Constantine

the cover is PERFECT

Thank GOD Brooklyn Baby sounds nothing like that cringe-fest. Y&B is TRASH.

As if this makes you some sort of expert lmao. Call me when Mariah stops lipsyncing.
 
 
Her vocals on UV are really great. Yes they're reverbed but that adds a dreamy and psychedelic effect to it. It's like you've never heard anything outside of pop music?

Thank GOD Brooklyn Baby sounds nothing like that cringe-fest. Y&B is TRASH.

She obviously wanted to achieve a different mood for UV. While BTD is almost perfect, overproduced and 'crisp' like you mentioned, UV is grungy, heavy and it's fantastic. You shouldn't even compare her BTD vocals to these cause her delivery is meant to represent her current state of mind: dark and moody. Things aren't even clear to her, why would her voice be clear to us? She even said they used cheap microphones to record some of the songs...
 
So chill out, her vocals aren't as bad as you're making them seem.

Her vocal delivery on Ultraviolence is out of this world. You get the sultry deep voice but you also get that light and fluffy high voice. If anything on this album is good, it's her singing.
 
The production compliments the vocals. I absolutely love the band backing her; it's as if it was meant to be.

Born To Die - Million Dollar GOD
Paradise - Cola
UV - Sad Girl/ Cruel World

the self drag

..walked into the room you know you made my eyes burn/ it was like James Dean, floral skirt

Sorry, but you have disqualified yourself. Move on and listen to some LP1 and get your life or whatever.

RJ King for Lizzy

RJ King for Lizzy

The prechorus of Cruel World
the 'narco swing' on WC
the last chorus of Brooklyn Baby with the male vocals
the third verse of UV we can go back to new yoork~
but that's not what this bitch wants. That's not what I want at all... I WANT MONEY POWER GLORY
 idek

John Derek actually

Please don't let this discredit me because I absolutely ADORE the song, but I don't get what you're all raving about that happens in the final chorus of Mermaid Motel. Can someone explain why I'm missing this? I know there's a whole technical post about what's going on musically at that point, but it's pretty vague and I've listened to it a million times and even consulted a friend and we can't seem to get it to click. What's the difference between the last chorus and the others? How is it one of the best moments in pop music of the last decade if it's so subtle that I can't even notice it? 
 
Anyways, my all time favorite moment in a Lana song is that part at the end of Cola. You've all heard it but I want to articulate why I love it so much.
 
I feel like the whole song builds up this sexual tension: she kicks it off with the infamously provacative opener: "my pussy tastes like pepsi-cola," then raises it with her falsetto, singing "Harvey's in the sky with diamonds," and stimulates even more with the chorus' "come on, come on baby"s. All the while, the electric guitar is plucking about in the background (and the violin production is closing in/rushing the song). She brings it back to a simmer for the second verse, and works it back up again to maintain the tension during the bridge, where she trails off with some pretty satisfying "why, come on, come on, oooh" high notes. But the foreplay isn't over. She leads it back into a few repetitions of the chorus that are super well-produced and interesting because while she's singing "come on, come on, come on baby" the guitar is slowly climbing higher and higher and meandering around, flirting with her voice. It continues to do this through the best part of the song: the final three times that she repeats "my pussy tastes like pepsi-cola" where in the background she is moaning/singing as the guitar is still climbing, but it won't resolve until about 4:06 -- after the third and final "my pussy tastes like pepsi-cola!" as the track is actually fading out…those final three guitar notes are what I'm waiting for in the ENTIRE song. It's a glorious, sexy, triumphant and satisfying climax to the song and I freak out and blush every time. Damn, it's so badass. 
 
I also think the part where she whispers "it's been a long time" in Trash Magic is a stroke of brilliance in theory and execution. I'll explain:
 
In a super old interview, Lana explained that this song was written about a hotel room she was staying in that she decorated with tinsel from a dollar store down the street. I interpret this song as an innocent plea to an ex to come to this ghetto-fancy hotel room and reconnect, but it's enigmatic and ethereal undertones suggest a darker motive. The chorus is the sweet plea, "don't ya want to come to my motel, honey?" Throughout the song, she works to justify her well-intentioned invitation by arguing that it comes from a good place and she really, truly loves her ex ("Don't you know that I have really never love nobody but you?"). The verses illustrate the setting and reminisce on good times the pair shared. She begs and begs through the entire song, the chorus repeats a lot until it becomes a sweet, catchy little melody replaying in your head. Then it gets a little more creepy when she begs for empathy:  "all I want is to feel good, you know?" and then she goes into the sensual and siren-like repetition of "come on now, if you want to" and finally her true motivation becomes clear when she reveals that "it's been a long time…"
 
*gasp!* Shame on you, you horn-dog! 
 
And then we're launched back into the chorus. That right there is one of the most innocently sinister and satisfying moments of pop music of the last decade.
 
Unfortunately, this part is left out of the live performance of this song. However, I think she does something else genius in her live performance of this that makes me love her in a different way. When she performed in her Lizzy days, she seemed to have a different way of connecting with the audience. A lot of her songs were kind of conversational with the audience, so she would often pitch a character to them and then become that character. She does this during the spoken part of that song: it's right after "and you look even more handsome than you did on that day, that i met you" (she's still explaining what she said to him there) then she jumps right into character here for "how do you spend your niiiiiights, honey, still watching' tv?" Truly stunning. 
 
She also does this during her performance of End of the World, although it's a bit more subtle. It's after the second time she asks "why does my heart go on beating?" and someone laughs (it seems like that question is directed towards the audience). Then she jumps into her pouty character and reflectively croons, "why do these eyes of mine cry?" I love that part.
 
I know everyone has already listened to these songs a million times and I'm not sure how well I did these parts justice, but they are all seriously so sublime. Someone please tell me I articulated this perfectly and that they agree with me  

PIN UP GALORE IS EVERYTHING HOLY IN THIS WORLD TO ME. 
Body Electric was perfect before Paradise... the studio version is atrocious. 
Summer of Sam is amazing. 
PLAYING DANGEROUS IS FLAWLESS. 

Daytona Meth
 
 

I actually think they'd be kind of perfect for each other:
 

From IMDB: The Source Family was a radical experiment in '70s utopian living. Their outlandish style, popular health food restaurant, rock band, and beautiful women made them the darlings of Hollywood’s Sunset Strip; but their outsider ideals and the unconventional behavior of their spiritual leader, Father Yod, caused controversy with local authorities.

Before we journey down the rabbit hole that is the Source Family, their leader Father Yod and the influence all of this may have had on Lana Del Rey and her album Ultraviolence, here is some background information of who they were and what they did:
 





There are also many excellent articles on Jim Baker, Father Yod and the Family available online. While I will be linking some of them here as references, I will mostly be focusing on the Family and their own personal interpretations of what was going on during the time they were active as I believe this is where Lana gathered most of her inspiration from. There are a lot of negative articles written about what actually was going on behind closed doors at the Family homes and while I'm sure some may be accurate, and will lend support to some theories, the writers of the articles were not a part of the Family and did not experience first hand what went on. While most former Family members do have criticism toward Jim Baker, the man, they speak very highly of Father Yod as their Earthly Spiritual Father, enough so that I don't doubt they would embellish. I recommend reading all evidence and articles with a grain of salt as all of it is personal anecdotes and there is no solid facts to back up any claims made.
I encourage every member of Lana Boards to dig in and discover any other pieces of evidence you may find regarding this topic. I will add to this post as new evidence is found with credit to the finder!

Here is the original post that I made in the Ultraviolence lyrics thread so please have a look at that for an idea of what started all of this:

http://lanaboards.com/index.php?/topic/4684-ultraviolence/?p=198053

So hopefully now you have an idea of the Family, we'll jump into the evidence we have. Some of it will be stuff that I and other users have already posted on the UV thread, some will be new. Please note, this section will be updated as more info is discovered.

The Source Family and their Influence on Ultraviolence

General Evidence



Lyrical Evidence
While I believe some songs on UV are inspired by the Source Family, I don't think that all songs were inspired by them. So you won't see Old Money on this list for example, as it is clearly written for the Great Gatsby, inspired by the character of Daisy and written as an epilogue to Lana's Young and Beautiful.

I also believe Lana is inspired from many different things and she weaves them into her own story, either by becoming who she is writing about or imagining herself in a similar situation. She has said before that is in the habit of writing about several things in a song and tying them all together. For example, Video Games being about two different men, etc. So while some lyrics fit the Source theory, others will not as they are probably influenced either by her life or something else.

Cruel World



Ultraviolence



Shades of Cool




Brooklyn Baby



Aesthetic Evidence
This section is about the pictures used for Ultraviolence vs pictures from The Source Family Archives as well as the soundscape Dan Auerbach and Lana came up with. Lana had stated that her new take on the UV album was "Unlistenable" with many different sounds, tempo changes, etc. Some of the Ya Ho Wha recordings sound very similar to how Lana re-did UV with the layered sounds, experimental vocals and tempo changes.

Sound



Visuals



As I stated above I will continue updating this post with more evidence as I find it. Please feel free to post any similarities you might find and I will happily add it with credit to you!

RJ King for Lizzy

John Derek actually

Live fast, die young

John Derek actually

a Florida Kilos music video directed by Harmony Korine would be

Impeccable taste as always
 
http://www.youtube.com/watch?v=JwSgVlklLEE
 
Except the Eagles