Paradise Lost Competition: Challenge #1 - Born To Die 2

[Sitar 22,210]

Eep, Sitar's track #4, #7 and #8 got me in whirlwind.. I think you'll soon know why.

 

Oh come on, even more competition? It was too epic a theme to avoid

[NEAL 740]

Oh come on, even more competition? It was too epic a theme to avoid

 

What? I didn't even..

Darling, darling.. if Riley post mine, soon you'll know that the themes occured in mine, too. Sorta.

[HunterAshlyn 686]

riley, i need the other write ups. I'm dying for them

[Sitar 22,210]

What? I didn't even..

Darling, darling.. if Riley post mine, soon you'll know that the themes occured in mine, too. Sorta.

 

Then what up with the whirlwind?

[NEAL 740]

^They're up in the sky..

[Hundred Dollar Bill 21,804]

I'm so excited to see everyone else's, and to see the feedback on mine! I'm feeling confident about this.

 

Everyone else who's have been posted already; great job guys! Some awesome ideas in there.

[RileyThomas 350]

Do you guys mind if I finish this up in the early morning? I'm just exhausted and even coffee won't keep me awake right now, and I feel that even if I can muster up the energy to go on that I will give you inaccurate scorings and half-hearted feedback because of my tiredness.

[HunterAshlyn 686]

Awh, of course baby. Rest! Don't lose your mind over this! (we all are, but you shouldn't hahahahaa)

[Hey Lucas Hey 202]

I fucking loved our team! On top of the world bitches. :haha:

[Hey Lucas Hey 202]

Oh and thanks for the feedback Riley

[Sitar 22,210]

When is morning in the UK? *camps out*

 

Once they're all posted we need to blow up the statuses and get this thread some promo.

 

I fucking loved our team! On top of the world bitches. :haha:

 

Will we be dethroned?

Will I throw a fit if we are?

[Hundred Dollar Bill 21,804]

When is morning in the UK? *camps out*

 

Once they're all posted we need to blow up the statuses and get this thread some promo.

 

About 6 or 7 hours, if he gets up at a reasonable morning time. I was thinking the same thing! I'd like feedback from more than just competitors, considering how ridiculously biased you are of your own work, girl.

 

Will we be dethroned?

Will I throw a fit if we are?

 

Of course you will be dethroned! By me.

I have a feeling you'll throw a terrible fit, be consumed by rage, and quietly implode while the rest of the world carries on as if nothing had happened. Oh, am I being too harsh? Sorry, love.

[Sitar 22,210]

About 6 or 7 hours, if he gets up at a reasonable morning time. I was thinking the same thing! I'd like feedback from more than just competitors, considering how ridiculously biased you are of your own work, girl.

 

Tell it to the 10/10, gerl :creepy:

 

Are you saying it's not good? This is too harsh, just stop joking and praise me

[RileyThomas 350]

Judging Part 3.

 

Children Of The Bad Revolution

 

MissDaytona:

Title: The Beautiful and the Damned (Born to Die re-release)

Lana Del Rey's Born to Die re-release, entitled "The Beautiful and the Damned", after F. Scott Fitzgerald's second novel, centers on Lana's obsession with fame, love, Hollywood, and The American Dream. Although Lana does not include a track to match the title of her re-release, it is easy to see where her inspiration comes from. The novel, first published in 1922, centers on a wealthy married couple who appear to have it all from the outside looking in- money, happiness, and love (among other things). However, one must take a closer look to see the sad truth. Lana quotes the novel in her song "Black + White" singing, as though from a distance and again in the final track of the re-release entitled "Nirvana", as she croons slowly and softly, as though her heart has been broken just before the song was recorded.

Lana Del Rey's first single from "The Beautiful and the Damned" will be "Hollywoodland" which features rapper Azealia Banks. This track has been chosen as the first single because it features a greatly anticipated collaboration between two newly successful artists, both of whom have received their fair amounts of praise and criticism.

Tracks:

1) Hollywoodland feat. Azealia Banks Written by: Lana Del Rey & Azealia Banks, Produced by: Emile Haynie

The song begins with Azealia Banks rapping William Shakespeare's infamous line"All the world's a stage. And all the men and women merely players" as a heavy bass echoes in the background. She continues to rhyme about Hollywood, fame, money, and power as Lana harmonizes in the background or adds a "Yeah" or a "Here we go" every now and then. The chorus is sung entirely by Lana, with Azealia repeating a few lines in the background. As a whole, the pop track's theme is about how Hollywood can either be heaven or hell on earth. It can bring you fame, money, and power, but it can't make you happy. Things aren't always what they seem in Hollywoodland.

 

 

2) Vulgar Darling Written by: Lana Del Rey & MissDaytona, Produced by: Emile Haynie

This song portrays a cat and mouse relationship between a flirtatious young woman and the one she desires. The song is a light and airy relief from the heavy lyrics and sounds of the other songs that are featured on the re-release. Similar to the "Born to Die" track "Lolita", the song is upbeat and fun, containing pop beats combined with lush strings. You can almost see Lana batting her lashes and smiling to her lover throughout the song.

 

3) Norma Jeane Written by: Lana Del Rey, MissDaytona, & Justin Parker, Produced by: Emile Haynie & Christopher Braide

This song was inspired by one of Lana Del Rey's many inspiration's, Marilyn Monroe, whose real name was Norma Jeane Mortenson. Although another song by Miss Del Rey, entitled "Marilyn Monroe", and also known as "Puppy Love", has previously leaked on the internet, sources confirm that these are different songs entirely. "Norma Jeane" provides a more insightful look into the life of Ms. Monroe- that is, the less glamorous and contrived side, as Norma Jeane Mortenson. Lana Del Rey seems to hold Monroe in high regard and relates to the lost icon, as she has portrayed her in her "National Anthem" music video and has sung "I'm strong but I'm lonely, like Marilyn Monroe" in her song "Marilyn Monroe." The song "Norma Jeane" begins with the song "Diamond's Are a Girl's Best Friend", sung by Marilyn Monroe, echoed in the background, in a sort of creepy, haunting manner as a heavy drum pounds. All of a sudden, this ceases and Lana begins to sing sweetly.

 

 

4) The Edge of Reality (Elvis Presley cover) Written by: Bill Giant, Bernie Baum, & Florence Kaye, Produced by: David Kahne

Lana Del Rey's favorite song by the timeless crooner fits in effortlessly to the Born to Die re-release. She reunites with producer David Kahne for one track. (Kahne produced Del Rey's arguably 'first' album "Lana Del Ray aka Lizzy Grant", which was recorded in 2008.) Lana sings the tune accompanied by powerful strings and a stunning saxophone. As she begins with the verse "I walk along a thin line darling, Dark shadows follow me", you see why the young singer may relate to the song.

 

5) Black + White Written by: Lana Del Rey & MissDaytona, Produced by: Emile Haynie

This track depicts a woman looking back at old memories of a very meaningful relationship. This person may have very well been the love of her life but he is no longer with her, for whatever reason, and she really wishes he was. It almost sounds as though Del Rey is singing through tears as the chorus progresses, thus pulling the audience in further, all the while questioning- Why? and also, Who?

 

6. Whole World's Girl Written by: Lana Del Rey & MissDaytona, Produced by: Jeff Bhasker & Patrik Berger

This song is inspired by a line from Del Rey's song "Gramma." It depicts Lana's desire to be everything to everyone, as well as her willingness to do whatever she must in order to obtain it. The lyrics are littered with references to dancing, prostitution, drug use, and evading the police all the while sung in a coquette-y rap of sorts. In addition, Lana's lyrics provide superficial imagery of bright lights, flashing cameras, and people calling out her name.

 

7) Rich Girls Written by: Lana Del Rey & MissDaytona, Produced by: Emile Haynie

This supposed good girl gone bad track makes you wonder if the protagonist was ever that.. good, that is. It depicts the story of a young girl from the wealthy side of town who begins to date a poor boy who deals drugs, steals, and keeps the town's police busy through his hell-raising tactics. Although outsiders believe it is the boy who is making her bad, it seems that she's always been that way, and had been looking in vain for someone to take her from her desolate, suburban life and make it more interesting. In the chorus, Del Rey sings in a breathy manner about how rich girls like her always want the bad boys. Emile Haynie, the sole producer on the track has added auditory effects- such as the sound of a motorcycle speeding away and a distant gunshot, to make the track more theatrical- a "Bonnie and Clyde" of sorts.

 

 

8) Nirvana Written by: Lana Del Rey & MissDaytona, Produced by: David Lynch & Emile Haynie

This final track on the re-release, and arguably the best and most haunting track, is a retrospective look back on a relationship. Bearing the same name as one of Del Rey's favorite bands, this track tells the tale of a relationship that makes you feel as though you are in a nirvana state while you are in it, but once it is over you realize how bad it was for you. However, you still long to be back there, as it was still the best feeling you've known. In this song, Lana goes through an internal struggle- Choose love, happiness, & ultimately- self-destruction, or continue on alone, at least for the time being- leaving that feeling and the one who gave it to her behind. The iconic filmmaker David Lynch guest produces on the track, along with Emile Haynie- both of whom make the track a masterpiece- an auditory film of sorts. And if the song were in fact a film, it would be categorized as a romantic tragedy.

 

Well well well... What can I say? This entry is at the highest standards. You have included everything that was asked in the briefing, and you have thought out side of the box. I like how the theme of the album isn't just derived from HollyWood & Fame, it's much more than that. You have taken inspiration from a relative novel, and from other artists too. It was very clever of you to add a track with an Azealia Banks collaboration, I'm sure all Lana & Azealia fans wish that this was real. It makes for a great lead single. I understood all of the tracks, their themes, sounds, and thanks to adding a producer and writer for each song, I got an idea of the songs as a whole. Very well written, and very well thought of. Creative, innovative, and the cover track sounds very well thought of too.

Favorite Track: Norma Jeane

 

Score: Deleted account, so entry becomes invalid.

 

Neal:

BORN 2 DIE: YOUNG

Lana Del Rey will waltz through your windy and falling leaves, and set abuzz of of Fall 2012, with the launching of Born 2 Die: Young, the re-release of her album. Featuring her familiar collaborators such as Emile Haynie, Justin Parker and Rick Nowels, as well as several prominent producers as varied as Ryan Tedder, Walter Affanasieff, Robert John ‘Mutt’ Lange to Angelo Badalamenti. Lana takes us on a voyage to the nostalgic childhood, golden sunset of Hollywood, theme park, a young girl’s fantasized life. As to why she chose the title Young, could have been a personal, arbitrary choice based on the first track heard out of the additional 8 tracks in the re-release, or by seeing the hidden inscription on her ring finger, we can assume how much she is obsessed and marrying the life of… living fast and die young.

 

1^st single is Young, collaborating with Grammy-winner producer Ryan Tedder, it’s rumored to be Lana’s own way to appreciate her fans and how they have been so supportive of her, that instead of pulling them in a gloom miserable embrace, she wanted to write on celebrations of it, with sparklers and fireworks, no less.

 

1. Young

Written by: Lana Del Rey and Ryan Tedder; Produced by: Ryan Tedder, Timbaland

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In this joyous, lively, and march-like song, Lana reminds us how sweet and invigorating it is to be a youth, by seemingly shares her own experiences; from staying late at nights, violating the curfew, breaking the piggybank for a concert ticket, first time sneaking to see an idol’s show, tiptoeing on the dangerous line, want nothing but to be a rebel. Though perfect for a sing-along, we know the teen boys and girls choir in the beginning would be misleading as soon as they recite the list of innocently mischievous little things they want to do and try. It’s a story of making mistakes and learning from it. Not afraid to being tumbled troubled, and messed up. But most of all she reminds us how important it is to realize no matter one’s age, it’s more important to know what you want and trying to reach out, live the life to the fullest, and making most of it.

 

2. Sid & Nancy

Written by: Lana Del Rey; Produced by: Emile Haynie and David Arnold

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Duality is her favorite thing to address in this song. But when she puts multiples of those dualities, not only the contrast ones, we see multitudes of characters and personalities that we seemed to be kept hearing in her lyrics. Listen as she lists notorious and not-so-notorious duos from fact and fiction alike, make you think you’re watching an episode of Dick Van Dyke. Placing beats alternately, fast and slow, high and low, dim and glow—messing up your psych.

 

3. Ingénue (Her Other Worldly Life)

Written by: Lana Del Rey; Produced by: Emile Haynie and Walter Affanasieff

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Heavily laden with Allen Ginsberg’s reference, this story is utilizing his method of echoing ‘who’, narrating the story of a girl having the time of her life. A girl, living her American Dream; seeing, hearing, touching, learning ways of the world, going everywhere, meeting everyone, talking anything, enjoying the music, the travelling, the young and old men’s company, the party toasts, the soldiers’ salutes, the dance and have ways with her curiosity. The seduction and flirty batting of her long eyelashes, walking on sandy beaches with golden curls, tempting the boys with her heavenly fragrance leaving them in awe, cat calls, and whispers . The girl’s obscene effort to be seen not as innocent, only further proves her ingénue and naiveté.

 

4. Coney Island Queen

Written by: Lana Del Rey and Rick Nowels; Produced by: Emile Haynie and Rick Nowels

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The track is opened with the sound of lonely tides reach the shore intermingles with the long gone echoes of the once bustling Coney Island boardwalk, of loud and high-pitched giggling of girls riding the now decaying Wonder Wheel. Lana sings about these passing times, these non-eternal happiness and beauties and what’s it like to be the reigning queen of it. She sings about the contrast of how quiet, tranquil and peaceful things are now and how boisterous, vivacious, thrilling and loud it was in the past. One might argue that it’s possibly her own reflection on how she was in the past and present, with one last ticket to claim the ride of her life, deciding whether she wants to be forgotten or remembered.

 

5. Killing Me Softly (Roberta Flack cover)

Written by: Norman Gimbel; Produced by: Emile Haynie

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Hadn’t it been written years ago and beautifully crooned by Ms Flack, it could have been a fragment depicting what occurred when Lana was a sobered-up, aspiring singer, wandering from bar to bar, pubs, clubs, looking for inspiration while pondering about the transgressions in her early life. We can almost see Lana sitting on the gloomily red-lit corner of the pub, with smokes hanging on the ceiling, visitors leisurely sips their drinks like in the old time speakeasies, Rhode-piano sound filling the room while a heavily tattooed man strums his guitar on the center stage.

 

6. Golden Diamond

Written by: Lana Del Rey and Justin Parker; Produced by: Emile Haynie and The Nexus

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Reiterating what seems to be Lana’s dear, dear friends; Golden Diamond is inevitably her proclamation in search of the impossible bestest. It’s Lana at her most confident and finest. It fools around with your ears, as she plays with lyrics’ enunciations, making you believe she says one thing but then you hear it in other directions. At certain points, her powerful and vengeful threats are delivered with the slightest murmurs and followed by her curses; adamant enough to make a grown-man cowers. People might perceived that Lana seemed weak and submissive from time to time, but how she delivered the illusion and made us all believe, only made it obvious that she really is the one who clutches the power rein in her hands.

 

7. Ode to The Road w/ John Mayer

Written by: Lana Del Rey and John Mayer; Produced by: John Mayer and Robert John ‘Mutt’ Lange

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Lana Del Rey and John Mayer, what could possibly go wrong? Many.

But as many also pointed that it’s not the end, but the journey that matters. After all, Lana is known for her penchant of bad boys and fast cars, isn’t she? This song was probably about the road that Lana said to be ‘long and tough’ in her lines of Born To Die. The intro, makes you wonder if you are listening to an old radio drama titledChronicle of Lizzy and Johnie. It’s a bittersweet recount of two kids trying to make it ‘big’, escaping from a small town with a rusty pick-up truck, lent by old Billy. Along their journey we can ‘see’ the long dusty road, wheat-field left, and farmland right, with telephone wires stretching in the hot, stifling air above. They take turns bickering every now and then in the conversational lyrics (and maybe the driving, too), of flat tires and directions. Firstly hear Lana’s whistling to a happy tune of Sue Lyon’s Lolita Ya Ya while working at a gas station and Mayer’s jovial acoustic-guitar plucking, when it turns to a mellow melody and Lana’s tale of nights at the CBGBs, and a unison chorus of shared dreams and promises with hints of their own demise.

 

8. Dear G

Written by: Lana Del Rey and Sacha Skarbek; Produced by: Emile Haynie & Dario Marianelli

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Listening to the track is almost like hearing someone read their diary or private letters to a lover. Lana literally read some parts of the lyrics in an anguished and devastated monologue. Accompanied by Marianelli’s lamenting string arrangements, the cello sound and French horn combined a unique sense of despair yet hopeful sighs. But the question remains, who is G and what is that awful gunshot-like sound in the end? Lana knocking on GOD’s door by pulling the GUN’s trigger?

 

Wow Neal! This is a fantastic entry. Mind blowing in fact. I like the title of the re-release, it really ties in with what you're trying to say. The themes of youth and troublesome pasts really show well in this album, and the description of each track is so detailed that it's not hard to visualize how Lana would perform this, studio and live. You have chosen a well fitting cover, and a surprising yet slightly wonderful collaboration. The wide range of producers you have chosen just puts the cherry on top of this 8-tier black forest sugary and bitter cake. Well done! I mean it.

Favorite Track: Young

 

Score: 10/10

 

HunterAshlyn:

Born To Die: Original Sin (A Review)

It's hard to believe that Lana Del Rey's breakthrough album Born to Die only debuted eleven months ago. But that isn't to say she's an overnight success. A lifetime's worth of leaked material is a testament to time spent on the grind and in the studio. At just 26 and with only one album officially released, Del Rey has managed to record more music than many of her more established peers. This simple fact has helped to craft Del Rey into one of the most exquisite (and most wholly underrated) modern stars. And her new EP, Original Sin (a rerelease of her January album Born To Die) proves with every lyric and note that Del Rey is a talent no listener will soon forget.

Part of her allure is the world she has created for her work: a nostalgic and timeless ether where even the darkest of memories glow with a heavenly grace. It's safe to say that Lana's land is situated halfway between Heaven and Hollywood- where all that's gold not only glitters, but it's yours to keep always in the vault of memory. Her music makes you feel as though you have just awakened from a euphoric dream and all your left with is the memory of paradise- the way Adam and Eve must have felt after fleeing from Eden. It's no surprise than that Born to Die: Original Sin clings heavily to this image- two lovers on the run in a world that's falling apart. Their only solace is the impression of happier times and the hope of restoring goodness to each other- of somehow reaching a happy ending in a cruel world and redeeming themselves in the eyes of a cruel love.

Across the 8 tracks, Lana has written the journey of a fall from favor, beginning with the Ernest Hemingway inspired track Garden of Eden, and ending with her final farewell to the American Elysium in Goodbye New York. Along the journey, Lana's life flashes before her eyes and her ruminations settle on moments of fear and desperation, hope and youth in an audio montage of being Born to Die.

 

1. The Garden of Eden

Written by: Lana Del Rey, Liam Howe

Produced by: Emile Haynie

Known for her literary references, this introduction to the EP is inspired by Ernest Hemingway's novel of the same name that was published the year Lana was born (1986). The song and novel both tell the story of love drunk off of the beauty, excess, and temptation of the glamorous life. In the end, those same temptations tear the lovers apart. In Hemingway's novel, his two protagonists enjoy their honeymoon on the French Riviera until they both fall in love with a third-party woman named Marita, the embodiment of bourgeois excess and delusion. In a recent interview with GQ, as Woman Of The Year, Lana discussed her love for the French resort-city of Monaco (on the Riviera) and it's nurtured life of hedonism. It is this same world that Lana casts her own tale of love torn at the seams by the diamond-studded claws of Epicurus. The song's midtempo flow is as lax and beautiful as a yacht floating along the palm-treed Azure Coast. And it's twice as hard to resist with lyrics that drip of late-night soirées and the minaj a trois of silver, gold, and cold-hard-cash. Lana is up to her best writing here, employing all the senses with her descriptive pop-poetry. Production from Emile Haynie keeps the song moving with tremendous tympani drums a la This Is What Makes Us Girls. Crafted as finely as St. Peter's Golden Gates with just a tinge of dark rust, this tune welcomes the listener to Lana's last thoughts on Born to Die.

 

2. Original Sin

Written by: Lana Del Rey, Tim Larcombe

Produced by: Emile Haynie

The album's title track is just about the most sinister song ever committed by Lana Del Rey. Recalling the menacing air of Blue Jeans, the song delves deeper into the pseudo-schizophrenic mind of the songstress. Images of syringes of black heroin ejaculating into midnight-dark swamps, water thick as blood, horrify and seduce the listener immediately. It's hard to make out exactly what Del Rey is talking about here, as she waxes mysterious, but it is clear that this is your one way ticket into her private hell. Haynie pulls out all the stops here, sampling chain-gang calls and industrial clink-clanks (workers pounding at the steel mills in hell, no doubt) underneath Del Rey's soaring chorus, laced in strings and distorted guitar. The song climaxes at a bridge where Del Rey tosses out a National Anthem style verse with the lines: "Eve was just a girl before she met the devil/ She was just the first girl burned by a rebel/ Babe, in the end, she did what she had to/ She burned her Eden down to know what God knew." For the last chorus, Haynie's storm of strings crash against a beat born from the devil's fiery horse as it gallops over this side of the horizon, thundering into your town. It is the sound of Allen Ginsberg's Moloch come to life. It is the sound of the fall of man. It is the sound of the mouth of hell opening up in a Del Rey snarl. It is the sound of Lana burning alive, a beautiful Anima Sola.

 

3. King Kong [Ft. Kanye West]

Written by: Lana Del Rey, Tim Larcombe, Kanye West

Produced by: Patrik Berger, Emile Haynie, Diplo

The lead single from Original Sin is a love story that casts Kanye West as the familiar larger-than-life, misunderstood beast and Lana as the ravaged beauty in distress. Picked as the first single for it's catchy chorus and West feature, it uses the thinly-veiled image of the black King Kong kidnapping the blonde-and-blue-eyed Ann Darrow for what it symbolized in the American subconscious: the fear-obsession of "aggressive" black men lusting after "hopeless" white women. A musical exploration of the too-taboo subject matter that Del Rey had only hinted at in her National Anthem video with rapper ASAP Rocky, the risque uptempo track sits nicely between Born to Die's Off to the Races and Lolita. For West, it is a nod to the sonic sophistication of My Beautiful Dark Twisted Fantasy while moving toward the sound of his next solo effort. Together, the two artists bring heart, honesty, and a heavy dose of biting sarcasm to the table, in a new-era Ebony and Ivory that confronts an age old stigma. We're still wondering if the song wasn't secretly crafted by the round table of writers chipping away at the next season of Mad Men. Credit for the track's evolved production goes to the partnership of Emile Haynie, Patrik Berger, and jungle-beat aficionado, Diplo. It's this production that assures the song will certainly be a hit on radio- not quite like anything out at the moment, but certainly strong enough to fight for it's place. Definitely an album highlight for it's artistic experimentation within Lana's unique pop aesthetic.

 

4. Old Fashioned

Written by: Lana Del Rey, Joe Hensen, Alexis Leon Smith

Produced by: Jeff Bhasker, Emile Haynie

From the team that brought us "You Can Be the Boss," this "Diet Mountain Dew" sister-song is a dusty, soul/hip-hop-tinged record that sounds best accompanied by it's namesake cocktail. The bass and beat really push, as Lana talks bad men and alcohol, her first loves. In the chorus, she sings about "tasting the whiskey on his fist," and the "bite in his kiss." It's an ode to a Nancy-and-Sid situation where it takes too much booze to numb the sorrow and bruises from the last drunken scuffle. The song is dangerously infectious and treacherously contentious- it begs to be on the radio, but due to it's darkly glamorized subject matter, probably won't ever make it. The track is bound to get some of Del Rey's fans worked up as well. However, she sounds indifferent to the social ramifications of the song's bad behavior, and lays the purr on heavy as she whispers "He hit me once, but I hit him twice/ He's my rum and I'm his spice/ We took a shot, and we rolled the dice/ He likes his drinks and me on ice." The song hardly leaves room for arguing when, in the end, Lana's femme fatale persona wins out and she leaves his body in the dust, speeding off in his white pontiac, her destination unknown, as strings descend like the sunset.

 

5. Fountain of Youth

Written by: Lana Del Rey, Chris Braide

Produced by: Emile Haynie, Chris Braide

The culmination of years of Hollywood references come to fruition here. The boulevard, the Chateau Marmont, and the Viper Room (which Lana recently tweeted about) lead the listener like a treasure map on a quest to be forever young. She sings of making love in the desert at midnight and go go dancing on the sunset strip. Clues about a possible past as a sex worker or stripper abound in a bridge about doing whatever it takes to live forever. Haynie, as usual, mans the sound board, but, interestingly, it has a very sparse burlesque inspired arrangement (not unlike her song Mermaid Motel). There's a twinkling piano here and there, pounding out blues phrasing, but otherwise, it's pretty empty. A Peggy Lee baseline is pretty much the only constant thing in the song. Del Rey's beloved strings are nowhere to be found here. But it's completely welcome. It helps get away from the sonic cohesion of Born to Die, which critics have noted as the album's biggest flaw. It's a truly interesting song that every one will be glad made the final cut. Del Rey sounds candidly confident when she says "Call me Del Rey, I was made for a king."

 

6. Out In the Street

Written by: Jeff Barry, Ellie Greenwich

Additional lyrics: Lana Del Rey

Arranged by: Lana Del Rey, Justin Parker, Larry Gold

Produced by: Emile Haynie, Justin Parker

On this cover track of the 1965 teenage heartbreak hit by the Shangri-Las, Lana reunites with writing partner Justin Parker and arranger Larry Gold to bring sombre colors to a song about loving a man who's heart is "out in the street." Not just simply another cover, this sonic creation features the collaborative efforts of Gold (commanding the Philadelphia Orchestra) and Haynie (commanding an infinite sample catalogue) that truly brings grandiosity to an intimate arrangement once again characteristic of the Del Rey/Parker original "Video Games." The song begins with a beautiful and ceremonious introduction, 8 bars of symphonic orchestration that recall the cinematic scoring she's become so admired for. But not since Del Rey's understated breakthrough single has she sounded so bittersweet, or so simply ernest as when she sings "he used to act bad/ he used to, but he quit/ it makes me so sad/ because I know he did it for me/ his heart is out in the street." There is a pinch of Del Rey's signature drama, as she yelps (a la live renditions of Million Dollar man) "he grew up on the sidewalk, street lights shining above/ he grew up with no one to love." But it's her added original verses- which bring this revamped masterpiece to around five minutes- that returns the song to it's effortlessly tragic roots. Del Rey picks up where Brill Building songwriters Barry and Greenwhich left off so precisely it's as if she sat down at the piano with them in the original writing sessions. The song ends as beautifully as it began, with a minute-long outro that sees Haynie taking a backseat to Gold, as his beats fade until only Gold's orchestra is left.

 

7. Alabama

Written by: Lana Del Rey, Justin Parker

Produced by: Robopop

Fans have long speculated about the "lost years" of Lana's life before she settled in New York and London to write material for what would become Born To Die. Self-perpetuated rumors about her stay in Alabama finally come to light on this track that details her stay in rehab in the Heart of Dixie. Mellow as a morning tea, the song is full of idyllic observations of humid summer days and highways at twilight. Reminiscent in style to a track called "Yayo" that Del Rey uploaded to her youtube channel last year, the song is a breath of fresh air- completely vacant of Haynie's governance. Reunited with the exact team that spawned Video Games, it seems that they have struck gold again with this ode to serenity. Robopop and Parker bring back the raw piano of Video Games, and add a sweetly strummed guitar. The affair feels almost 90s in it's bare, singer-songwriter aesthetic and even recalls her cover of "Goodbye Kiss" for BBC radio. It's easy listening that adds dynamic to Born to Die as a whole and another layer to Lana's story.

 

8. Goodbye New York

Written by: Lana Del Rey

Produced by: Emile Haynie

The album closer is the only song on Born to Die that features a solo writing credit from Del Rey. Lyrically, the song is a love letter to her now long-lost city. It is the kind of goodbye shared between first loves as they part ways to move on with life, never to meet again. The final breaking of the heart before the end of youth. Emile Haynie recreates the cinematic scope of Lana's third single Born to Die with a beautiful string intro that takes the listener high above New York, to see it sparkle one last time. Lana comes in with the tone of a wilted-flower, a bruised ego. She has been abandoned by the city- the country- she fell in love with as a girl. It's not a pity party, though. It's the kind of kiss-off that says "you haven't seen the best of me yet." Holding onto a promise of return, Lana finally turns her back on the world she has created- an ideal New York, an ideal America- to go look for new territory. The song's outro is as beautiful as any orchestral suite and takes the listener on a tour of the entire record by memory, finally ending where Born to Die began. The record feels as though it has truly come full circle.

 

This is simply amazing! Everything about it, the title, the tracks, you pulled it off here Hunter. The album description is detailed and accurate according the the track themes, and the inspiration from which this has derived from is very clever. I like how you have incorporated things into the song that Lana has revealed recently like in The Garden of Eden, but you have also included things that Lana hasn't talked about before like in Alabama. I love the description of King Kong, who would have thought Lana would collaborate with Kanye? If it were true, I'm sure the fans from both sides would go crazy. Plus, it could definitely work as we recently heard the Hello Remix of Serial Killer featuring Jay-Z. Within each song you have thoroughly examined the sound and composition. I can hear each song play in my head whilst I read them. You have carefully picked each producer to how you would like the songs to sound, you definitely know your stuff. I also give you props for being a team leader, as I can tell that as a team you have communicated with each other, because all of your entries tie in with each other and include everything that was in the briefing. Absolutely astonishing.

Favorite Track: Goodbye New York

 

Score: 10/10

 

Total Group Score: 20/30

[Hey Lucas Hey 202]

God damn it.

 

[Guest MissDaytona]

YEAHHHHHHHHh. Unfortunately, I'm gonna have to leave Lana Boards today. I'm sorry to my team and I hope you can find someone as good as me to replace

[Hundred Dollar Bill 21,804]

YEAHHHHHHHHh. Unfortunately, I'm gonna have to leave Lana Boards today. I'm sorry to my team and I hope you can find someone as good as me to replace

 

Why are you leaving?

[Guest MissDaytona]

Why are you leaving?

I'm just kinda done. I knew when Boarding School leaked I'd be upset and there'd be people who defended it.. which is fine but idk it's just kind of personal and I'm not up for whatever else Lana may have up her sleeve

[Hundred Dollar Bill 21,804]

 

I'm just kinda done. I knew when Boarding School leaked I'd be upset and there'd be people who defended it.. which is fine but idk it's just kind of personal and I'm not up for whatever else Lana may have up her sleeve

 

I'm sorry about that.. this sucks. You're an awesome member and you're really funny! I enjoyed seeing your posts and it'll be sad that you won't be here anymore, but I totally understand why you want to leave. If you really aren't coming back, then good luck to you in everything you do, and I hope you have a really lovely life! <3

[RileyThomas 350]

You realize that if you leave your points become void and you're team loses 10 points right?