing 'Old Money'--not even close--nor the persona singing the title track. As I see it, none of the personas present seem to be singing 'West Coast.' 'Brooklyn Baby' presents another persona altogether, as I see it. So I always see Lana's albums as a set of moods that mesh or don't, and may, in some cases, be intended not to mesh.

I'm not against it on principle. It might turn out well. I've liked most of Lana's collabs. I didn't care for the one with Nikki Lana on COCC, and I would have preferred that Lana sang all of 'For Free,' but I've liked the others.

A Taylor collaboration would bring Lana a fair amount of press, more than Lana usually receives lately, and obviously would be a selling point for the label. I'll accept whatever comes, but personally would prefer not to see a collab with TS, only because I don't care for her.

It was me who said that I found the Lana, or the 'Lana persona,' on NFR! "the least authentic" of all her albums (not "completely inauthentic"). I didn't say that COCC or BB seemed "inauthentic" or the LDR persona found on them seemed "inauthentic" to me. I said that COCC and BB are two of my favorite LDR albums. In terms of tone, BB is probably my favorite of all her LDR albums, period. And I do relate strongly to both of those albums. I also said I don't hate JA and that I recently praised his work on Lorde's 'Solar Power' here.

I certainly think COCC and BB are authentic. They're two of my favorites of all her LDR records.

Absolutely agree. I found NFR! mediocre overall. Half of the songs sounded "like something she dreamt up in the tub," as one NME critic said about a Kate Bush album years ago. The songwriting was lazy. And while of course 'Venice Bitch' is a Lana Del Rey track, let's face it: Jack composed the instrumental parts of the song most people are enamored with. 'Doin' Time' was included at the last minute because it had had a positive response when released for the documentary it was recorded for. The revised version of 'The Next Best American Record' was a shambles. 'Happiness Is A Butterfly' was like three song fragments mashed up into one in a rushed and unprofessional manner. My opinion. I find NFR! to be the least 'accurate' of her LDR albums, the most diluted, the one on which the authentic Lana appears the least. I don't hate JA or his work. I've praised it on the last Lorde album. I loved COCC on the whole (no pun intended).

I'm half Italian; my mother was 100%, her parents born in Italy.

There's a jazz musician called Greg Abate who wrote and produced a longish jazz number also called 'Buddy's Rendezvous,' but I can't find the year it was released. Didn't someone report here that 'Buddy's Rendezvous' was an actual place, an old-fashioned nightclub or bar, in, I think, Michigan? It certainly sounds like the name of an out-of-the-way nightclub frequented by the cognoscenti. I grew up in South Florida, and, at the time, there were several places like that in the middle of nowhere; they didn't want to attract tourists, the average person, or too many locals.

I forgot to mention all the songs written and produced for BB/RCW that she suddenly dropped from the album, and reconfigured it with the older tracks ('Living Legend, etc.) and then released it as BB. So there's the 'bombastic' songs she recorded with JA but hasn't released, the 'political' songs cut from LFL, and now at least a handful of recorded songs from 'Rock Candy Sweet' that were dropped when it was reconfigured as BB. AND whatever else Lana has floating out there about which we know nothing.

That could all be. She really never made her "revenge" album, though there is a little revenge on BBS and WFWF, against her critics and her mother. And there's the "bombastic" songs she made with JA but never released. To beat a dead horse, there's all the "political songs" that never made it to LFL. Let's hope she's creating all-new music with JA and whatever other producers, if any, she's currently working with. I can't help but see some comparisons to Tori Amos's long career, in which many of Amos's best songs were cut from the albums they were intended for at the last minute and ended up in limbo until released much later on compilations, or leaked. During COVID, Amos wrote and recorded a new album and then decided that "this is not what the world needs now!", and so wrote and recorded an entirely new album, which she released about 8 months ago, the mediocre 'Ocean To Ocean.' I'd love to hear the one she adandoned. On principle, I support whatever Lana does, but it seems the more we know about her actual writing and recording processes, the more exhausting it all gets sometimes.

Maybe we're completely mistaken to believe that LDR9 is in the works at present; maybe it's one of the 'side projects' she's going to release next. Since JA produced the first poetry album, perhaps they're working together on the second. Or it could be the American Standards album, which I can certainly see her father participating on, since at least some of the songs would likely be from his own youth. Imagine a double album of American Standards and Folk classics. I'd love to see how Lana tackle some authentic jazz standards with brass, and go into torch singer mode again, which suited her so well on 'Yayo' and 'Wait For Life.' Whenever LDR9 arrives, I hope it's scorching, but I can't help feel that it will continue in the 'mature' mode of COCC and BB, though that doesn't necessarily mean piano ballads or acoustic songs a la 'Not All Those Who Wander Are Lost.'

That's a beautiful song and he sings it very seductively, especially the outro.

That's the scuttlebutt. I don't think anyone has proof of that, and the rumor was probably started by one of the 'insiders.' It's just as possible that she had the 'master' files, or what passed for the master files, and just released those without remastering them or otherwise tinkering with them. Many of us had copies, why wouldn't she?