Vertimus

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.

Thank you! Even Lanapedia has it wrong. All the best.

What is Lana saying late in VFR, that sounds like Merthys Alley? Thank you. Is it ‘murders in the alleys’?

If you're not looking for extremes, I think it's her most pleasing album, in terms of tone.

My Song of the Year, by any artist: 'If You Lie Down With Me.' And 'Violets For Roses' is the only major contender.

Wonderful. Thanks for sharing.

Understood. I like them both equally.

Maybe it will contain some or all of the 'new' songs Lana wrote from BB, but which were pulled from it sometime about June-July. But it's been widely assumed that her next album release will be the Americana/Folk/Country project, or her collaboration with Zella Day.

In a good way, at least for me.

Yup, she said she thought it needed more studio time, that it was one the bare side, instrumentally.

Me too. I haven't tired of it in the least. It still sounds absolutely fresh to my ears, like all her best music.

Not so; I'm not a big fan of NFR! at all, but I love COCC.

Thanks--yeah, it's definitely not a LDR production.

Are you referring to the 'slowed with reverb' version?

I don't think 'Beautiful' is one of the stronger songs in her catalog, but it fits nicely on BB. Welcome.

I continue to see Lana as an artist's artist, and increasingly so, and thus not a middle-of-the-road taste like Taylor Swift and Adele. It's similar to when Tori Amos was doing amazing work in the 90s, but the public ignored her and embraced Alanis Morissette instead.

I'm also a big LFL fan--it has some of her most memorable songs: '13B,' 'Heroin,' 'WTWWAWWJKD,' 'White Mustang,' 'Summer Bummer' and 'GBA,' and I liked 'TNC,' 'IMF,' and 'Cherry' well enough.I also wish they had stuck to the original concept----I Iiked the original version of 'LFL' so much more than the pop single it became, and wish they hadn't cut 'Serene Queen,' such a dynamic track. 'BB' the album reminds me a lot of LFL--it weaves in and out of all kinds of places, emotions and mind spaces, and there's a sense of personal happiness at the core of some of the songs (like 'VFR' and 'Arcadia'), while she confronts her demons head-on in others. It has great pop hooks on 'BBS,' 'IYLDWM' and 'VFR.' I've made peace with the older songs that have been included, though I preferred the original version of 'Thunder.' For me, 'BB' is her most satisfying album so far. It breathes. There was, for me, a kind of sterility on a lot of songs on some of her older albums, a flat emotional affect, which came across to me as if Lana was in a state of emotional paralysis. I didn't see evidence of that on 'COCC,' especially on the title track, and I don't see it on 'BB.'

Exactly, it's 'wholesome' without being mawkish, queasy or 'mellow.' I haven't tired of it yet either, not one bit. 'BBS,' 'IYLDWM,' and 'VFR' only continue to grow on me, and 'Aracadia' went from 'blah' to 'great' in my valuation.

What I like most about BB (the album) is the overall range of emotions that arise from it----it seems to me, in that regard, like her 'healthiest' and 'happiest' album yet. Maybe facing her demons head-on in WFWF allowed some serenity to follow. COCC was also a definite move in this direction, and, emotionally, in retrospect, seems like the perfect precursor to BB. I like the emotionally-tortured Lana of 'Old Money,' '13 Beaches,' 'White Mustang,' etc., and the haunted Lana of 'Swan Song,' but I like this Lana best so far.

Because they're Shepherd's Pie, and Lana is Beef Wellington.

But one day down the road of history, they'll be seen as the Pop Princesses they are, and Lana will be a Legend, an artist's artist, which they certainly are not. Right now, Lana does have a world of fans, literally. Those that can only follow vapid commercial trends, the loss is theirs. Let them sleep on.

I have two friends who claim not to be able to hear the melodies on IYLDWM and VFR, and I believe them, but find it impossible, after 6 or 7 listens, if not less, to at least begin to hear the melodies and 'hooks' of both.

What I love about both COCC and BB is that, overall, Lana sounds at peace with life and with herself, and, within that context, she doesn’t sound complacent or boring. It’s not a great many contemporary artists that can write songs about day to day life and living without those songs being dull, but on a lot of songs on both albums, Lana sounds serene and centered, and I find myself happy at this, and inspired too.

The playful horns at the end...perfection. And the horns get more playful towards the end. In whatever form it previously existed, I'm glad it never leaked.

For me, IYLDWM is Lana’s sexiest and most sensual song. That she doesn’t overdo it makes it perfect.