neuf

I think she favors the right because there's a bit more energy on that side with the guitar.  But I do agree.  I think we missed the high synth on "West Coast" because the band just doesn't have it.  The guy seemed behind a baby grand but I kind of figured it might be retrofitted with a MIDI controller with Logic/Ableton off-stage.  If that's the case, there's no excuse.  I did miss it as well though
 
I'm a few years older than 24, but I had a good time.  A lot of the girls were really nice to me (I went solo, everyone I know hates Lana) and I hung out with some nice people.  I was in the middle of the fight and that was something else.  Once it started, people just piled in but it broke up fairly quickly.  Some people got into the fighting spirit right away but most people just stopped after a few minutes.  Security escorted the girls out fairly quickly, so I think some people restrained themselves fairly quickly.  It did last nearly the entire length of Y&B though.  I've got a video of the shit talking in the background while Lana starts up the song.
 
It was weird to see all the smaller girls wait and guard their front row spots then after the first 3-4 songs, people were haggardly coming out of the front row.   I think after this album, she'll play somewhere bigger hopefully.  I think the Fox is bigger but Oakland isn't as cool as SF.  There's always the Oracle arena...
 
I thought it was kind of sweet how Lana said she didn't deserve it but she'll take it anyway.  It's hard to find the line between schtick and sincerity with her a lot (don't get me wrong, the shtick is fun though) but that seemed a bit more sincere to me.  I wish she liked the Bay more.  It seems up her alley in terms of history and stuff.
 
I can't imagine how QOTSA sounded the night before in that venue. It's just terrible for rock music.  Anything more synth-based (I've seen some EDM, Hip Hop, and Pop there) all have been good though.

Maybe that's where Moroder comes in.

I think Cruel World is more influenced by Chris Isaak's Wicked Game than anything else so far.  It'll be interesting to hear more of it since she really just kind of made this an intro to Cola. 

Noticed you mentioned "Everything happens on the left side (her right). Idk why, but she clearly favors that side. That's where Rob is at, where she is most, other than the center, and interacts with people."
 
I noticed that she spent her time on the right side (her left.) wonder id it was just Coachella or she just decided to visit that side only. Still, I think you are right about the left side (her right.) thanks for sharing your review.

I never really thought about it but Lana sings "my pussy tastes like pepsi cola" and her dad is like backstage... must be kind of awkward for him to hear is daughter sing something like that!
 
As for Cruel World, definitely feeling a stripped back ballad but then again that might just be the intro and the actual song might kick it up just after that and become more rocky? Speculation is agonising!

The song I mentioned playing beforehand was a Lana cover of Nancy Sinatra's "Bang Bang".  It was definitely Lana's voice and the instrumentation was different than Sinatra's version but still very minimal.

You guys got us excited for sweet FA
 
http://youtu.be/eCAtA7Csm60
 
 
 
Absolutely Nancy's version
(thanks MissChris325 for posting/recording)

Setlist
 
0. (Cruel World)
1. Cola
2. Body Electric
3. Blue Jeans
4. West Coast
5. Born to Die
6. Young and Beautiful
7. Million Dollar Man
8. Gods and Monsters
9. Ride
10. Summertime Sadness
11. Video Games
12. Carmen
13. National Anthem
 
Absolutely packed.  The sound was not good.  Lana frequently asked for levels to be raised on her and parts of the band throughout the night.  There was a lot of mic feedback particularly in the beginning.  The auditorium made it hard to hear songs cohesively.  The songs were loud but at some areas of the GA floor, it sounded too reverby and it wasn't very good.  However, other areas sounded fine, crisp, and pretty hard sonically.  Lots of people singing along, the first 4-5 songs had nearly constant screaming and yelling from the crowd.  Hard to hear Lana sometimes.  Lots of weed smoke (welcome to SF), I saw about a year old baby there with gun headphones on, and a giant brawl broke out on the right side of the audience during nearly the entirety of Young & Beautiful.  Multiple people were escorted out.  I was in the middle of it; it was because a lot of girls were on top of boys' shoulders and people behind couldn't see.  A relatively small girl and really tall girl (who couldn't see over) got into it verbally then the hair grabbing and punches followed.  Then about 50 people joined in.  Crazy to witness and a bit weird with Lana's singing Y&B to it.
 
Finally, I thought I heard a new Lana song played before she came on.  There were no openers, so it was just Lana's warmup music.  Lots of typical Lana style songs but well recognized, except for one.  It was slow but not really balladly.  Seemed to base itself around piano and an organy-synth (Hammond organ?) and it really sounded to me like Lana's vocals and style.  It wasn't very rockish either.  I'm unsure but it definitely struck me as odd when I heard it.
 
Highlights were Gods & Monsters, West Coast, and Body Electric came more alive for me live (I'm not a big fan of it on the record).
 
I didn't see a topic, so share your stories, thoughts, etc.

IT WAS SO INTENSE AND CRAZY AND GIRLS WERE CRYING AND SCREAMING AND CHOKING FOR AIR BUT NOT IN AN IRONIC WAY 
 
ps was anyone here the cute white boy with the bouffant hair and sleeveless denim jacket 
 
i will type more later cause right now i am beyond exhausted from all the shoving / fighting / flailing but she sounded so beautiful all night 

Like most of Lana's acapellas, I'll reserve my judgment until I hear the instrumentation...

Like most of Lana's acapellas, I'll reserve my judgment until I hear the instrumentation...

not going 2 complain about setlist
but i thought this would feature different songs and at least full version of west coast AND black beauty
lol

This is like those "what's your favorite/least favorite song" threads which haven't any consensus. The only way she can please everybody is to do everything, which I hope she continues doing.
 
For me:
 
AKA > BTD==Sirens Period > Paradise, though I think having all the different styles and periods are what makes me appreciate this artist more than others. Paradise (not including Burning Desire) is last because of length, not quality or production. I'd have rather seen a full release (or a more oversized EP) as @@neuf suggested, although Hollywood's Dead, Damn You, Never Let Me Go, and the song Paradise are the possibilities for bulking it up that occurred to me. Paradise doesn't really have a theme (that I can see) other than showcasing LDR's talents, so more variety would have helped.
 
Also as @@neuf suggested, the unreleased/unaligned poses a problem. You could put together possible albums that would compete with her released ones. For instance, she has enough later acoustic-stlye songs for a Sirens-like reboot album, or enough bubble-gum pop songs to do an album of those, and other possibilities as well. 

http://m-o-slash.tumblr.com/masterpost ~

There's a night version of Pilgrim and Never Wanna Know

I've been a big fan for a while since "Waste of Time" debuted (last year?) then the other singles were decent and some of the other songs a bit derivative or hit-or-miss.  The album is pretty good despite being propped up by older strong songs (Waste of Time, XXX, Pilgrim).  Filler-esque Dummy Head is really good to me for some reason, also really like Maiden and Red in the Grey.  Pretty strong throughout.  I don't think Mo will breakthrough with this album but she definitely has hype and everyone has liked most of what she's put out it seems, so she's going to grow well I think.  It will be interesting to see what happens outside of this style that she has put forth since and on this album.  I could also see if you're not into her style, this album can get old quick.  I like how her melody vocal lines carry a lot of the transitions and they are pretty bare despite her propensity to fill every other ounce of the sonic space with her voice.
 
I'm not really a pop person but out of my pet pop singers recently, this one killed Kylie's album.

What I find so interesting about all the speculation on UV is how it's going to sound.  Lana could do an album full 60s-esque Motown, electronic/EDM-pop deal, straight indie rock, baroque pop, etc. of material and it wouldn't be too unexpected.  That's what great about her.  Her back catalog is so diverse and she really nails it on a lot of different genres.  How great it is to have an artist with such a range.  At the same time though, it's going to feel that she's boxed in regardless.  Even if they try to touch upon everything from Paradise-esque Black Beauty to something EDM, it might not flow right.  I expect something along the lines of Paradise in terms of Baroque Pop but it's going to be interesting in how she makes the big hitters (4-5 songs, possible singles and a bit varied in style) flow with the rest of it.

What I find so interesting about all the speculation on UV is how it's going to sound.  Lana could do an album full 60s-esque Motown, electronic/EDM-pop deal, straight indie rock, baroque pop, etc. of material and it wouldn't be too unexpected.  That's what great about her.  Her back catalog is so diverse and she really nails it on a lot of different genres.  How great it is to have an artist with such a range.  At the same time though, it's going to feel that she's boxed in regardless.  Even if they try to touch upon everything from Paradise-esque Black Beauty to something EDM, it might not flow right.  I expect something along the lines of Paradise in terms of Baroque Pop but it's going to be interesting in how she makes the big hitters (4-5 songs, possible singles and a bit varied in style) flow with the rest of it.

What I find so interesting about all the speculation on UV is how it's going to sound.  Lana could do an album full 60s-esque Motown, electronic/EDM-pop deal, straight indie rock, baroque pop, etc. of material and it wouldn't be too unexpected.  That's what great about her.  Her back catalog is so diverse and she really nails it on a lot of different genres.  How great it is to have an artist with such a range.  At the same time though, it's going to feel that she's boxed in regardless.  Even if they try to touch upon everything from Paradise-esque Black Beauty to something EDM, it might not flow right.  I expect something along the lines of Paradise in terms of Baroque Pop but it's going to be interesting in how she makes the big hitters (4-5 songs, possible singles and a bit varied in style) flow with the rest of it.

No, it's because Lana just became commercially successful and they want to keep that momentum up.  BTD came out in early '12 and while we like to boast it's still selling, it's selling late.  She had initial success with Blue Jeans and Video Games then there was backlash, she looked dead in the waters for the US market until the remixes came out.  She was then marketed abroad mostly where there wasn't that backlash.  Now she's more successful due to the remix and Y&B.  Popular opinion outside of the LB universe has started to accept her.  She's not on the level of Gaga or Katy Perry or Beyonce, etc but Universal wants her to be.  They see promise in her and they have to compete with the other majors and their star players.  She's allowed to be creative and herself to a degree, but the label is going to axe things that they think won't sell, plain and simple.  It is a business and she is a product whether or not that is pleasant to hear.

No, it's because Lana just became commercially successful and they want to keep that momentum up.  BTD came out in early '12 and while we like to boast it's still selling, it's selling late.  She had initial success with Blue Jeans and Video Games then there was backlash, she looked dead in the waters for the US market until the remixes came out.  She was then marketed abroad mostly where there wasn't that backlash.  Now she's more successful due to the remix and Y&B.  Popular opinion outside of the LB universe has started to accept her.  She's not on the level of Gaga or Katy Perry or Beyonce, etc but Universal wants her to be.  They see promise in her and they have to compete with the other majors and their star players.  She's allowed to be creative and herself to a degree, but the label is going to axe things that they think won't sell, plain and simple.  It is a business and she is a product whether or not that is pleasant to hear.

Albums back then were recorded much differently.  Bands went into the studio, had a few sessions with session players, did their piece and left.  Then you had the likes of Phil Spektor, etc. do all the production themselves.  Bands are getting away from that because there are a few big names and they often phone it in or can be really difficult, so bands eventually end up learning production themselves.   You didn't have ProTools, Logic, Cubase, etc. to deal with -- you did a few takes and even if it wasn't perfect, it stuck because the label was paying for your time.  Now everything is meticulously quantized, the slightest mistake is autotuned, etc.  Producers can do it all on a computer, email between people mixes and ideas, etc.  Sure some (probably like Dan) are more purists, but I know for a fact that some of the producers she's worked with before are very up-to-date with the tech.  A single producer is more common in rock music, not in pop music.  Lana doesn't play any instruments besides singing and she does have co-songwriters many times that seem to happen in the studio.  So it does appear she does write in the studio sometimes, some artists don't.  Dan doesn't do mastering, that's a highly specialized area, and I'm sure it's just sent off to a masterer (there are a few big names that do tons of albums across all genres).  Jon Davis will probably do it since he did both BTD and Paradise.  It's not uncommon for an artist just to stick with one masterer.  It's not like mastering matters much to most people anyway, but it is indeed important.

No, it's because Lana just became commercially successful and they want to keep that momentum up.  BTD came out in early '12 and while we like to boast it's still selling, it's selling late.  She had initial success with Blue Jeans and Video Games then there was backlash, she looked dead in the waters for the US market until the remixes came out.  She was then marketed abroad mostly where there wasn't that backlash.  Now she's more successful due to the remix and Y&B.  Popular opinion outside of the LB universe has started to accept her.  She's not on the level of Gaga or Katy Perry or Beyonce, etc but Universal wants her to be.  They see promise in her and they have to compete with the other majors and their star players.  She's allowed to be creative and herself to a degree, but the label is going to axe things that they think won't sell, plain and simple.  It is a business and she is a product whether or not that is pleasant to hear.

No, it's because Lana just became commercially successful and they want to keep that momentum up.  BTD came out in early '12 and while we like to boast it's still selling, it's selling late.  She had initial success with Blue Jeans and Video Games then there was backlash, she looked dead in the waters for the US market until the remixes came out.  She was then marketed abroad mostly where there wasn't that backlash.  Now she's more successful due to the remix and Y&B.  Popular opinion outside of the LB universe has started to accept her.  She's not on the level of Gaga or Katy Perry or Beyonce, etc but Universal wants her to be.  They see promise in her and they have to compete with the other majors and their star players.  She's allowed to be creative and herself to a degree, but the label is going to axe things that they think won't sell, plain and simple.  It is a business and she is a product whether or not that is pleasant to hear.

I agree with you Brite Lites and Ultra-Violence. 
 
First of all people need to understand that Lana's new album is a big project for Universal. A short recording session to finish an album is delusional. Lana was on the lists for most commercially successful albums in 2012 AND 2013 and the record is still selling. They will have a very careful eye on what is going on and how much time and effort she and the producers have put in. Since this is one of the biggest releases for the Universal Music Group this year, people need to get rid of the idea that Lana del Rey is just an iconic head flower wearing hipstar and free-spirit who is doing whatever she wants to do. She has to deliver and if the she doesn't, it will be not only a desaster for  her but also for the label.
This is a multi-million dollar project and Lana is well aware of that. I think she is way more a sassy businesswoman that she wants people to know.
 
I can understand that somebody reacts kind of agressive to some posts. I mean, it reaches the point that some people ask what Interscope and Universal have to do with each other.   I mean, Google can help. 
 
Maybe she just wanted to tell people with that post that she can finally confirm that Dan Auerbach is involved with making the album. Maybe she will reveal more people who were involved in making the record via Instagramm or Twitter in the following days.
 
The best case would still be that Universal finally sets an official release date. I am still hoping that this record will come out in May.