Best LDR Musical Moment

[tiffanydale 193]

love casinos, indian reservations... BUT BABY IF YOU LOVE ME, TAKE ME TO THE GAS STATION

 

not my favorite, but its a fun one !

[mermadness 31]

this is my absolute favorite thread. so many great moments!

 

the bridge of "break my fall" . angry/sassy/jilted lana songs are in the minority and they are some of my favorites.

 

i'm not gonna let you become a martyr/not gonna let you pick up the gun/i'm gonna make this a whole lot harder/won't make it easy for you to run!

 

intense lyrics, great background vocals, that last high note. 

[Hundred Dollar Bill 21,461]

I literally cried rereading this.

 

 

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

 

HDB, i am upset with you for two reasons. 1. You didn't name me by name when mentioning your fellow Lucky Ones family members
2. I called that 800 number. They said they were closed due to the hurricane and then said something about rental equipment! What gives, Bill?? You leading us astray here or what? I need answers because i will never understand the Lucky Ones hate, and here i was foolishly believing that this hotline might provide some insight.

Oh, and then just as i was going to say that i suspect that the LO hate comes from people being too hung up on the lyrics, we have PrettyBaby calling the backing track pointlessly tepid. TEPID! PB needs 2 have teh RAWK in her lyfe \m/

I love this thread.

 

 

 

 

 

Why did this lovely thread die?

Anyway.. I have quite a few more moments to add, so yeah.

 

• Black Beauty (Demo) - The opening bell chime sounds (??) and their wavering echos in the background instantly set the mood for me in this song and just really make me feel things. They remain until after the first chorus. Then there's this sound that comes in at 0:32 which reminds me of a train, some kind of rushing sound that increases in urgency up until the chorus. There's the beautiful buzzing synth sound that comes in at 0:48 that gets me, too. The whole song is really amazing, honestly. 
• Angels Forever, Forever Angels - The drums in the chorus and bridge here fucking kill me, first appearing at 1:05 in the right speaker. Goddd I love those drums. Also, when she's singing "Ahh" at 2:30 after the second chorus, before the bridge. & Then of course the fucking bridge, it's got to be one of my favorites from her. It's so fucking beautiful akjhfsalkgh. "Paradise is a hell-colored flame sky. Is it nice to feel free and wild? Paradise is a game of do-or-die. I. Just. Ride. Ride." The DRUMS as she sings in that higher register and those STRINGS in the background. Just W O W. & The chorus following it, with the "Ahh" throughout making it such a strong & beautiful ending chorus. Lots of moments with this song, it's extremely amazing to me. 
• Daytona Meth - Pretty much this whole song, lbr. This was the song that showed up and destroyed me. It pushed HDB out of my #1 spot. Jesus. The fucking buzzing noise at the start that makes that godly melody which repeats throughout the song. Literally all of the lyrics to the song are highlights. One moment that really gets me is at 1:04, that deep bass guitar (I think) right after the chorus. So good. My favorite moment overall though is probably at 1:14 when she sings sultry & sinister "Baby, you know mama never had much money but I plan on using this face to pay, honey." And then that outtro, after those lyrics "Baby you never love 'till you're mine. You're mine, you're mine." The way her voice soars into that high note, omfg. It's at like 1:54. 
• Put Your Lips Together - This song literally has the best intro of any song I have ever and will ever heard/hear. Good god. 0:00-0:20 is just sinister sex to my ears. The guitar strumming in each individual speaker, the atmospheric noise (gritty laptop strings???) that's the first thing you hear (don't know how else to describe the sound) [sounds like this one are my favorite in any song they're used in], and then the fucking finger snaps at 0:17-0:19. The little things. ~~~ And then of course her VOICE at 1:00 when she sings "just blow." Jesus. She holds that note for 4 fucking seconds askfjhs. I always live for Lana's voice in the higher register. She has a heavenly timbre. & The line "I can be a dirty bitch." Is rly gr8 2. I love this song. 

 

Lots and lots of typing. I'll save some from Ultraviolence for when people (hopefully) come in and start contributing more to this thread again. I looove this thread. 

[smoledman 199]

Best musical moment is probably on "Ride" bridge. Such raw emotion.

[111 34,827]

"Cause cash comes quick when looks can kill" is one of them.

[Constantine 4,072]

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

[letthelightin 13]

As mentioned, the "dark night" in the AKA version of Yayo.

 

The intro parts to Gramma (especially that noise at 0:07-8), National Anthem (I love the strings, sound of fireworks, etc. favorite instrumental part of all her songs), and Summertime Sadness (the guitar that comes in).

 

The singing of "amphetamines" in Brooklyn Baby, "Jim taught me that/loving him was never enough" in UV (I almost cried when I heard the live YT video, she sounded so heartbroken in that line), and "will I ever get to heaven" the first time in Get Drunk. 

 

The transition from the first chorus back to the second verse in West Coast.

 

High note in Cola.

 

Finally, I don't know if it counts but the outtro of Flipside. 

[electriclavender 143]

"And when he calls, he calls for me, and not for youuuuuu"

 

Pretty much all of SOC.  

[xAlex 56]

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  

[Honeymooner 336]

Best moment for me is the bridge in "Young and Beautiful." I'm a classical musician myself, and I love how the orchestra sounds behind Lana in this section.

[Rebel 3,176]

The bridge of AFFA is amazingggggggg.

[Trash Magic 26,888]

I wasn't the marrying kind, I should have done it, anyway.

 

Pre-chorus of Sad Girl, the whole song Shades of Cool

 

Infliction in Pretty When You Cry

[Anthem 1,557]

As mentioned, the "dark night" in the AKA version of Yayo.

 

The intro parts to Gramma (especially that noise at 0:07-8), National Anthem (I love the strings, sound of fireworks, etc. favorite instrumental part of all her songs), and Summertime Sadness (the guitar that comes in).

 

The singing of "amphetamines" in Brooklyn Baby, "Jim taught me that/loving him was never enough" in UV (I almost cried when I heard the live YT video, she sounded so heartbroken in that line), and "will I ever get to heaven" the first time in Get Drunk. 

 

The transition from the first chorus back to the second verse in West Coast.

 

High note in Cola.

 

Finally, I don't know if it counts but the outtro of Flipside. 

 

Totally agree on the BB and Gramma parts! And the Yayo part but the entire bridge - its one of my favorite lines of her music period.

 

I'd also say the intro to National Anthem with the firework sounds.

All of Methamphetamines but especially the last verse that starts with "what's happening?". I like how she sings "farewell" in that song. 

The final verse of Pawn Shop Blues when she repeats the first one and you realize what the song is saying - it was a "wow she is on a level far above what I thought" moment when I really listened to it.

The "oohs" in the background of the chorus of Smarty.

"I'm your favorite girl" from Fucked My Way Up. I imagine her saying it with a sassy smile and a wink.

All of AFFA. All of it. 

 

I should stop now before I end up saying all of the parts of all of her songs. 

[HEARTCORE 18,833]

Don't know if this has been mentioned before but the 'I sing, I sing' and 'I'm free, I'm free' parts of Brooklyn Baby are divine, along with the last verse.

[Swan Song 286]

Don't know if this has been mentioned before but the 'I sing, I sing' and 'I'm free, I'm free' parts of Brooklyn Baby are divine, along with the last verse.

 

Yes! I love that bit in BB. I like the the way she sounds when she says "They judge me like a picture book/By the colors, like they forgot to read" too. That song in general is just 

[Trinity 1,219]

After spending two hours of reading everyone else's special moments, I'd like to post some of mine. Here comes wasting another two hours writing this response. I'm going to organize them by album!

Sirens

• None, this album is a snooze fest.

LDRAKALG

• In (one of my favorite Lana songs ever) Oh Say Can You See there are a ton of moments. The little guitar picking at the beginning and in between lines at 0:11 and 1:40, the at the and I wi-ul at 2:10, and the send you to Mars high note at 3:07.
• The breath at the end of Mermaid Motel, 3:28.
• Of course the dark night line in Yayo, 4:03.
• The crescendo in For K Part 2 at 1:07 and then I like the way you wear your sweater off your shouuuulder.

Born to Die

• Off to the Races obviously is just one big moment for me since it is my favorite song in the world but there's two parts that stick out to me... First the whole "glass room, perfume, cognac, lilac fuuuumes" line because she uses so many mellifluous words one after another it's just a lyric-gasm. Then right before 3:30 there's a little quiet part and then the bass just starts jumping and it aligns perfectly with "you're lying with your gold chain on" <3 <3 <3
• The first few words of Radio on the album version and in the demo when the flute comes in with the *doodle-doodle-dooooo* noise like at 2:40.
• In Million Dollar Man live (especially at Hackney) when she literally wails like "one for the moneyyuuuhh, woauuhuhuhahh!!!!"
• The last chorus of Blue Jeans when it builds up after the bridge and drops at 2:55. It's like a cannonball of cinematic perfection.
• The entire Diet Mountain Dew demo is amazing but the "I dunno why but I liiiike it" line at 1:48.

Paradise

• Not exactly musical but during the Ride monologue when she does a short little breath before "I was always an usual girl".
• In Gods & Monsters how the drums and guitar just break down when she sings "Motel, sprees, sprees" at 1:06.

Ultraviolence

• The whole tempo change in West Coast gets me every time. It's genius.
• The "ba-da-da-da-da-babay"s and "yeauhhhss" at the end of Brooklyn Baby.
• I don't even like Guns & Roses that much but the haunting "ro-oohuh-ooses" part at 3:40 gives me shivers. I'll listen to the whole song just to hear that.
• "And all my girlfriends!" in Florida Kilos just because you can hear the smile on her face.
• The Lizzy Grant-esque background "yeah" in Fucked My Way Up to the Top at 1:04.

Unreleased

• In my fave unreleased Gangsta Boy there are a couple key moments. Of course there's the spine chilling yet adorable "my gangsta booOOOYYY-ooh-ooh-oohuh-ahhh!" in the beginning. Then at 1:21 when the backing vocals come in and she sings, "like ya leather and ya long hair, hunnay, hunnay", not sure why but it's always been an awesome moment for me.
• The repetitive "like"s in My Best Days and the boppy breakdown at the end.
• The "woah-oh-oh" part in Last Girl on Earth when she goes higher at 2:20.
• In Television Heaven the haunting backing vocals over and after the bridge followed by a cute lil laugh.
• In Hawaiian Tropic that heavenly vocal overlay with the chorus and "I remember party dresses" at 3:21.
• The moan in Serial Killer along with those quick "ha-ha-ha-ha-has!"
• "You turn my mood from black to blue-oOoOooh" in the Hundred Dollar Bill demo.

[Rayse 658]

Sirens

• None, this album is a snooze fest.

 

[James Dean 948]

 

i think i'm going to do it too

[James Dean 948]

Sirens ERA
- My Momma: The first "we dont get along"
- Out With A Bang: those lines makes my body shakes "Meet me in the morning, wrap your arms around me / Tell me that it’s over now that you have found me / Walk me to the river, see the willow bowing / Carry me into the water, now we’re drowning"
- All You Need: This is my fav. music from 'Sirens' everything in this musics makes me relaxing, but i like the noises that she makes in "just let go of it all, dear"
- Pride: ok, i like the guitar
- For K: the "me" in 01:25

AKA
- Kill Kill: the piano/eletrick keyboard after every 'ummmm'
- Queen of the gas station: the guitar solo/rithm in the final 'love cassinos and neon reservations'
- Oh say can you see: one of my fav and relaxing too... bur i like the guitar in 01:16
- Jump: probably the claps
- Mermaid Motel: the bells in "take it off"
- Rayse me up: obviously the echoes ray-ray-rayse
- Yayo: same as every1

BTD
- BTD: those finals eletrick born to die
- Off to the races: i love everything of this music, but i like the drums in 03:38
- Video Games: the bells
- Radio: the on the radio in 02:15
- MDM: the noise in the background, srsly, i prefer the original but i like those noises
- SS: the low drive in 03:09
- WY: when the music stops 00:35~

Paradise:
- American: the uhh uhh ohhhhh ohh
- Cola: the piano/eletrick keyboard in the chorus
- G&M: the moaning
- Bel Air: the kids noise

... ultraviolence soon

but the best of all Kinda outta luck after i have to do, srsly, i love this music


 

[JBabes 23]

I love the beats in National Anthem! (The drums combined with the orchestra). When she sang it live in Vancouver, it was one of the last songs of her set-list, at the end she just let the beats play (her live drummer) with the orchestra and no singing... The crowd was alive *This was during the part where she goes into the audience for hugs, kisses and photos* so it was like a music video watching her in the teleprompter with the drums playing loud and heavy from National Anthem. This was more a personal experience than a take on one of her songs... God love her.