Vertimus

Written by Mick Jagger for Marianne Faithfull, who broke up with him because his career was exploding while hers was dying (at that time, late 60s, early 70s). When I saw her in concert at Town Hall in Manhattan, she sang it as an encore, which sent the screaming and cheering. Regarding WCE, at least we now know what 'rock candy sweet' was all about. Someone--BOZ?-- was correct that it was not a song title, but a lyric only. So presumably it was originally intended for COCC in some form, perhaps a very different one?

Lana & bras/horns/windwood = a match made in heaven.

And there's always the possibility of a leak before release. The song does seem to be generating a lot of heat--'Euphoria' is white hot right now, as fans of the first season have been waiting forever for the second due to COVID--and here comes Lana attached to the third episode. It's a win-win.

It’s going to become available digitally one way or another, officially or unofficially. Exactly.

'Seemingly great' is right. After the 'Happiness Is A Butterfly' and 'Blue Bannister' snippets, I've learned not to get too too excited on the basis of snippets. Still, I'm very excited. I loved 95% of the 'BB' the album, but would love to hear another, completely new, moody LDR song.

True--it is grim, but very dramatic and very well done. I still thing it's terrific.

It sounds great! A bit like ‘Sweet Carolina.’ At least she hits some of the same notes.

I can't either, but we all have different taste. Sometimes it takes a while--years, even--before a listener can 'hear' a song or album. As I wrote about 6 weeks ago, I have friends who claim that they cannot hear melodies in IYLDWM and VFR. I haven't tired of BB at all yet, and it's now right up there with my other favorite Lana albums. The songs 'release energy,' for lack of a better way of expressing it, there's a catharsis for the listener that happens, like it does with all her best songs and albums. And I can think of two of her albums which this was barely the case, and thus I rarely listen to them.

One way or another, her cover of BR will leak, even if it's initially only available non-digitally. I'm excited. FJM has been getting way out there, to his detriment, and 'Funny Girl' seems to suggest he's going to make music for fans as well as himself again. He had the world's attention with the first two albums, and then lost it with what followed.

Since the show uses all kinds of music, from the 1960s forward, it's possible it could be any LDR song, including something new, which would be terrific. 'Serene Queen' would fit in royally. It's a great show.

I personally loved most of LFL, though I never play 'Coachella,' 'Change,' 'Love,' 'Get Free,' or the title track. To me, it's certainly no more awkward that NFR!, which I felt was padded with retreads.

I agree completely. On all the new songs, she's essentially writing from a position of strength, especially VFR, BBS, SC, and IYLDWM. Arcadia too.

For me, the one who sounds most like Joni is Zella Day. I would have preferred Lana singing it alone, and without the little happy fillip Lana added, which isn't in the original.

I have no proof, but the vocal is different, slower, more wounded than declarative, more hesitant. Anyone else?

I love NOTG too; the problem with NOTG, LL, CB and 'Thunder' is that I've had copies ever since they leaked, and have heard each hundreds of times, and so it's hard to really get excited about them and be objective about them in the same way as the other tracks. 'Thunder' of course has been rerecorded, and as I like the original version a lot better, that also puts it to some degree in the dog house.

Thank you. I do like 'Wild At Heart' a great deal because it's a pure pop song, and she's goes the extra mile with the additional refrain at the end, which really makes the song for me. I've always seen 'For Free' as a broad metaphor as well as perhaps Joni's personal experience. It's about humility and being humbled, which I think is applicable to all people and all walks of life. It has a sad and universal quality. Lana's cover doesn't really bring out the pathos in the lyrics the way the original does. The same for 'Dance Till We Die.' Dancing is a metaphor; she's saying, "we're not going to give up on anything until our last breath." That she mentions Joni, Joan Baez, Stevie Nicks, and Cortney Love isn't really significant.

On BB, 'Textbook,' 'WFWF,' 'IYLDWM,' and 'VFR' are all among her very best work on any album, at least for me, and 'BBS' and 'Arcadia' are terrific. COCC had a few masterpieces too: 'White Dress,' 'Yosemite,' and the title track. I rate both albums among her very best, despite the slightly sleepy sound of COCC. I still wish she had performed 'For Free' alone. What did you think the masterpiece tracks on COCC were?

I agree, and it's a very difficult subject to put into words, especially with an artist like Lana, who has adopted so many personas and nom de plumes. A "stylized persona" is like a mask the singer adopts for a specific song or album, or even for an entire career. There's also the matter of "speaking directly from the heart," as opposed to somewhat distancing one's self from a song's content via a persona. Lastly, I think there's the 'genuinely inspired song" as opposed to the song "concocted via the songwriting craft," though of course a song can be a mixture of the two. "Concocted songs" can be great. A good 'classic rock' example would be Stevie Nicks and her early songs with Fleetwood Mac, especially 'Landslide.' Her four early songs with FM (or five, if you count 'Silver Springs,' which was cut from 'Rumours' but appeared as a literal b-side) seemed to come straight from her heart, pure and raw, but as the years passed, her songs, both with FM and in her solo career, quickly became 'concoctions' until she became something of a parody of herself, and, to some in the press, a laughing stock. I see songs like 'Sweet Carolina,' the COCC title track, 'Yosemite,' and 'Violets For Roses,' among others, as coming straight and pure from Lana's heart and soul, with as little distancing as possible. I consider what the 'Lust For Life' title track ended up becoming a "concoction," and 'Groupie Love" as well.

I think we experience more of the genuine Lana on BB, the album, than on any other, with COCC being a close second. I believe it's this genuine Lana we'll continue to see on albums of original work, until she either feels she's exhausted it or until she feels like stepping into personas and roles again.

I consider it something of a novelty track, but at least it seems humorous, as DC Cooper pointed out here, and I miss Lana's early humor and light touch. I skip it a lot too.

I don't dislike 'Beautiful.' I don't mind the Picasso line--it's certainly better than an obvious and overused classic rock reference or a name drop of a semi-famous friend. I play the full song whenever it comes on shuffle. I like both versions. I like it more than the title track, which I still can't embrace and don't play when it comes up on shuffle. For me, other than TB and WFWF, the songs that really stand out are IFLDWM, VFR, and BBS. I consider BB a great record, certainly one of her best in my ranking.

To me, 'Beautiful' seems like one of those last-minute, somewhat rushed and underboiled tracks that Lana always seems to have a lot of faith in, like 'Coachella,' 'Change,' and 'Looking For America.' It's just okay to me.

For me, 'Dealer' is just a trifle, almost a novelty track. It doesn't bother me. It would be interesting to hear Lana doing both parts. To me, it's unfortunate that the wider public always seems to get to know primarily what are essentially Lana's B-side tracks, like the 'Summertime Sadness' remix, 'Doin Time,' and now 'Dealer.' The broad public has never heard the essences of her work, all her best material.

I think it is now my favorite too. It's the most satisfying, in terms of tone and emotional range. I'm glad she sounds happy, fulfilled, and at peace on some of the songs, or at least is moving in that direction as an individual and as an artist. It's like she's confronting her demons directly, as on WFWF, and it's paying off in dividends for her--it's freeing her. On both BB and COCC, she's no longer suffering primarily from unrequited or disappointed love, and she's got other things and themes on her mind as well, as on 'DTWD' and 'NAWWAL' on COCC. On 'Sweet Carolina,' she's able to give love and comfort to her sister freely and confidently. 'IYLDWM' and 'VFR' both show Lana in control of her emotions and the relationship, and even 'TJF' was far from desperate in the way, say, '13 Beaches' or 'TBD' were. She's showing us and the world that she can write and sing about more than suffering and the misery and illusions that often accompany love, and she's still making it interesting and beautiful, as on the COCC title track. Bravo, Lana.