Opener White Dress finds her recalling her pre-fame job as a waitress, with the kind of period detail that doubtless pushes nostalgia buttons for the millennial wing of her fanbase (“listening to the White Stripes when they were white hot”) and wondering aloud if “maybe I was better off”. Its lyrical cast is heavily populated by brooding, ne’er-do-well men – “I’m on the run with you my sweet love” etc – for whom the protagonist will do anything: “We should go back to Arkansas, trade this body for that can of gin.” There are ruminations on the dark side of fame and success – “their stories all end tragically … the best ones lose their minds,” suggests Dark But Just a Game – with a dash of bitter personal experience thrown in.
The songs stick to her patented tempo – everything moves with all the pacy zip of the World Indoor Bowls Championship – and exists in the space Del Rey demarcated some time ago, where trip-hop meets early 70s singer-songwriter stylings, the lush spookiness of Julee Cruise’s Floating Into the Night and the reverb-y sound of Mazzy Star. But these are minor alterations, not tearing up the plans.
There are points where Chemtrails Over the Country Club edges slightly into new territory: when she abandons her dead-eyed vocal style for a breathy falsetto that sounds edgy and panicked when the geographical location of her lyrics moves from LA to the midwest when the sound of Dark But Just a Game is subjected to a series of jump-cuts, her vocal suddenly losing its coating of distortion, the backing shifting from echoey to claustrophobically intimate. This has all been achieved by refining what she does rather than radically remodelling it. Lana Del Rey: Chemtrails Over the Country Club album cover “Joan Baez advocates her acceptance in the pantheon,” it wrote, reassuring its more conservative readers. She was recently featured on the front of a heritage rock magazine that doesn’t ordinarily put photographs of thirtysomething singer-songwriters on its cover unless they were taken in 1972. Moreover, her last album, 2019’s Norman Fucking Rockwell!, topped critical end of year lists ( including in the Guardian) and was hailed as the work of “simply one of the best songwriters in the country” by Bruce Springsteen. An artist given an unfairly rough ride on arrival, she finds herself, a decade on, not merely vastly commercially successful, but hugely influential, the inspiration behind a wave of melancholy bedroom pop that loops disconsolately in the background of TikTok videos. “Respect it.”Ĭlearly, here were rich pickings for connoisseurs of the point where a pop star says something so self-regarding it makes your head hurt, but Del Ray may be forgiven for getting carried away. “I am literally changing the world by putting my life and thoughts and love out there on the table 24 seven,” she wrote during a social media exchange about her eighth solo album’s cover art.
Luther Vandross Bad Boy / Having A Party.Enjoy The Very Best Of Luther Vandross Mixtape (Best Luther Vandross Songs) Luther Vandross Hit MP3 Songs Luther Vandross was an in-demand background vocalist for several different artists including Todd Rundgren, Judy Collins, Chaka Khan, Bette Midler, Diana Ross, David Bowie, Ben E. Press Release: American singer, songwriter, and record producer.
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