Hey there Insighters! I hope you’re all well and ready for another amazing, musical start to the weekend. It’s been a minute since my last #FiveOnFridays music segment, but this is only because Lana Del Rey trapped me in the sonics of her latest project. Luckily, I’ve escaped long enough to bring forth another #AlbumAppreciation post.
For those of you who may be unfamiliar with the concept, here’s the gist:
‘Album Appreciation’ is where I discuss my thoughts on an entire body of work from a musical act based on recommendations or out of personal curiosity. And to keep in-tune with the Top-5-countdown spirit of things, I rank and comment on my 5 favorite songs from said body of work.
This week, after almost 4 weeks on repeat, I’m covering the latest from Alternative songstress and witch Lana Del Rey with ‘Norman F*****g Rockwell!’. Admittedly, this was my first time listening to a full Lana project. I’ve heard a handful of singles throughout the course of her discography, but never went searching beyond those.
However, as time progressed and my urge to fully explore more artists expanded in 2019, I ended up here. For me, Elizabeth Grant (aka Lana) paired with the genius that is producer/songwriter/musician Jack Antanoff have produced one of the better albums of 2019. (If not the best)
Jack, (who I’m a massive fan of), is known for his work on Taylor Swift’s ‘Lover’, ‘Reputation‘, St Vincent’s ‘Masseduction‘, and of course, the album of the decade, the incomparable ‘Melodrama’ by New Zealand prodigy Lorde.
Likewise, here on ‘Norman F*****g Rockwell’, we find amazing production, impeccable songwriting, imagery, humor, and melodies that would make even the grimmest of souls swoon. This was a grand introduction into the world of Lana Del Rey for me – a time lapse of Americana painted red with love, blue with sadness, and white with passion.
Additionally, I’d like to say that putting together this list was extremely difficult. Mostly all of the songs could’ve easily made it because of how well arranged and produced they were. However, the ones here resonated slightly more than the others – whether lyrically, sonically, or personally.
So, without further ado, let’s get into my top 5.
NUMBER-FIVE [5]
‘Doin’ Time’
For starters, I will admit that there are certainly more lyrically captivating cuts from the album. ‘Mariner’s Apartment Complex’ and ‘Happiness is a butterfly’ just to name a few.
Nevertheless, this has got to be one of the best covers I’ve heard in a long time. Also, Lana’s sultry, whisper voice creates an entrancing effect that makes the song truly her own. Hence, it personally outranks the aforementioned.
Additionally, Lana muses effortlessly throughout the track. Her vocals are sweet and savory like ice cream on a sweltering summer’s day. I especially love crowing along to the song’s bridge, “The tension, it’s getting hotter/ I’d like to hold her head underwater/ (Summertime)”. I enjoy how angelic such a menacing group of words are sung.
Conversely, the production on this rendition noticeably contrasts from the Sublime version. First of all, it’s hazier, smokier, and offers more fluidity to the listening experience. Now, this isn’t to say that the original is any less enjoyable. In fact, I think both versions are masterpieces in their own right.
All in all, whether or not it’s technically a cover of a cover, it’s evident that Lana Del Rey embodied the essence of both summertime and doin’ time in a unhealthy relationship. Hence, making more than qualified to represent the LBC.
NUMBER-FOUR [4]
‘Norman f*****g Rockwell’
A piano-driven ballad opens the album in the most enchanting, storybook way possible. Lyrically, this is one of the best cuts on the record hands down. For starters, the very first line from Lana is comically ear-opening.
“Goddamn, man-child/ You fucked me so good that I almost said “I love you””. Admittedly, this had me choked up with laughter. Not only because of how insulting it is, but also because of the magnitude of honesty it exuded.
Fortunately, Lana did not stop at calling this lover of hers a man-child. Rather, she continues to fire salvoes one after the other over riveting melodies backed by violin and cello.
From blaming the news for his bad poetry to acting like a kid, she exposes not only his many flaws but her inevitable acceptance of said flaws.
She muses knowingly and melodically on the chorus. “Cause you’re just a man/ It’s just what you do/ Your head in your hands/ As you color me blue.” The logic behind her reason for settling is revealed in the line “Why wait for the best when I could have you? You?”. It’s a line that makes me ponder whether she’s accepting his slackness out of love or sheer fear.
Consequently, Norman’s inability to change for the better takes a toll on Lana. Thus, “coloring her blue” involves making her more morbid, unhappy, and unsatisfied with their relationship. She ends the intrusive and gorgeously-arranged opener by bellowing almost hauntingly the color blue.
The end result – an imprinting, ethereal track that entices listeners to hear the rest of the record.
NUMBER-THREE [3]
‘Cinnamon Girl’
Okay, so this track was an instant fan-favorite and I can understand why. Firstly, there’s something so real-life about it that it instantly hits home. So much so, that I actually find it dauntingly relatable.
Additionally, there’s this deep sense of imprisonment and pain associated with not being able to talk your romantic interest/ partner about the important thoughts running rampant in your mind. In light of this, Lana explores such a concept clearly through the voice of experience.
The piano keys and guitar strings work seamlessly with Lana’s soft vocals as she pulls you in with the first few lines. “Cinnamon in my teeth/ From your kiss, you’re touching me” , these words metaphorically indicative of her lover’s cinnamon-like charm.
In the same manner cinnamon is sweet, it also packs a spicy punch, which burns gradually with consumption. The same can be deduced from their seemingly toxic relationship. Speaking of toxic, Lana alludes to her lover’s drug abuse which only complicate her attempts at getting closer.
“All the pills that you take/ Violet, blue, green, red to keep me at arm’s length don’t work/ You try to push me out, but I just find my way back in/ Violet, blue, green, red to keep me out, I win/“. Notwithstanding, she remains in the relationship with the hope that this lover will be the one that brings her true happiness as opposed to pain.
“But if you hold me without hurting me/ You’ll be the first who ever did” , she confesses heart-wrenchingly on the chorus. What’s to follow is a post-chorus whose production literally yanks the emotions out of you – it’s pleading, agonizing, immersive, and devastatingly beautiful.
Overall, ‘Cinnamon Girl’ is a sweet, but spicy track that lives up to its name and hype respectively.
NUMBER-TWO [2]
‘hope is a dangerous thing for a woman like me to have – but i have it’
Arguably the most personal take from the album, ‘HIADTFAWLMTHBIHI’ finds Lana amalgamating a plethora of thoughts into a sonically, breathtaking hybrid.
Said thoughts vary in voracity and complexity, ranging from personal upbringing to current inner-turmoil as a result. It’s one of those songs whose lyrics linger long after you’ve finished listening.
The distressing tone and urgency lining the melody of the song, especially on the hook gives insight into just how much conflict is present in Lana’s life. Likewise, the piano only adds strength to her moving monologue of confession.
“I’ve been tearing around in my fucking nightgown/ 24/7 Sylvia Plath/Writing in blood on my walls/ ‘Cause the ink in my pen don’t work in my notepad/ Don’t ask if I’m happy, you know that I’m not/ But at best, I can say I’m not sad/ ‘Cause hope is a dangerous thing for a woman like me to have/ Hope is a dangerous thing for a woman like me to have”.
Understandably, you may not get all the references given the personal exclusivity of the lyrics, but you still feel her pain. You still manage to resonate with her dire state. Perhaps even empathize.
And just when you think she has finally reached her melting point, she offers hope in place of giving into defeat.
I especially took a liking to her positive outlook in the midst of life’s gloom on this track. It proved to critics and those unfamiliar with her music, that Lana Del Rey isn’t just some doleful soul who preys on melancholy and confusion derived from dysfunctional relationships.
Rather, she’s an exceptional artist who displays a variety of themes throughout her music, a woman who’s fully and wonderfully in-touch with who she is – the good, the bad, and the goddamn near sociopathic.
HONORABLE MENTIONS
- The Next Best American Record
- Bartender
- The Greatest
- F**k it I love you
- Happiness is a butterfly
- Mariner’s Apartment Complex
*NUMBER-ONE [1]
‘Venice Bitch’
I must admit, I was initially apprehensive about delving into a track that clocks in at around 10 minutes. I thought, what could possibly be so damn important that it could not have been summarized around the 3 minute mark?
Nonetheless, with each listen I made myself more available to the song; I surrendered to its lighter-hearted sentiment in comparison to other tracks on the album. And soon enough, I was completely won over!
Indeed, ‘Venice Bitch’ finds Lana reflecting on happier times during her relationship. Kissing on the lips, lighting fires, and watching the summer fade away to the sounds of Crimson and Clover are all trinkets of nostalgia that bring life to this telling narrative.
Equally enjoyable to the song’s perspective is the deep comatose the production and instrumentals place you in. Electric guitar, piano, and snaring synths combine forces to create this watery, glistening wave of Art Rock and Psychedelia that devours you with each listen.
Time becomes a figment of the imagination and you become secluded in the sounds of Lana and Jack. Speaking of which, the broken mannerisms of the songs in relation to the interplay between lyrics and guitar solos are impeccable. Dreamy backing vocals fill your ears with the serenity of nine full moons.
My favorite line is on the bridge, “(La-la-la-la-la-la, losers, beautiful, losers)/ Wha-wha-wha-wha-whatever/ Everything, whatever”. This is right around 4 minute 25 second mark and it’s where I feel the most immersed in the track.
It’s at this point where a glimmer of hope for eternal happiness meets a mentally oppressive supercut of all the failed, past relationships and situationships. Translation: it’s a crescendo of emotion.
Above all, there are two things none can deny. One, Lana Del Rey certainly used her witch powers to create this musical escape route. And two, Venice Bitch is indeed THAT bitch.
Did you enjoy today’s Album Appreciation segment? Have you given this album a listen? If so, which songs are your fave? Let me know in the comment section below.
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Terran Brice
Sidebar: I love ‘Venice Bitch’ so much I started using it daily as a measurement of time. Example: It should take me only 1 Venice Bitch to shower this morning, lol.