Best LDR Musical Moment

[LadyLana 28]

The second verse of Blue Jeans!! 'I stayed up waiting, anticipating and pacing' i LOVE that line!

The whole bridge in National Anthem!

And in Ride, after the bridge when she sings the chorus again, when she says 'i ride fast' she says it differently to every other time and i loooooove it!

[SugarVenom 464]

For me there are a few..

 

- The last chorus of Backfire when she says 'baby' and it's a higher pitch

- The bridge of Marilyn Monroe

- The bridge of Every Man Has His Wish

- The bit in Last Girl On Earth when in one of the chorus' she goes a bit higher

[Matt 984]

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

[YUNGATA 14,955]

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

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.

[PrettyBaby 2,220]

Yo she looks animated like a cartoon baby

with her champagne sighs and her cocaine high

 

 

 

 

http://www.youtube.com/watch?v=BZpUp4Tl-1s

 

 

 

[Monicker 3,035]

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...

 

For me, it's the final chorus of "Mermaid Motel". I don't know the musical jargon of the technique she uses there in her vocals (Monicker could probably teach me a thing or two), but it's absolutely mesmerizing and a real contender for one of the most brilliant, effective decisions she's made in her music. How's that for a grand statement? Even if the credit goes to David Kahne for that last chorus, maybe that's just confirmation of what a dream team they were. It just instantly stops me, the way it seems almost...turned inside out? Just go listen to it, it starts at 3:02.

 

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!

 

 

Any song she has a country twang to her voice - I would love a country-inspired album

 

YES.

 

- "savior" in Kinda Outta Luck

 

Highest note she's hit on record, i believe. Lana enters the false register.

[Mileena 2,691]

'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.

[lola 6,641]

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

[Hundred Dollar Bill 21,805]

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

 

LDRAKALG

• Definitely the bridge of Yayo, mainly the "dark night" at 4:02.. you can't deny it's one of the best moments.
  
• During the bridge of Gramma, starting at 2:37, just the way the song breaks down with the drums and ughujkh.
  
• The first chorus in For K Part 2, at 1:51 when she just fucking yells is so.. enthralling to me. The other yell is also great, at 3:09, although it's not as much for me because it isn't given as much attention as the first.
  
• The first chorus of Smarty, at 0:20, where there's a quick silence and then the buzz, or whatever that magnificent noise is, that first buzz just fucking gets me. The rest of them keep me in the moment though, so basically every chorus in Smarty.
  

BTD

• During the opening of Born to Die, from about 0:20-0:22, when everything stops for a second and you just hear that deep.. deepness. LOL. I suck at describing sounds. Also, during Verse 1/Verse 2 and the choruses, the guitar that strums a few notes in the right side of the stereo/headphone piece, I love it. I think the song is very boring without the guitar. It makes me feel feelings. In all, the song just has really emotional and powerful choruses for me.
  
• The opening of Million Dollar Man, everything until she starts singing. Just the way the beat pounds my eardrums right away makes me want to turn it up as loud as it goes and murder everyone's eardrums in the process. In the opening, there's this really awesome sound that starts off in the right speaker that sounds to me like a rollercoaster rolling on its tracks. I love that noise. I also love the Loon in this song, it's well-placed and it makes the chorus for me. :3
  
• In Summertime Sadness, "i'm feelin' alive" and "i'll die happy tonight," especially the latter.
  
• In This Is What Makes Us Girls, the noise that picks up at 0:24 in the left speaker, I think strings of some kind? I'm not very familiar with specific instrument sounds. It also happens again at 1:33, it's during the pre-choruses. Also, the bridge of this song fucking rocks. "They were the only friends I ever had," is one of my favorite lines in the whole album, because of the way she sings it and the way the bass beat picks back up during that part, and how the guitar in the left speaker is just like, "yo, this shit is the fuckkkin' BOMB, DUDE."
  
• I prefer the demos of Lolita to the album version entirely, with one exception; the bridge. I think the album version has the best bridge out of all of them, possibly even the best bridge in the album, closely competing with This Is What Makes Us Girls. I just love the way they made her voice move from each speaker stuttering the I's and such. Also, the beat is so fucking sick, and the strings make the bridge sound so deliciously evil. I love it.
  
• YAY TIME FOR MY FAVORITE SONG YOU'RE ALL ASSWADS. In Lucky Ones, ALL OF THE SONG IS THE BEST MOMENT OKAY... >:C Lol jk. The vocal yell thing she does in the chorus that first appears at 0:45 is one of the most beautiful moments out of all the songs to me. The Loon is so perfect here too. I love the pre-choruses because I get so amazed when she sings higher pitched. The way she says "crazy" at 1:55 is wonderful. The whole song is really just an amazing moment for me. The outtro too, ugh. I just can't with this song, it's too perfect and I really don't understand why it's so hated in the community.
  

UNRELEASED/DEMOS

• What else would I start off with? Of course, Hundred Dollar Bill (1.0, the 4:01 version) is the best Lana song (aside with Lucky Ones, I really can't choose between them). The way the slamming sound at 0:52 goes, and those few seconds preceding that, ugh so much sex. Basically the entire chorus, the strings/violins/whatever are so consuming and it's epic and I love it. The way she goes "HUNDRED DOLLA BII-IILLL" is fucking crack to me. Also, at 1:44, that moment too. And then after the bridge at 2:47.. "20 of'em wrapped up tight in.." BOOM CHORUS FUCK YEAH AMAZING SONG OKAY. Also, the bass in this song is so damn heavy and it kills me.
  
• The demo for Radio, after the bridge at the final chorus, where it starts at 2:39 is so uplifting to me. Beautiful.
  
• Children of the Bad Revolution, at the bridge, the drums in accompaniment with her "ooh" in the right speaker throughout the bridge are ugh. The guitar completes it too.
  

The bridge of Trash Magic, the way she whispers is so.. eerie and sexy.

He said, "Lana Rey, 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."

 

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

[RileyThomas 350]

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!

[Auto-Tuned Loon 650]

Let’s start a petition for Lizzy to work with Kahne again even though she probably doesn’t want to! Give Emile the boot!

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

[LadyLana 28]

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!

i live for bridges!!

Even though the chorus of a song is probably the most important thing about it, i always appreciate a great bridge! i think it just makes the song a billion times better! Lana always does her bridges justice too, like you pointed out!

[Guest Maru the Cat]

For me, it's the final chorus of "Mermaid Motel". I don't know the musical jargon of the technique she uses there in her vocals (Monicker could probably teach me a thing or two), but it's absolutely mesmerizing and a real contender for one of the most brilliant, effective decisions she's made in her music. How's that for a grand statement? Even if the credit goes to David Kahne for that last chorus, maybe that's just confirmation of what a dream team they were. It just instantly stops me, the way it seems almost...turned inside out? Just go listen to it, it starts at 3:02.

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.

Yeah... everything Monicker wrote went completely over my head. Anyway, you two might be interested in this excerpt from her interview with The Quietus?

 

In terms of instruction, what was Kahne's input?

LDR: He had a lot of things he wanted done. For example, he was interested in a more traditional vocal style and I wasn't.

 

So maybe Lana was solely responsible for the "FUCKED and totally, totally, totally, totally, totally brilliant" section that perhaps Kahne didn't want to include?

 

Also,

 

I sincerely believe that it’s one of the best moments in pop music of the last, oh, 15 years.

 

says the person that...

 

...[doesn’t] generally listen to a lot of pop stuff.

 

*runs out of thread*

[Monicker 3,035]

The first chorus of Smarty, at 0:20, where there's a quick silence and then the buzz, or whatever that magnificent noise is

 

Farting synth bass! I bet Kahne has an amazing collection of vintage analog synths. LET’S GET THAT PETITION GOING, GUYS.

 

During the opening of Born to Die, from about 0:20-0:22, when everything stops for a second and you just hear that deep..

 

 

...vocal track sloppily coming in?

 

It makes me feel feelings.

 

 

Best thing anyone's said on this forum ever. Seriously.

 

In the opening, there's this really awesome sound that starts off in the right speaker that sounds to me like a rollercoaster rolling on its tracks. I love that noise.

 

 

The sounds of gambling?

 

In This Is What Makes Us Girls, the noise that picks up at 0:24 in the left speaker, I think strings of some kind? I'm not very familiar with specific instrument sounds. It also happens again at 1:33, it's during the pre-choruses.

 

Sounds to me like a free reed instrument, something like an accordion, bandoneon, or harmonium.

 

I prefer the demos of Lolita to the album version entirely, with one exception; the bridge. I think the album version has the best bridge out of all of them, possibly even the best bridge in the album, closely competing with This Is What Makes Us Girls. I just love the way they made her voice move from each speaker stuttering the I's and such. Also, the beat is so fucking sick, and the strings make the bridge sound so deliciously evil. I love it.

 

Lolita is G_d.

 

And don't worry, BIll, i'm with you on Lucky Ones. People are just, i don't know, smoking crack or something?

[Sitar 22,213]

Monicker likes "Lucky Ones"?

 

Nothing has ever instantly discredited someone so thoroughly and effectively in the history of online Lana forums.

[Monicker 3,035]

I must have a thing for bridges...

i live for bridges!!

Even though the chorus of a song is probably the most important thing about it, i always appreciate a great bridge! i think it just makes the song a billion times better! Lana always does her bridges justice too, like you pointed out!

 

I think bridges are one of the things that really set Lana apart musically. Her bridges are very strong, and usually more memorable than the chorus in other people's songs.

 

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

 

ASSHOLE.

 

Yeah... everything Monicker wrote went completely over my head. Anyway, you two might be interested in this excerpt from her interview with The Quietus?

 

Thanks for that interview, i hadn't seen it before. I wonder if that's the same John Calvert i knew in high school. As sad as it may be to consider this, i really do think that Lizzy wasn't too happy with the results of the AKA record.

 

says the person that...

 

Ha, i was actually thinking that as i was initially writing that. Yeah, i'm full of shit, what can i say. So, let me revise: One of the best moments in pop music, in my limited exposure But i mean, also, come on, i'm not totally clueless, and i've yet to hear anything that comes even close to that section in MM. What's a contender? Fill me in. FILL ME UP.

[Myriam 559]

I was like : No PUH-LEASEE, stay here

 

in the live performances of Blue Jeans

[fruitpunchlips 820]

I was like : No PUH-LEASEE, stay here

 

in the live performances of Blue Jeans

 

always

 

@1:40

THE WAY SHE SINGS "fall" like I cannot even begin to describe that.

 

I don't really like Body Electric but all of the emotions in "I pretend I'm not hurt, go about the world like I'm having fun" part here (2:35)

 

Born to die "this is the last time"

at around 3:00.

 

Idc what people say she's the best live

[Sitar 22,213]

Loving your guys' lists, and I have another (other than EMHHW bridge and last MM chorus). Maybe I'm less enthusiastic or I have a weird line between loving a part and anticipating it:

 

Okay, in "Disco", at 2:24, when after "I am my only god" she just sort of mmms. It's great. I guess you could say most of my "moments" are real musical decisions, but that simple little moan is so perfect.

[Sitar 22,213]

"Try Tonight" - The dip in I don't think he got strength to muster