SoftcoreBabyface

Thank you, Goodfellas is my fav 

maybe this was planned at the last second because she saw how thirsty we are and instead of having us rob Targets across the USA she'd rather gift us with the beautiful present that is Salvatore

I thought it was so strange when he worded the question like "Have you done any soundtracks?" like wtf? 

How unprepared is this interviewer to not know about her soundtrack work? "Young & Beautiful", "Once Upon a Dream", "Big Eyes", "I Can Fly"... take your pick.

http://www.bbc.co.uk/programmes/p032lwbw

 

She will also be recording a Maida Vale session next Tuesday!

Does this mean I'll be freed from my cage?

Out of all the Lana songs, the Blue Jeans bridge is my most anticipated part, "We went out every night, and baby that's alright, I told you that no matter what you do I'd be by your side, Cos' I'm a ride or die, whether you fail or fly, well shit at least you tried. When you walked out the door, a piece of me died, told you I wanted more, that's not what I had in mind, just want it like before, we were dancing all night, then they took you away, stole you out of my life, you just need to remember." It get's me everytime.
 
Also the bridge of 'This Is What Makes Us Girls' is just stunning too. "They were the only friends I ever had, we got into trouble and when stuff got bad, I got sent away I was waving on the train platform, crying cos I know I'm never coming back."
I must have a thing for bridges because the Backfire bridge is another one of my favorites.
 
I also love the piano in 'Every Man Gets His Wish', it's definitely on of my favorite elements to the song.
 
Bridge of National Anthem, "It's a love story for the new age, for the six page, we're on a quick sick rampage. Wining & dining, drinking & driving, excessive buying, overdose and dying."
 
The opening like to Born To Die, "Feet don't fail me now, take me to the finish line. oh my heart it breaks, every step that I take, but I'm hoping at the gates they'll tell me that you're mine." I also love the orchestra in that song too and the end.
 
So many good musical moments!

Okay, I need to organize this by album/demos/unreleased because there are so many songs and so many amazing moments for me.
 




 
This is an awesome thread, Sitar, thank you. There are some more moments, but holy shit I've typed a lot and school is almost over so I'll be at rehearsal for a few hours because I'm fabulous and in a play so I'll be back to read all of your interesting responses later, bye. xoxo

When she gets all childish and you can hear her voice break in her iTunes Festival "Million Dollar Man" performance.

'scowlin like the sunshine set on sarasota'
 
that really does something for me. and the song 'last girl on earth' stops me dead in my tracks.

This is a GREAT thread topic <3 I have dozens and dozens and dozens of these moments. This is the kind of shit i live for. I’ll come back later with a list of moments, but...
 
 
YES YES YES! Well said. This is my #1 moment too! I wrote about it once on LDR.FM, how that part is otherworldly, on another level entirely. I sincerely believe that it’s one of the best moments in pop music of the last, oh, 15 years. MM is what i use to first introduce my friends to Lana.
 
I’m honestly really terrible when it comes to harmonic theory and analysis, so i’m not exactly sure what’s going on there. She’s obviously changing the melody of the chorus, but there’s more going on. I used to think the song changed keys there from its home key of D minor, but now i realize there’s no modulation there, she’s just flatting the fifth (in this case the A become an A flat) which makes a tritone (the interval that was once viewed as the devil in music, its use prohibited by the church!) and creates some diminished harmonies, introducing some really nice dissonance. That’s as much as i can tell you, if you know theory at all this tells you almost nothing, and if you don’t know theory, then this tells you nothing at all. Any musicians here? Anyway, this section is FUCKED and totally, totally, totally, totally, totally brilliant. Sitar, to say that it sounds “turned inside out” is a very keen and intuitive observation because the tritone is the most unstable interval in music and is always looking to resolve; it's used mostly to create musical tension before a release/resolve.
 
Let’s start a petition for Lizzy to work with Kahne again even though she probably doesn’t want to! Give Emile the boot!
 
 
 
YES.
 
 
Highest note she's hit on record, i believe. Lana enters the false register.

I love that too. But also in the demo a capella version
Yo she looks animated like a cartoon baby
with her champagne sighs and her cocaine high
 
Tingles right there.

When Lana says, "She says you don't want to be like me, don't want to see all the things I've seen"

Yes, "Hello heaven, you are a tunnel lined with yellow nights on a dark night" is one of the best moments for me, but even more so the dark, eerie, and obsessive bordering on creepy turn "Yayo" takes after that.
 
That is a great emotional performance of MDM, and I know I'm beginning to sound like a broken record on this, but I believe her performance at Òran Mór in Glasgow remains her best (although I do love the way she wails "I'm fine" on some other live performances, like Hackney I think). She nails all the tricks, does some great scatting, and way she screams "I don't know" at 3:03 gives me chills. If she hadn't forgotten to sing into her microphone at one point, it would be perfect. Perhaps she sang it so well here because Barrie was probably there.
 
 
 
Some other great moments:
- The high vocal harmonies in "Serial Killer"
- The intros to "Kinda Outta Luck" & "She's Not Me"
- Some of the breathier vocals on AKA, especially "Kill Kill", "Jump" and "Mermaid Motel"
- "Goddamn, goddamn" in live version of "Pawn Shop Blues"
- "Mmmmmmm" at the end of the chorus in "Video Games" and at the end of some lines in the chorus of "Kill Kill"
- "Pushing up my (moans) in your face, in your face" in "Go Go Dancer"
- "Not even they" and "their heavy words" in "Radio"
- Alterna-rock live version of "Brite Lights", the whole thing
- "Come on, come on" in "For K Part 2 (Demo)"
- "savior" in Kinda Outta Luck

And I said: how do you spend your nights, honey? - the live version of Trash kills me generally, it always did. And Dark Paradise, everything about it. There's a lot more but I fear that I'll start to mention bits I love of every song and make this post crazy-long

starting with 3:37 in
brings me to tears she sounds so angelic. i loved those three nights idk i think her performance live was the best. 
the end of million dollar man when she says "so why is my heart broke ? i don't know.."
 
body electric in hackney.
 
(and almost all of her pre-lana songs, they just have a different vibe that i love)
 
oh and the demo of diet mtn dew the verse which she says "hit me my darling tonight, i dont know why but i like it.."

And with that blonde hair and trailer park darling look. Oh she's such a sweet young thing.

I think this is the most anticipated part of all the lyrics in all her songs for me

It's so perfect.

 
He said, “Lana Ray, will you serve me lemonade”

and I said, “Yes, Bill, I will, it’s the day of the parade

And you look even more handsome than you did the day that I left you

How do you spend your nights, honey, still watching TV

I long to be in your arms honey, come back to me please”

Erm
I don't know why, in Aviation 'Do you think I'm crazy, 'Cause I'm going to Pensacola'
I love the way she sings it...

That Angelic, Heart Breaking Voice in "Lucky Ones"
"Feels Like, Feels Like, You know it Feels Like Falling In Love For The First Time . That high, angelic voice when she sings it just runs to my eyes and liberates a soothing tear that goes down my face.
 
 

Can we do live performances? If so, this:
There are two moments for me. First, when she does the chorus at 2:48 and she's bellowing and it sounds so emotional and you can see it from her voice that it's coming from a very deep place. The second moment is directly after when she sings along to what sounds like could be a saxophone solo. I love that and wish it could be on the album version.
 
As far as studio material goes, in Every Man Gets His Wish the lines:
I was working down in the corner cafe
You would drive by in the Chevrolet
Whistle at me as my hips go sway
"Lana Del Rey how you get that way?"
 
I just smile. It's so sweet and classic Lana to me.

They asked about movies and she just happens to NOT FUCKING MENTION LIFE IS BEAUTIFUL....
 
And the interviewer just passes the opportunity to ask about it....

Aw, she was ready to talk about Once Upon a Dream but the interviewer didn't press the subject
What a shame, I would have loved to read her thoughts on the song and the movie.

K Jazz. 
 
 
K Jazz     

About A Band: Lana Del Rey
  Cameras snapping, celebrities crashing to the ground after a long night out, classic movie scenes in black and white—the old Hollywood image was there from the very beginning, when Lana Del Rey’s big bouffant and even bigger voice nearly broke the Internet the moment the opening bells of her debut song, “Video Games” tolled.    “With Born To Die, a lot of the concepts were about wanting to be free and not actually being free, and the road it took to bridge that gap,” Lana tells us of her debut. Her art has always been filled with contradiction, towing the line between the glamour and sadness of fame, between the intimacy and loneliness of love.    Her latest album, Honeymoon is no different.    “With this record, there was a slight visual commentary on voyeurism, or rather, anti-voyeurism,” she says. The first single from the album, “High By The Beach,” puts this theme front and center. The video shows Lana wearing a flowing mint nightgown and pointing a machine gun half her size at the nosing helicopter of gawkers buzzing overhead to get a peek of her in her giant, all but deserted beach house.    Of course, the image is an exaggerated look into what it must be like to actually be Lana Del Rey. Air espionage may or may not factor in to the New York-born songwriter’s day-to-day life, but one thing is for certain: There has been no lack of attention on the woman who has managed to bring edgy elegance back into the spotlight; and Honeymoon doesn’t disappoint.     On the eve of her third album release, we spoke with Lana Del Rey about recording the new record, touring with fellow leading ladies, and what she can’t leave for tour without—read our exclusive interview below and pre-order Honeymoon on limited edition UO vinyl here.    What was the biggest learning you took from Ultraviolence—be it writing, recording, or touring—and applied to Honeymoon? I think the biggest lesson I learned was there's never a wrong time to write. Sometimes it takes years to make a record, and sometimes you write something right after you've released a record, but you're crazy not to take advantage of the lyrical muse if it comes to you. Also, to not second-guess the direction that a record naturally takes itself—or a title for the record—if it presents itself to you.
   What was the most memorable part of recording Honeymoon? I have so many fond memories of recording this record, mostly because I love the producer I recorded it with, Rick Nowels. I guess just being able to go back-and-forth from the beach to the studio, and taking my time with the production, and mixing over the last 12 months—plus lots of early-morning coffee and vocal sessions.    What’s your secret to building a cohesive narrative on your record? My secret is how much I love to sing. Sometimes I forget how lucky I am to be able to do my favorite thing every day. It can get tiring trying to build a cohesive world if a lot of people looking in on it don't really see how it all fits together—but with me, it usually works out in the end. For me, it’s never been about sales; it's about the vibe, and everyone I work with on the records gets that.
   Ok, so someone’s picked up a copy of Honeymoon—where should they immediately go to listen to the album? Is there an ideal location? [Laughs], If they get the vinyl, maybe in their bedroom, if they have a vinyl player. Or in their living room next to a fire, since it's almost going to be October. If they have it on their phone or on a CD, they could listen to it in the car while they're driving down a long highway.
   Your music videos are always works of art in and of themselves. What’s the one music video by another artist that has had the biggest impact on you?  Probably “Heart-Shaped Box” by Nirvana.
   What are three things you always pack to take with you on tour? My favorite jeans, my favorite leather jacket, and my record player.
   Now that you’ve finished recording the album, what is the music you’re listening to? I listen mostly to a radio station based out of Long Beach called K Jazz, and the Beach Boys and Connie Francis.    Whether it’s soundtracking a movie or modeling for a brand, how do you decide which outside projects to be involved in? I try to only do things I'm interested in. It hasn't been that hard in the last few years because I've had so many great opportunities. I was really excited when I was talking to Disney about singing the song for Maleficent.
   You’ve toured with some incredible women, from Courtney Love to Grimes.  What’s been the favorite thing you’ve learned from them while on the road? Well, the thing I really loved about Courtney was she was up for anything. She's played a lot of shows before [and] made a lot of great music, but she's a real performer through and through. I always felt like she played each show like it was going to be her last, and gave everything she had to the audience. In that way, she was really inspirational to watch. Grimes is amazing, too, because she's so eclectic and does so much by herself.
   [source]