Vertimus

I agree. We've seen LDR write songs with, obviously, lyrics, and we've heard her recite her poetry to vague New Age-ish music. I think the intent and goal with these three songs was to combine both mediums, fully turn three of her poems into actual songs, and thus create a new hybrid. And she succeeded wildly. BB still eludes me a little, but I'm sure it will come.

And in America, on iTunes, the songs don't even show up when you search Lane Del Rey. As someone pointed out to me here yesterday, if you don't search 'Lana Del Rey Text Book,' you won't find it or the others. That makes no sense whatsoever from any POV.

What is her new IG ‘Take The Sadness Out of Saturday Night’ post about? Is that the upcoming Bleachers song she co-wrote? edit: never mind, got it.

She's just utilizing Freud in acknowledging, or looking back on, her quest for her father and/or a father figure, it's standard Freudian 'family romance,' so I'm not uncomfortable with it. Tori Amos wrote about her father for 20 years, both the actual man and the projected symbol. I agree abut the name-dropping on 'BB'---it takes me out of the song. She did enough of that for a lifetime on 'DTWD' on COCC.

The song structures and melodies are very unusual...I don't see any of the three as reminiscent of COCC, because the melodies of COCC tracks, with the exception of WD and Yosemite (which had been recorded years before), were very simple...'Wild At Heart,' 'NATWWAL,' 'DTWD,' even the title track was pretty straight forward and basic. I can't imagine how the 'professional' critics will receive the album, depending on if the three are the only complex tracks or if the entire album is as melodically 'dense.'

I see these three songs as poems, similar to those on 'Violet,' that she sings here instead of recites. 'Text Book' and 'Wildflower' work for me, 'Blue Banisters' less so. They're the sisters of 'Hope.' Commercial, they're not. How will Stans feel about a whole album like this? They remind me of the later work of Laura Nyro, when she stopped writing pop songs altogether and instead moved into some very complex song structures. They also remind me of some of the brilliant, long and complex songs Tori Amos wrote, recorded and then left off her albums, like 'Garlands' and 'Apollo's Frock.'

Thanks you, my friend.

Why aren't they on iTunes in America?

Maybe just dropping the 3 singles without notice, publicity or fanfare is a part of her revenge strategy, no press, no interviews, no magazine covers. You know, a "fuck the press" sort of attitude.

Nothing that I can tell. Text Book doesn't show up on Shazam; at least no one has found it there. Someone posted a track list for the album on Twitter, which most are calling fake.

I love COCC, much more than NFR, which seemed to me to have too many retreads. In fact, at present, COCC is my favorite of all her work. I love her balladry at its best--'Yayo,' 'Old Money,' 'Black Beauty,' 'Terrence Loves You,' 'Yosemite,' 'NAWWAL'---even 'Ride' might be considered a ballad. So while LMLYLAW seemed too underdeveloped to me, if the 3 songs we have coming are in the ballad mode, fine with me.

Great, Nikogo. Thanks--good to know.

IF the three singles are really dropping tomorrow, isn't it likely that they'll leak today? I'm not hoping or wishing for that; I can wait. But isn't that realistic, based on what we've seen with NFR and COCC?

She's definitely not lazy. Her output is astounding, especially in terms of songwriting. Sometimes artists become legends because of one good song that they've written that has become well-known. Look at LDR's output--it's like R.EM.'s, like Joni Mitchell's in her long heyday, like Tori Amos's, like Prince's, like Leonard Cohen's. I can't think of too many other, if any, contemporary artists who have released as much material of such high quality and originality. By the time she retires, if she ever does, she might be up there with the Elvis Presley and Rolling Stones in terms of her catalog, who knows? Sadly, unlike those two artists, thr world will remain largely unaware of her and her work, as often seems the case today.

I appreciate our thinkers, which includes GeminiLanaFan.

Imagine an album of dramatic, dynamic tracks like Serene Queen...one of my Top 3 favorite unreleased/leaked cuts... Thirded. I love COCC, but don't see the next album sounding anything like it.

Here's a thought. I don't know if someone's brought it up here before or if it's been obvious all along and it's just hitting me. But what if the Rock Candy Sweet title a play on words, with the double meaning of Rock Candy Suite? Bobbie Gentry did the same thing decades ago with her The Delta Sweete album.

Thanks--nicely done. I'm glad what is 'realistic' has value to you, as it does to me.

Yup. WAH is her most BTD/P song since that/those album/albums was/were released. I agree: more of that.

I believe they’re used interchangeably. It’s just a matter of spelling.

Got it, thanks for clarifying.

But if this is true/accurate, then wouldn't that make 3-4 albums? BB and RCS, plus the two cover albums, the folk/Americana classics being one and the other being country covers? Or could the cover albums all have been merged into one, perhaps a double album of folk/Americana/country covers? Which would make 2 albums of new material by LDR and 1 of covers. Isn't that rather a lot in a year in which she already released COCC?

Well done, DB. It’s my favorite of all her albums.

Boring for us, maybe, but some people, especially wealthy people, bury their whole lives in their homes, though LDR is not a typical wealthy American. Did you ever see 'War of the Roses'?

Remember in the last live interview how she was talking about getting her chimney fixed. With the several houses she has (4, I think?), she's probably quite into moldings, bannisters, chimneys, wainscotting, redoing hard wood floors, etc., to say nothing of the grounds, at this point in her life. 'Banister' (or 'bannister') is a common word for anyone whose home has staircases or at least a second floor, even a basement.