Vertimus

Much appreciated. Can you tell me how long, in your opinion, the best version is?

Thank you---I'm comparing a few versions that claim to be HQ, but none actually sound like Misty's version in terms of clarity and crispness. There's a huge difference, so I don't think I've actually heard a genuine HQ version yet.

Exactly how long is the best actual HQ version? Thanks.

And he looks like Barrie-James, so it all makes sense.

You know, it's sort of like listening to Yma Sumac sing in Quechua on 'Voice of the Xtabay,' I have no actual idea what she's saying, but the feeling, the drama, the intensity is easy to understand emotionally, and respond and relate to, as millions did in her heyday. Or when, for example, Tori Amos would sing nonsense lyrics like "Tuna Rubber A little blubber in my igloo" in a song about a friend's suicide, but it doesn't matter, the sadness, the emotional meaning, comes through. So here, yes, whether the song makes strict lyrical sense with Lana singing it doesn't matter, what is necessary is present, and everyone can feel it and understand it emotionally.

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.