Vertimus

And if she does well with this, as it seems she will on the basis of the wonderful 'Summertime,' this album could open an entirely new avenue for her and really broaden her audience. Another track I'd love to see on the album is the jazz standard 'Laura'. "Laura is the face in the misty light... Footsteps that you hear down the hall The laugh that floats on a summer night That you can never quite recall. And you see Laura on a train that is passing through Those eyes how familiar they seem... She gave your very first kiss to you That was Laura but she's only a dream. She gave your very first kiss to you That was Laura... But she's only a dream."

If it is, while a little clunky, at least it tells her wide audience that they're not going to be getting a 'typical' LDR experience, but something else. When records and CDs predominated, the record companies could just slap a dayglo label over the plastic that says, "Lana Del Rey interpreting America's great historical catalog," and the actual album could therefore be called anything. I really don't mind if it is called AS&C. Is 'You'll Never Walk Alone' actually a track from it, or was that recorded for another project? Didn't I see something about that being recorded for a project in Great Britain? I'd love to see a fully-produced studio version of YNWA. It would seemingly fit right into AS&C. I'd also love to see covers of ''Round Midnight' and Cole Porter's 'So In Love.' 'The Green Leaves of Summer' would also be perfect for her--and another 'summer' song.

Fantastic job! If the rest is done in this ‘genuine Americana’ style, I am all for it.

Not too much enthusiasm for this project, judging by the fact that it’s only generated 9 pages of posts.

This is 100% correct. These are the songs sung originally, or covered by, the likes of Ruth Etting, Bing Crosby, Billie Holiday, Ray Charles, Peggy Lee, Frank Sinatra, Nina Simone, Julie London, Perry Como and Ella Fitzgerald, among many others, and more recently covered by Bob Dylan, Joni Mitchell, Carly Simon, Linda Ronstadt, Rod Stewart, Rickie Lee Jones, Marianne Faithfull and others. LDR has already covered at least one Peggy Lee song, though not on an album. But still, today, 'standards' can mean anything, including the Beatles, Bob Dylan and Joni Mitchell.

"To say she sounds like she's on auto-pilot mode on both TJF & LMLYLAW snippets would be the understatement of the century." " I've only heard a snippet of TJF, so I can't comment on that, but, despite his strong wording, I agree with Jared about LMLYLAW. It's so insubstantial that it's barely there. There's very little melody, and that little bit of melody is then repeated throughout the song. It's not substantial, it's not dramatic, it's not weighty, it's not catchy, it's not beautiful. The melody isn't developed the way the melody was for, say, Video Games. That's how I hear it. Yes, I know LMLYLAW is probably exactly what LDR wanted and intended it to be.

I don't appreciate the song much. For me, it's just sort of there, without much dynamic, and is over before it gets going. It definitely sounds like it could have been a 'NFR' outtake, or a continuation of that album. I rate it low compared to much of her other work, especially to recently linked tracks like 'Living Legend,' 'Serene Queen,' 'I Talk to Jesus' and 'Thunder.' I really hope the rest of the album is more dynamic and melodic.

Thanks. LDR is working her way towards additional self knowledge, self mastery and objectivity, but it takes time, work and effort. Most solipsistic people probably are not that way by choice, it’s either just their nature or the result of trauma and injury—the latter, most often, IMO.

VBBOTG is definitely solipsistic, but many or most artists are, if their work deals with the inner life at all. Bob Dylan, Nico, Marianne Faithfull, Leonard Cohen, Joni Mitchell, Sting, Led Zeppelin, the Eagles, Patti Smith, Tori Amos, Jeff Buckley, Twenty One Pilots..the inner landscape is par for the course, and certainly fair game. LDR is clearly still making her way in the world and finding her way...from the books she’s posted on IG, we know she’s not reading ‘essential texts’ but rather watered-down works which present the ideas of other, greater writers in a more palatable manner, books meant for the general reader or non-reader. And that’s fair too. Everything in its own time.

For me, VBBOTG IS neither good nor bad. Since the 1950s, when ‘free form’ and ‘confessional’ poetry began, anything not written in paragraph form is and can be considered poetry, and this an example of both free form and confessional poetry. In terms of language, it’s a little too conversational for my taste. I’m glad for LDR that she succeeded at getting it done and launching this aspect of her career.

I'd like COCC to sound like: Cola Bel-Air American Ride Angels Forever West Coast Old Money Terrence Loves You 13 Beaches Thunder The Greatest

That's true, but she did go all out with the 'Doin Time' video, and it is also conceivable that her team had a COCC single video shot sometime between January and March, though that's unlikely. Foresight and planning hasn't been their forte. Very true. She is terrible at describing her forthcoming albums, typically because whatever the words 'Hollywood sadcore,' 'witchy,' 'beauty noir,' or 'Hawaiian Glam Metal' mean to her, they mean very different things to other people. Fair enough, I guess, but "so we never really know what we’re getting until it actually comes out with her" is 100% accurate

From all the Covid-19-related commercials we've seen from major and minor companies on television, we know that commercial filming of all kinds has continued to some degree. Obviously, most, from Kraft, Pepsi, Carvana or multiple insurance companies have not been vitally important to society, and yet they've managed to be been made with the government, at some level, interfering. Most have continued to push their product and then tag on some sort of 'wear your mask!' message towards the end. So while it's still unlikely, it's not impossible that LDR's team was able to find some company that would produce a COCC video for LDR.

A friend put you up to that? I only quoted and applied the rules of the ‘Golden Ratio,’ which in your actual, authentic ignorance you prefer to deny and mock. That’s your choice. That’s what genuinely ignorant people often do. You could have looked up the Golden Ratio theory, which has been around under different names since the days of Ancient Greece, on Google, on Wikipedia or on Amazon, but you prefer to remain unlearned. I even posted a link about the Golden Ratio from Oprah Winfrey’s website, among others. Ignorance—willful ignorance—isn’t bliss, and it’s not ‘sexy’ or attractive either.

‘Velvet Crowbar’ is also very dark and very sharp, very cutting. “You’re not that bright for a start...” Surely the artist who wrote ‘Gods & Monsters’ is capable of writing almost anything.

I said it, and I stand by that opinion. Darkness is the province of the artist. LDR is obviously assuming a murderous, psychopathic character in the song. It’s not who is she, anymore than Marilyn Monroe was an actual killer in 1952’s ‘Don’t Bother to Knock.’ It’s a role.

I never rant; I think. You troll. You try to rise to being a bully, but you end up just being a troll.

I prefer LFL to UV and HM, and certainly to NFR. LFL has several great songs on it. LDR has proven herself to be a great songwriter with songs like 'Summertime Sadness,' 'Video Games,' 'Yayo,' 'Black Beauty,' 'Old Money,' 'JFK,' 'Angels Forever,' 'Cola,' '13 Beaches,' 'Terence Loves You,' and 'Gods & Monsters.' Listen to the instrumental piano versions by a studio group called Piano Dreamers, and you can see, stripped to just piano, how brilliant her melodies are. So what I'd like to see on COCC are more classic LDR songs that will live beyond her and us.

It's not a question of 'controversy' and/or LDR writing about controversial subjects for the sake of controversy, it's a question of approaching the topic, whatever it is, in an interesting, dramatic and dynamic way. She does this on 'The Greatest,' I agree, on NFR, but not, for me, on most of the rest of NFR, with the exception of 'Hope.' There's a lot of uninspired writing and some lazy retreads on NFR, and it's usually not a good sign when an artist starts repeating her- or himself. Tori Amos, for example, started turning out retreads of her own songs between her six and seventh album ('Carbon' and 'Barons of Suburbia,' for example, or 'Gold Dust' and 'Toast'), and Joni Mitchell's 'Don Juan's Reckless Daughter' is a rewrite of her own 'Coyote' from the previous album; the music for both is almost identical. For me, there's barely a good LDR song that does not have some kind dynamic tension inherent in it*, even if the song is still performed in a breezy manner, as the great 'Thunder' recently was. So regardless of the subject or topic of the song, regardless of whether it's broadly masochistic in approach or domineering or somewhere in the middle, sad or happy, deeply personal and intimate or simply a subject she wanted to essay, I'd like the songs on COCC to be passionate, genuinely inspired, dramatically presented, and inherently dynamic. All of her best music you can listen to over and over for years and never tire of. She also used to produce clever, humorous 'little' songs like 'Radio,' 'National Anthem,' 'Hollywood's Dead,' 'Making Out' and 'Meet Me in the Pale Moonlight' which were like satires or parodies of contemporary pop songs, and which she was very good at. I wish she had continued writing these, as they were a good offset to her more serious songs. * 'Video Games,' 'Blue Jeans,' 'Summertime Sadness,' 'Radio,' 'Cola,' 'American,' 'Gods & Monsters,' 'Yayo,' 'Wait For Life,' 'West Coast,' 'Old Money,' 'Black Beauty,' 'Swan Song,' 'Salvatore,' 'Religion,' 'Terrence Loves You,' 'Music To Watch Boys To,' '13 Beaches,' 'When the World Was At War,' 'Heroin' and, from her unreleased catalog, 'Angels Forever,' 'Hollywood,' 'Hollywood's Dead,' 'Making Out,' 'Meet Me in the Pale Moonlight,' 'Live Or Die' 'Fine China,' 'Color Blue' and others.

Absolutely, the early version, where, as she and her lover slaughter people, like a cheerleader, she cries, 'HEY!' It's brilliant. I consider it one of the 3 or 4 top 'statements' that rock and rock-influenced music has made, the others being the Rolling Stones' 'Gimme Shelter' and Nico's 'Genghis Khan,' which opens, 'I have come to lie with you, I can come to die with you.'

Thank you, and thank all of you who commented in the affirmative to my posts. She has to become a purist as an artist again, one who doesn't consider what this or what person or community might think of a lyric or title. That's the only way authentic art flows. I am still dazed whenever I hear her psychopathic, completely politically incorrect masterpiece 'Live or Die.' THAT'S what she's got in her, that amount of darkness, several rows of actual teeth like a great white shark. After 'Live or Die' or 'Gods & Monsters,' "You fucked me so good that I almost said, "I love you"" is pretty pathetic and sounds calculated.

EXACTLY. She realized, finally, what the 'fake Woke people' and 'fake Woke critics' wanted from her and gave it to them. She appeased them and hit the nail on the head. They knew she was kissing their bums, and so gave her their approbation. They were controlling her, as they wanted to. They tamed her, heeled her. I don't see 'VB' as being unsafe from a certain vantage, because it was a little safe snippet of a song that Jack then created a 7-minute instrumental for.

Full agree. NFR is a chore to sit through, at least for me. I greatly prefer LFL, with all its failings. At least it has more 'real moments' than the narcotized NFR. I want the confident, deveil-may-care LDR back again, the breezy goddess who was above it all and didn't give an apparent damn what the critics or anyone else thought. Far from being a 'Lolita lost in the Hood,' the early LDR was a strong, dynamic woman and individual, who could be vulnerable and philosophical--as on the BTD title track, 'Bel Air,' 'Yayo' and on 'Old Money'--or absolutely crushing, as on 'Cola' and 'West Coast.'

'Hope' is obviously not a 'safe' song lyrically, and 'TG' is an interesting and unexpected take on the end of the world. But the lyrics for most of the rest of the album are flaccid and toothless, and I don't think that the "you fucked me so hard I almost said I love you" lyrics came across the way LDR hoped they would. I feel like rolling my eyes when I hear them. I still feel like most of the album could have been written by LDR in her sleep; the songwriting, for me, was very, very lazy, like 'C,' 'CG' and 'FIILY.' EXACTLY. She doesn't want to be trolled by thousands of "fake Woke people" and from where I'm sitting, that certainly included "fake Woke critics," all the ones who attacked her over the years for being "inauthentic," for "Daddy bought me a career," for being, in their minds, "anti-feminist,' or for, in their minds, perpetuating a "I'm nobody without a man" attitudes. But you can't appease those 'fake Woke People'--FWP--for very long, ever. They will attack anyone and dig at anyone's life or art until they find some other issue to attack. They're parasites who have no power or authentic identity of their own. They're trolls, plain and simple.

I agree she's been behaving in a PC manner since LFL, because she's trying to appease a certain audience that's difficult to appease and impossible to appease for very long. It's sad to now hear the 'Lust For Life' Demo # 1 and then listen to the anemic pop ditty it became--all the best parts of the song, everything that made it Lana, were cut out. I didn't mind most of the political stuff on LFL because I felt it worked, with the exception of 'Change,' which felt rushed and awkward, and needed additional arranging. Also agree that NFR was lyrically 'safe,' a few cheap 'fucks' don't change anything, like the toothless 'bitch' added to 'White Mustang.' For COCC, I am looking for what I consider the authentic LDR, who we recently heard on 'Thunder,' which, for me, was better than everything on NFR and better than 2/3rds of LFL. It has the same breezy confidence she used to have, with none of the effort showing.