NEAL

Well you know, one day Lana just strolls down the street, stressed out, thinking why she can't get focused on finishing her last few assignments to get that big degree in philosophy, daydreaming all day about the two constant thoughts in her head:
car...
men...
car...
men...
car...
men...
car...
men..
 
*singer-songwriter lightbulbs moment*
 
♪ Carmen, Carmen... ♫
 
 
 
*Neal's lightbulb moment* You've just gave me an idea, Matt. TY

The Blue Velvet moaning humming is heavenly.
 

It's a party, it's a party, it's a party, it's a party, it's a party, c-c-cmon...
 
 

T.T

 
 
 
 
But hosheet, Gramma!
Hold up the phone!
Monicker just liked my post!
LIKED-MY-POST!

 
Get that Twitter frame down, nao!
We have new one to hang!
 
 

Even if Sitar gonna completely hide this post or (hopefully just temporarily) revoke my posting ability, I'm gonna soldier on to say that one of the/my best LDR Musical Moment is indeed (you guessed it) ...in Lucky Ones. Below is a c+p of comment I made on Feb 10, back when I know so little of her, watched only a handful of live performances, and only have Born To Die to replay constant and continuously.
 
judgemekillyou.gif
 
 

Off to the races topic..
 
After countless comment-reading of fave songs, I genuinely felt like I'm the only one fawning over Without You and Lucky Ones. (But it's all good, all good.. #feeling-a-pseudo-possession)
 
And very, very, very... esp. Lucky Ones.
If asked why, it'd be a long essay of fangirling over the cello, trumpet, and harp sounds.
That overall majestic, cinematically denoument-ish orchestration in the outro.
To my ears' delight, it has perfect amount of chorus repetition, not too much, not too little.
I like the way she back-vocals it. I like the creepy, alien-spacecraft-hovering synth-sound* randomly appearing (creepily) throughout the song, the church bell + timpani drum-roll + loud-cymbal-crash combo, seconds before the chorus--it almost sums up my type of favorite sonic experiences. I just need her to make a mini-film of it to slay me, tbh.
 
And seriously that lyric?
Sung in such way, and in such aforementioned atmosphere?
Every now and then, the stars align
Boy and girl meet by the great design
Boy, do I fall in love..
 
I honestly think that Lucky Ones is one of the few songs that'd be great if sung live--it has generous space between verses/lines/lyrics, minimizing ~out-of-breath occurrences, which I think for me, still a quite major issue in Lana's performance. Most time I watch videos of her live, I subconsciously hold my own breath. If only she would lay low on the varying a little. It's like: eff the lyric Lana, breathe girl, breathe..  
8 months+ later, re-reading that, I still feel the same. I used to think that I really hate brass-section, trumpet, horn, trombone, let alone sax.. eh, not for me, nuh-uh, no sir. But just like most other things I decided I want to hate--I turned out finding something beautiful about it and just started really liking it.
 
And then I just have to add the whole intro length of Little Girls and/or Put Me in A Movie, the right to left channel of oriental-music-box(?) sound, followed by the brooding bass, the looping E-G#-D-G#(?), and that distant, chiming, shop-door-bell sound. If anything, my ears hear this as the sound she described as 'a sad-party'. The way she sings it so desperately sad and cheerfully heartbroken, makes me just wanna buy her every goddamn chocolate cake in town.
 
And bridges. Oh, those bridges..
 
I think I've said here somewhere (or maybe was it at ldrfm) that on first listen of BTD, right off the bat I connect more to the later half of the tracklist. On Dark Paradise's bridge I was flabbergasted and was like: "How did that even possible?". Maybe the overall lack of expose to music on my behalf, but I seriously think that my ears have never experienced a powerful war-drum** or beats in general, combined so beautifully with melody, not since a long time. And then there's Without You, that sorta just seems to know that I'm a sucker for that tacky/overused/cinematical/Olympic momentuous, overturning, building progression of hymnal strings, paired with lines of what I would say as 'the anthem of self-proclaimed, castaways, rebel teens'.
 
 
* aka Emile Haynie's signature sound
**or rather, tom-toms or maybe even slap-bass

.

Even if Sitar gonna completely hide this post or (hopefully just temporarily) revoke my posting ability, I'm gonna soldier on to say that one of the/my best LDR Musical Moment is indeed (you guessed it) ...in Lucky Ones. Below is a c+p of comment I made on Feb 10, back when I know so little of her, watched only a handful of live performances, and only have Born To Die to replay constant and continuously.
 
judgemekillyou.gif
 
 

Off to the races topic..
 
After countless comment-reading of fave songs, I genuinely felt like I'm the only one fawning over Without You and Lucky Ones. (But it's all good, all good.. #feeling-a-pseudo-possession)
 
And very, very, very... esp. Lucky Ones.
If asked why, it'd be a long essay of fangirling over the cello, trumpet, and harp sounds.
That overall majestic, cinematically denoument-ish orchestration in the outro.
To my ears' delight, it has perfect amount of chorus repetition, not too much, not too little.
I like the way she back-vocals it. I like the creepy, alien-spacecraft-hovering synth-sound* randomly appearing (creepily) throughout the song, the church bell + timpani drum-roll + loud-cymbal-crash combo, seconds before the chorus--it almost sums up my type of favorite sonic experiences. I just need her to make a mini-film of it to slay me, tbh.
 
And seriously that lyric?
Sung in such way, and in such aforementioned atmosphere?
Every now and then, the stars align
Boy and girl meet by the great design
Boy, do I fall in love..
 
I honestly think that Lucky Ones is one of the few songs that'd be great if sung live--it has generous space between verses/lines/lyrics, minimizing ~out-of-breath occurrences, which I think for me, still a quite major issue in Lana's performance. Most time I watch videos of her live, I subconsciously hold my own breath. If only she would lay low on the varying a little. It's like: eff the lyric Lana, breathe girl, breathe..  
8 months+ later, re-reading that, I still feel the same. I used to think that I really hate brass-section, trumpet, horn, trombone, let alone sax.. eh, not for me, nuh-uh, no sir. But just like most other things I decided I want to hate--I turned out finding something beautiful about it and just started really liking it.
 
And then I just have to add the whole intro length of Little Girls and/or Put Me in A Movie, the right to left channel of oriental-music-box(?) sound, followed by the brooding bass, the looping E-G#-D-G#(?), and that distant, chiming, shop-door-bell sound. If anything, my ears hear this as the sound she described as 'a sad-party'. The way she sings it so desperately sad and cheerfully heartbroken, makes me just wanna buy her every goddamn chocolate cake in town.
 
And bridges. Oh, those bridges..
 
I think I've said here somewhere (or maybe was it at ldrfm) that on first listen of BTD, right off the bat I connect more to the later half of the tracklist. On Dark Paradise's bridge I was flabbergasted and was like: "How did that even possible?". Maybe the overall lack of expose to music on my behalf, but I seriously think that my ears have never experienced a powerful war-drum** or beats in general, combined so beautifully with melody, not since a long time. And then there's Without You, that sorta just seems to know that I'm a sucker for that tacky/overused/cinematical/Olympic momentuous, overturning, building progression of hymnal strings, paired with lines of what I would say as 'the anthem of self-proclaimed, castaways, rebel teens'.
 
 
* aka Emile Haynie's signature sound
**or rather, tom-toms or maybe even slap-bass

Don't be afraid of Sitar, Neal, you can come stay with the level-minded & loving individuals AKA the Lucky Ones fans. We welcome you into our arms. This post is the epitome of awesomeness, it says everything I haven't already said about the perfection that is Lucky Ones. Sitar, if you have something negative to say to this amazing and well thought out post by our lovely new fam member Neal, you can go eat shit. *gets Beemo, Lana Del Rey, and a few other prized users and throws Neal a Lucky Ones Welcoming Party*
 
If anyone reading this ever feels scared and alone, I want you to know, it doesn't have to be this way. It's okay to profess your love for Lucky Ones. When I came out and told everyone how I felt, I felt this wonderful sense of relief. My true friends accepted me for who I was born to be, and even if they didn't like Lucky Ones, they no longer said bad things about it when I was around. Most of them grew to love and respect it though, just as much as they loved and respected me. If you don't feel comfortable talking to someone you know, please at least call this hotline, they have someone waiting to talk to you 24/7. I swear you won't feel alone anymore. 1-800-LUC-KY1S
 

I actually do. And it rEALLY annoys me when people are off pitch, so being a Lana fan is a bit odd, isn't it.
And yes, that sounds great!!

Absolute
 
Absolute pitch! And I haven't tried that yet.

Gladly!!
I'll take any requests too!
But dear god, do NOT ask for Moije Joue.

I have perfect pitch, I can find out chords really easily.

Even if Sitar gonna completely hide this post or (hopefully just temporarily) revoke my posting ability, I'm gonna soldier on to say that one of the/my best LDR Musical Moment is indeed (you guessed it) ...in Lucky Ones. Below is a c+p of comment I made on Feb 10, back when I know so little of her, watched only a handful of live performances, and only have Born To Die to replay constant and continuously.
 
judgemekillyou.gif
 
 

Off to the races topic..
 
After countless comment-reading of fave songs, I genuinely felt like I'm the only one fawning over Without You and Lucky Ones. (But it's all good, all good.. #feeling-a-pseudo-possession)
 
And very, very, very... esp. Lucky Ones.
If asked why, it'd be a long essay of fangirling over the cello, trumpet, and harp sounds.
That overall majestic, cinematically denoument-ish orchestration in the outro.
To my ears' delight, it has perfect amount of chorus repetition, not too much, not too little.
I like the way she back-vocals it. I like the creepy, alien-spacecraft-hovering synth-sound* randomly appearing (creepily) throughout the song, the church bell + timpani drum-roll + loud-cymbal-crash combo, seconds before the chorus--it almost sums up my type of favorite sonic experiences. I just need her to make a mini-film of it to slay me, tbh.
 
And seriously that lyric?
Sung in such way, and in such aforementioned atmosphere?
Every now and then, the stars align
Boy and girl meet by the great design
Boy, do I fall in love..
 
I honestly think that Lucky Ones is one of the few songs that'd be great if sung live--it has generous space between verses/lines/lyrics, minimizing ~out-of-breath occurrences, which I think for me, still a quite major issue in Lana's performance. Most time I watch videos of her live, I subconsciously hold my own breath. If only she would lay low on the varying a little. It's like: eff the lyric Lana, breathe girl, breathe..  
8 months+ later, re-reading that, I still feel the same. I used to think that I really hate brass-section, trumpet, horn, trombone, let alone sax.. eh, not for me, nuh-uh, no sir. But just like most other things I decided I want to hate--I turned out finding something beautiful about it and just started really liking it.
 
And then I just have to add the whole intro length of Little Girls and/or Put Me in A Movie, the right to left channel of oriental-music-box(?) sound, followed by the brooding bass, the looping E-G#-D-G#(?), and that distant, chiming, shop-door-bell sound. If anything, my ears hear this as the sound she described as 'a sad-party'. The way she sings it so desperately sad and cheerfully heartbroken, makes me just wanna buy her every goddamn chocolate cake in town.
 
And bridges. Oh, those bridges..
 
I think I've said here somewhere (or maybe was it at ldrfm) that on first listen of BTD, right off the bat I connect more to the later half of the tracklist. On Dark Paradise's bridge I was flabbergasted and was like: "How did that even possible?". Maybe the overall lack of expose to music on my behalf, but I seriously think that my ears have never experienced a powerful war-drum** or beats in general, combined so beautifully with melody, not since a long time. And then there's Without You, that sorta just seems to know that I'm a sucker for that tacky/overused/cinematical/Olympic momentuous, overturning, building progression of hymnal strings, paired with lines of what I would say as 'the anthem of self-proclaimed, castaways, rebel teens'.
 
 
* aka Emile Haynie's signature sound
**or rather, tom-toms or maybe even slap-bass

It's like she's saying, "Go on. Underestimate me."

Oh Lord, this is the first time I've ever read through this thread.
 
I'm alive, but barely breathing.
 
So uh . . . here are my opinions that may or may not be unpopular.
 
-I really dislike her hair bleach blonde and short (like the AKA cover).
 
-I wish Paradise Edition would end with a super epic song like how BTD's first one was . . . well BTD. Burning Desire just doesn't seem like a good concluding song for the BTD era. Maybe Gods and Monsters could have been last? It's dark, epic, and shows a bit more of a "I'm going to do what I want with my life, and you can't control me, heffa" side of Lana that we don't see much.
 
-As mentioned above, I want to see more of a badass side of Lana opposed to victim Lana. I want to have a music video with her like murdering Bradley or something lol
 
-Sometimes I worry for Lana because she seems so nice and naive, and I'm afraid she might legitimately get hurt one day.

Yes, only with a slice of spaghetti-cake, dipped to maple syrup lemonade, glimmering by the swimming pool too.

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.
 
 

... you're inspired by everything ~beautiful (visually and sonically) and start to incorporate that into your daily life (thematically).

... you're inspired by everything ~beautiful (visually and sonically) and start to incorporate that into your daily life (thematically).

She scoots her way around controversy and talks about A$AP Rocky, going nude in GQ, and "lush" sounds
 
http://www.spinorbinmusic.com/2012/10/27/lana-del-rey-reveals-all-in-intimate-interview-music-is-not-my-first-passion/
 

Exaggeration of Lana's SNL blue jeans:
http://vocaroo.com/i/s1sqKEjNASZy

A. Oh children are just so sonically beautiful, so we get along well. But I get the feeling you don't like my babysitting skills.
 
Q. What's your favourite holiday?

I have written this before, but I think Jimmy G was a minor character in her life, as far as a real relationship was concerned. I think she developed a crush on him after meeting him at clubs etc., and as she said in some interview, she was impressed by his rock-star credentials, but realized later that he was only modestly famous. I think the more substantial relationships were with K, and MM. As far as songs are concerned, many of the early songs are about K, while the majority of the later ones are about MM (obviously she refers to both of them in some songs). Jimmy is the inspiration of only a few songs but she intentionally confuses matters by choosing BS for two of the videos, even though the character in Blue Jeans or VG or BTD has nothing to do with what we know of JG. Instead all the three songs of the trilogy seem most closely based on MM's character, with aspects of K's criminality thrown in, but mixed in with JG's looks (tattoos).

Q: Lana, will you marry me?

Lucky Ones is the best, obviously. You're all too delusional to understand. Simplistic yet visual and beautiful lyrics, gorgeous strings and instruments, and magnificent vocals; the best vocals on the album. Plus, THE FUCKING LOON IS IN THE SONG. THE AMAZING AUTO-TUNED LOON. The Loon itself is enough to slay basically any song on BTD. Combine the Loon with all the other wonderful aspects of the song, it's obviously the best.

First MD and Neal, you guys should change path and be detective instead or work for Most Wanted kind of shows. I did the same seach a while back but was too lazy to search through all pages with different dates. You are amaaazing!
 
Second, everytime I see her myspace pages I think how kitsch looking they are. If I did that it would have been labelled "bad taste", when Lizzy does it, it's just cool. It's unfair lol.