Lana Del Rey

Vinyl Records and Rare LPs:

	Blue Banisters New - LP - 3859014 Sealed 2021 Gatefold Original. "If Lana Del Rey's 2021 Album Chemtrails Over The Country Club Felt Like The Atmospheric Post-Script To Her 2019 Master Statement Norman Fucking Rockwell!, Blue Banisters Comes Off Like The Addendum To The Post-Script. Released Just Seventh Months After Its Predecessor, Blue Banisters Isn't Too Far Removed From The Midtempo, Woozy Tones That Defined That Album. The 15 Tracks Here Span About An Hour Running Time, And Generally Stick To The Familiar Framework Of Sad-hearted Torch Songs For A Burning World That Lana Has Built Her Entire Discography On. Closely Inspecting The Songwriting, Production, Performance, And Sequencing Choice On Blue Banisters, However, Reveals Some Moments Of Quiet Evolution. Moody, Dramatic Ballads Like "Violets For Roses," "Living Legend," And "Arcadia" Are The Kind Of Soft Excursions Into Melancholy That Have Become Synonymous With Lana Del Rey, All Free Of Percussion And Centered Around Opulent Piano Chords And Distant, Emotionally Exhausted Lyrical Perspectives. "Wildflower Wildfire" Sounds Like It Could Be A Toned-down Outtake From The Nfr! Sessions, And The Ghostly Ambience That Floats In And Out Of The Title Track Recalls Some Of The Hushed Turbulence That Flowed Throughout 2014's Ultraviolence. Throughout The Album, However, Del Rey Folds Subtle Moments Of Strangeness And Experimentation In Among Her More Established Approaches. Four Tracks Into The Album "The Trio (Interlude)" Shows Up Out Of Nowhere, Shaking Us Out Of The Dreamworld Created By The First Few Songs With An Aggressive Trap Beat Built Around An Ennio Morricone Sample. It's An Overtly Jarring Moment, But On The Following Track, "Black Bathing Suit," Del Rey Adds A More Subtle Kind Of Weirdness Into Her Standard Sad Pop, Dropping Samples Of Cawing Crows Into The Mix, Switching The Beat On The Choruses To Include Distorted, Stumbling Drums, And Ending The Song With Layers Of Yelping, Dissonant Howls. Much Like Fiona Apple Channeled Yoko Ono's Explosive Vocalizations At Certain Points On Fetch The Bolt Cutters, Songs Like "Black Bathing Suit" And "Dealer" (A Mostly Smooth Duet With Miles Kane) Find Lana Integrating Primal, Ono-esque Screaming With Her More Polished Vocals. The Vocal Performances And Production Feel A Little Less Polished Than Previous Albums. Closer "Sweet Carolina" Has An Almost Shocking Intimacy To It, With Upfront, Imperfect Vocals That Sound More Like A Quickly Recorded Voice Memo Intended To Capture An Idea As It Happens Rather Than A Labored-over Studio Production. This Unfussy Vocal Adds To The Dream-like Quality Of The Instrumental And Makes It One Of The Album's Sweetest Moments. Much Of Blue Banisters Has This Kind Of Casual, First-take Energy, And Functions More Like A Mixtape Than An Album As Del Rey Cultivates A Sustained Atmosphere, But Still Makes Room To Try Out New Ideas And Inject Some Unexpected Moves Into Her Established Sound." AMG Review By Fred Thomas. more
	Blue Banisters Used - LP - 3859014 2021 US gatefold original. "If Lana Del Rey's 2021 Album Chemtrails Over The Country Club Felt Like The Atmospheric Post-Script To Her 2019 Master Statement Norman Fucking Rockwell!, Blue Banisters Comes Off Like The Addendum To The Post-Script. Released Just Seventh Months After Its Predecessor, Blue Banisters Isn't Too Far Removed From The Midtempo, Woozy Tones That Defined That Album. The 15 Tracks Here Span About An Hour Running Time, And Generally Stick To The Familiar Framework Of Sad-hearted Torch Songs For A Burning World That Lana Has Built Her Entire Discography On. Closely Inspecting The Songwriting, Production, Performance, And Sequencing Choice On Blue Banisters, However, Reveals Some Moments Of Quiet Evolution. Moody, Dramatic Ballads Like "Violets For Roses," "Living Legend," And "Arcadia" Are The Kind Of Soft Excursions Into Melancholy That Have Become Synonymous With Lana Del Rey, All Free Of Percussion And Centered Around Opulent Piano Chords And Distant, Emotionally Exhausted Lyrical Perspectives. "Wildflower Wildfire" Sounds Like It Could Be A Toned-down Outtake From The Nfr! Sessions, And The Ghostly Ambience That Floats In And Out Of The Title Track Recalls Some Of The Hushed Turbulence That Flowed Throughout 2014's Ultraviolence. Throughout The Album, However, Del Rey Folds Subtle Moments Of Strangeness And Experimentation In Among Her More Established Approaches. Four Tracks Into The Album "The Trio (Interlude)" Shows Up Out Of Nowhere, Shaking Us Out Of The Dreamworld Created By The First Few Songs With An Aggressive Trap Beat Built Around An Ennio Morricone Sample. It's An Overtly Jarring Moment, But On The Following Track, "Black Bathing Suit," Del Rey Adds A More Subtle Kind Of Weirdness Into Her Standard Sad Pop, Dropping Samples Of Cawing Crows Into The Mix, Switching The Beat On The Choruses To Include Distorted, Stumbling Drums, And Ending The Song With Layers Of Yelping, Dissonant Howls. Much Like Fiona Apple Channeled Yoko Ono's Explosive Vocalizations At Certain Points On Fetch The Bolt Cutters, Songs Like "Black Bathing Suit" And "Dealer" (A Mostly Smooth Duet With Miles Kane) Find Lana Integrating Primal, Ono-esque Screaming With Her More Polished Vocals. The Vocal Performances And Production Feel A Little Less Polished Than Previous Albums. Closer "Sweet Carolina" Has An Almost Shocking Intimacy To It, With Upfront, Imperfect Vocals That Sound More Like A Quickly Recorded Voice Memo Intended To Capture An Idea As It Happens Rather Than A Labored-over Studio Production. This Unfussy Vocal Adds To The Dream-like Quality Of The Instrumental And Makes It One Of The Album's Sweetest Moments. Much Of Blue Banisters Has This Kind Of Casual, First-take Energy, And Functions More Like A Mixtape Than An Album As Del Rey Cultivates A Sustained Atmosphere, But Still Makes Room To Try Out New Ideas And Inject Some Unexpected Moves Into Her Established Sound." All Music Guide - Fred Thomas. more
	Born To Die New - LP - B0016425-01 Sealed Repress, No Hype Sticker. "Lana Del Rey Is A Femme Fatale With A Smoky Voice, A Languorous Image, And A Modeling Contract. Not Coincidentally, She Didn't Lack For Attention Leading Up To The Release Of Her Interscope Debut, Born To Die. The Hype Began In Mid-2011 With A Stunning Song And Video For "Video Games," And It Kept On Rising, Right Up To Her January 2012 Performance On Saturday Night Live (Making Her The First Artist Since Natalie Imbruglia In 1998 To Perform On Snl Without An Album Available). Although It's Easy To See The Reasons Why Del Rey Got Her Contract, It's Also Easy To Hear: Her Songwriting Skills And Her Bewitching Voice. "Video Games" Is A Beautiful Song, Calling To Mind Fiona Apple And Anna Calvi As She Recounts Another Variation On The Age-old Trope Of Female-as-sex-object. Her Vacant, Tired Reading Of The Song Rescues It From Any Hint Of Exploitation, Making It A Winner. Unfortunately, The Only Problem With Born To Die Is A Big One. There Is A Chasm That Separates "Video Games" From The Other Material And Performances On The Album, Which Aims For Exactly The Same Target -- Sultry, Sexy, Wasted -- But With None Of The Same Lyrical Grace, Emotional Power, Or Sympathetic Productions. Del Rey Doesn't Mind Taking Chances, Varying Her Vocalizing And Delivery, Toying With Her Lines And Reaching For Cinematic Flourishes ("He Loves Me With Every Beat Of His Cocaine Heart," "Pabst Blue Ribbon On Ice"), And Even Attempting To Rap. But She's Unable To Consistently Sell Herself As A Heartbreaker, And Most Of The Songs Here Sound Like Cobbled Retreads Of "Video Games." An Intriguing Start, But Del Rey Is Going To Have To Hit The Books If She Wants To Stay As Successful As Her Career Promised Early On." AMG Review By John Bush. more
	Born To Die Used - LP - B0016425-01 Circa 2020 black vinyl reissue. Masterdisk in deadwax. "Lana Del Rey is a femme fatale with a smoky voice, a languorous image, and a modeling contract. Not coincidentally, she didn't lack for attention leading up to the release of her Interscope debut, Born to Die. The hype began in mid-2011 with a stunning song and video for "Video Games," and it kept on rising, right up to her January 2012 performance on Saturday Night Live (making her the first artist since Natalie Imbruglia in 1998 to perform on SNL without an album available). Although it's easy to see the reasons why Del Rey got her contract, it's also easy to hear: her songwriting skills and her bewitching voice. "Video Games" is a beautiful song, calling to mind Fiona Apple and Anna Calvi as she recounts another variation on the age-old trope of female-as-sex-object. Her vacant, tired reading of the song rescues it from any hint of exploitation, making it a winner. Unfortunately, the only problem with Born to Die is a big one. There is a chasm that separates "Video Games" from the other material and performances on the album, which aims for exactly the same target -- sultry, sexy, wasted -- but with none of the same lyrical grace, emotional power, or sympathetic productions. Del Rey doesn't mind taking chances, varying her vocalizing and delivery, toying with her lines and reaching for cinematic flourishes ("he loves me with every beat of his cocaine heart," "Pabst Blue Ribbon on ice"), and even attempting to rap. But she's unable to consistently sell herself as a heartbreaker, and most of the songs here sound like cobbled retreads of "Video Games." An intriguing start, but Del Rey is going to have to hit the books if she wants to stay as successful as her career promised early on." All Music Guide - John Bush. more
	Chemtrails Over The Country Club Colored Vinyl - New - 3553403 Sealed 2021 Limited Edition Issue Pressed On Red Vinyl, With Alternative Artwork & Poster Insert. Housed In A Gatefold Jacket. more
	Chemtrails Over The Country Club Colored Vinyl - Used - 3553403 2021 US limited edition issue pressed on opaque Red vinyl, with alternative artwork & poster insert. Housed in a gatefold jacket. "Lana Del Rey's 2019 album Norman Fucking Rockwell! represented a new level of artistry, as the singer moved further from the disaffected Hollywood starlet persona of her early recordings into something more restrained, subtle, and mature. With seventh album Chemtrails Over the Country Club, Del Rey shakes off the cocoon of her slick pop days completely, continuing the nuanced songwriting and hushed perspectives of NFR! and turning in her most atmospheric set of songs to date. Much like its predecessor, the arrangements on Chemtrails are toned down, keeping the rhythmic elements minimal if they show up at all. This puts her layered self-harmonizing in the forefront of most songs, and also makes room for colorful smears of laid-back '70s-style lead guitar or delicate, jazz-informed touches. Del Rey again pairs with Jack Antonoff for production, and the duo map out every song with slowly evolving subtleties. "White Dress" opens with spare piano and a drawn-out vocal line, and slowly adds nearly imperceptible layers of sound as it goes on. On the surface, the song appears to be a simple nostalgic reflection, but the introduction of each new instrument adds tension and uneasiness, shifting the emotional undercurrents. In the first moments of the album, Del Rey delivers surreal and devastatingly sad commentary on the brutal machinery of the music industry and the sinister side of her own journey with fame, all deftly disguised with lyrics about remembering simpler days spent listening to the White Stripes and talking all night with friends. The title track is similarly sad and subdued, with willfully trite lyrics about the slow passing of an idyllic summer pushed forward by a dark, simmering instrumental. While NFR! also had a restrained approach, there were multiple moments of accessible pop in the moody cover of Sublime's "Doin' Time" and the classic rock grandeur of "The Greatest." There's barely a hint of that here, with the booming bass and steady drum loop of "Dark But Just a Game" being the closest Chemtrails gets to pop production. There are more tendencies toward ghostly folk, as with the acoustic guitars and bongos of "Yosemite" or the lonely, drifting strumming of "Not All Who Wander Are Lost." Del Rey experiments with expanding the depths of her long-established persona, occasionally breaking the fourth wall with overtly personal lyrics. "Wild at Heart" includes one of several moments where she alters her phrasing to fit extra lyrics into a single line, wondering aloud about what would happen if she escaped her music career for a more frivolous existence. The opening lines of "Dance Til We Die" refer to "covering Joni" and the next song is a pristine cover of Joni Mitchell's Ladies of the Canyon classic "For Free," with vocal contributions from Weyes Blood and Zella Day. The track is a perfect closer for an album that further advances Del Rey's evolution from a constructed pop persona to a complex artist. It's on an entirely different page than the club-ready remixes of her earlier material, but with Chemtrails Over the Country Club, Del Rey shows her softest moments can be her most powerful." All Music Guide - Fred Thomas. more
	Chemtrails Over The Country Club Picture Disc - 3549784 2021 Limited Edition Picture Disc Pressing. This Never Came Sealed; Housed In A PVC Envelope-Style Outer Sleeve. "Lana Del Rey's 2019 Album Norman Fucking Rockwell! Represented A New Level Of Artistry, As The Singer Moved Further From The Disaffected Hollywood Starlet Persona Of Her Early Recordings Into Something More Restrained, Subtle, And Mature. With Seventh Album Chemtrails Over The Country Club, Del Rey Shakes Off The Cocoon Of Her Slick Pop Days Completely, Continuing The Nuanced Songwriting And Hushed Perspectives Of Nfr! And Turning In Her Most Atmospheric Set Of Songs To Date. Much Like Its Predecessor, The Arrangements On Chemtrails Are Toned Down, Keeping The Rhythmic Elements Minimal If They Show Up At All. This Puts Her Layered Self-harmonizing In The Forefront Of Most Songs, And Also Makes Room For Colorful Smears Of Laid-back '70s-style Lead Guitar Or Delicate, Jazz-informed Touches. Del Rey Again Pairs With Jack Antonoff For Production, And The Duo Map Out Every Song With Slowly Evolving Subtleties. "White Dress" Opens With Spare Piano And A Drawn-out Vocal Line, And Slowly Adds Nearly Imperceptible Layers Of Sound As It Goes On. On The Surface, The Song Appears To Be A Simple Nostalgic Reflection, But The Introduction Of Each New Instrument Adds Tension And Uneasiness, Shifting The Emotional Undercurrents. In The First Moments Of The Album, Del Rey Delivers Surreal And Devastatingly Sad Commentary On The Brutal Machinery Of The Music Industry And The Sinister Side Of Her Own Journey With Fame, All Deftly Disguised With Lyrics About Remembering Simpler Days Spent Listening To The White Stripes And Talking All Night With Friends. The Title Track Is Similarly Sad And Subdued, With Willfully Trite Lyrics About The Slow Passing Of An Idyllic Summer Pushed Forward By A Dark, Simmering Instrumental. While Nfr! Also Had A Restrained Approach, There Were Multiple Moments Of Accessible Pop In The Moody Cover Of Sublime's "Doin' Time" And The Classic Rock Grandeur Of "The Greatest." There's Barely A Hint Of That Here, With The Booming Bass And Steady Drum Loop Of "Dark But Just A Game" Being The Closest Chemtrails Gets To Pop Production. There Are More Tendencies Toward Ghostly Folk, As With The Acoustic Guitars And Bongos Of "Yosemite" Or The Lonely, Drifting Strumming Of "Not All Who Wander Are Lost." Del Rey Experiments With Expanding The Depths Of Her Long-established Persona, Occasionally Breaking The Fourth Wall With Overtly Personal Lyrics. "Wild At Heart" Includes One Of Several Moments Where She Alters Her Phrasing To Fit Extra Lyrics Into A Single Line, Wondering Aloud About What Would Happen If She Escaped Her Music Career For A More Frivolous Existence. The Opening Lines Of "Dance Til We Die" Refer To "Covering Joni" And The Next Song Is A Pristine Cover Of Joni Mitchell's Ladies Of The Canyon Classic "For Free," With Vocal Contributions From Weyes Blood And Zella Day. The Track Is A Perfect Closer For An Album That Further Advances Del Rey's Evolution From A Constructed Pop Persona To A Complex Artist. It's On An Entirely Different Page Than The Club-ready Remixes Of Her Earlier Material, But With Chemtrails Over The Country Club, Del Rey Shows Her Softest Moments Can Be Her Most Powerful." AMG Review By Fred Thomas. more
	Chemtrails Over The Country Club New Import - 3549780 Sealed 2021 Gatefold Original; EU Import. "Lana Del Rey's 2019 Album Norman Fucking Rockwell! Represented A New Level Of Artistry, As The Singer Moved Further From The Disaffected Hollywood Starlet Persona Of Her Early Recordings Into Something More Restrained, Subtle, And Mature. With Seventh Album Chemtrails Over The Country Club, Del Rey Shakes Off The Cocoon Of Her Slick Pop Days Completely, Continuing The Nuanced Songwriting And Hushed Perspectives Of Nfr! And Turning In Her Most Atmospheric Set Of Songs To Date. Much Like Its Predecessor, The Arrangements On Chemtrails Are Toned Down, Keeping The Rhythmic Elements Minimal If They Show Up At All. This Puts Her Layered Self-harmonizing In The Forefront Of Most Songs, And Also Makes Room For Colorful Smears Of Laid-back '70s-style Lead Guitar Or Delicate, Jazz-informed Touches. Del Rey Again Pairs With Jack Antonoff For Production, And The Duo Map Out Every Song With Slowly Evolving Subtleties. "White Dress" Opens With Spare Piano And A Drawn-out Vocal Line, And Slowly Adds Nearly Imperceptible Layers Of Sound As It Goes On. On The Surface, The Song Appears To Be A Simple Nostalgic Reflection, But The Introduction Of Each New Instrument Adds Tension And Uneasiness, Shifting The Emotional Undercurrents. In The First Moments Of The Album, Del Rey Delivers Surreal And Devastatingly Sad Commentary On The Brutal Machinery Of The Music Industry And The Sinister Side Of Her Own Journey With Fame, All Deftly Disguised With Lyrics About Remembering Simpler Days Spent Listening To The White Stripes And Talking All Night With Friends. The Title Track Is Similarly Sad And Subdued, With Willfully Trite Lyrics About The Slow Passing Of An Idyllic Summer Pushed Forward By A Dark, Simmering Instrumental. While Nfr! Also Had A Restrained Approach, There Were Multiple Moments Of Accessible Pop In The Moody Cover Of Sublime's "Doin' Time" And The Classic Rock Grandeur Of "The Greatest." There's Barely A Hint Of That Here, With The Booming Bass And Steady Drum Loop Of "Dark But Just A Game" Being The Closest Chemtrails Gets To Pop Production. There Are More Tendencies Toward Ghostly Folk, As With The Acoustic Guitars And Bongos Of "Yosemite" Or The Lonely, Drifting Strumming Of "Not All Who Wander Are Lost." Del Rey Experiments With Expanding The Depths Of Her Long-established Persona, Occasionally Breaking The Fourth Wall With Overtly Personal Lyrics. "Wild At Heart" Includes One Of Several Moments Where She Alters Her Phrasing To Fit Extra Lyrics Into A Single Line, Wondering Aloud About What Would Happen If She Escaped Her Music Career For A More Frivolous Existence. The Opening Lines Of "Dance Til We Die" Refer To "Covering Joni" And The Next Song Is A Pristine Cover Of Joni Mitchell's Ladies Of The Canyon Classic "For Free," With Vocal Contributions From Weyes Blood And Zella Day. The Track Is A Perfect Closer For An Album That Further Advances Del Rey's Evolution From A Constructed Pop Persona To A Complex Artist. It's On An Entirely Different Page Than The Club-ready Remixes Of Her Earlier Material, But With Chemtrails Over The Country Club, Del Rey Shows Her Softest Moments Can Be Her Most Powerful." AMG - Fred Thomas. more
	Did You Know That There's A Tunnel Under Ocean Blvd New - LP - 4859195 Sealed 2023 2LP Original Pressed On Black Vinyl With Standard Cover Artwork. Each Record Comes Inside A Custom Printed Inner Sleeve, With Illustrations And Credits On Reverse. "Lana Del Rey Could Have Retired After The Cinematic Grandeur Of Her 2019 High-Water Mark Norman Fucking Rockwell! That Album's Imaginative Songwriting, Finely Crafted Performances, And Exceptional Production Served As A Realization Of The Magnificence Promised By Earlier Efforts, And The Deepest Look Yet At Del Rey's Stormy Inner World. Subsequent Albums Suggested A Little Bit Of A Comedown After Such Heights. Both Released In 2021, Chemtrails Over The Country Club Felt Like An NFR! Bonus Reel, While Blue Banisters Played Like A Mixtape Of Solid But Random Song Ideas. Ninth Album Did You Know That There's A Tunnel Under Ocean Blvd Finds Del Rey Returning To The Powerful Level Of Song Sculpting She Reached On Nfr!, And Feels Like A Strong Step Forward As Much As It Does A Worthy Follow-up To Her Best Record. The Slow, Lingering Torch Song Style The Singer Has Been Perfecting Since The Beginning Of Her Career Shows Up In Fine Form On The Lovely, String-dazzled Melancholy Of The Title Track And The Gospel Choir-aided Opening Track, "The Grants." The Tone Of Ocean Blvd Is More Mature Than Previous Albums But Also More Distant. The Haunting Music-box Melody Of "Paris, Texas" Finds Del Rey On A Solitary Journey, Feeling Unsettled About Her Place In Life And Getting The Sense That It's Time To End A Crumbling Relationship. Much Of The Album Hovers In This Darkly Dreamy Mood, With Lyrics Sometimes Circling Around Themes Of Family Or Long-term Partnership, But Usually Choosing A Thick Atmospheric Malaise Over Overt Statements. Even The Folky Father John Misty Duet "Let The Light In" Renders Its Open Acoustic Guitar Chords And Soft Rock Affectations More Cloudy Than Crisp. Del Rey's Genre Experimentation Has Long Been A Part Of Her Sound, And It Results In Some Of Ocean Blvd's Most Exciting Moments As Well As Some Of Its Least. She Brings On Producer Jack Antonoff's Band Bleachers To Assist With "Margaret," And The Song Feels Flat And Unfinished, Antonoff Awkwardly Trying To Fit The Faux-springsteen Grumble He Uses In Bleachers Into The Tune's Flow. Conversely, The Seven-Minute "A&W" Is One Of Del Rey's More Daring And Immediately Mesmerizing Songs, Starting Out As A Slow-motion Lament But Changing Lanes Dramatically With A Severe Beat Switch That Comes Out Of Nowhere. Minimal Electronics Build Tension Until The Song Suddenly Explodes Into A Blur Of Cheerleader-chant Hooks And Overpowering Bass. It's A Career-best Track That Owes Its Excellence To Del Rey's Willingness To Take It Somewhere Wildly Unexpected. Other Great Experiments With Style Are "Fishtail," Which Floats Through Wispy Ambience Before A Trap Beat Drops, And The Watery Funk Of "Peppers," Which Loops A Sample From Tommy Genesis For Its Chorus. Now More Than A Decade Into Making Music, Lana Del Rey Has Honed A Style So Unique She's Almost A Genre Unto Herself. Full Of Brilliant Strides Forward, Ocean Blvd Is A Crucial Chapter In Del Rey's Ongoing Saga Of Heartbreak And Enchantment." AMG - Fred Thomas. more
	Did You Know That There's A Tunnel Under Ocean Blvd New - LP - 4859195 Sealed 2023 2LP Original Pressed On Black Vinyl With Standard Cover Artwork. Each Record Comes Inside A Custom Printed Inner Sleeve, With Illustrations And Credits On Reverse. "Lana Del Rey Could Have Retired After The Cinematic Grandeur Of Her 2019 High-Water Mark Norman Fucking Rockwell! That Album's Imaginative Songwriting, Finely Crafted Performances, And Exceptional Production Served As A Realization Of The Magnificence Promised By Earlier Efforts, And The Deepest Look Yet At Del Rey's Stormy Inner World. Subsequent Albums Suggested A Little Bit Of A Comedown After Such Heights. Both Released In 2021, Chemtrails Over The Country Club Felt Like An NFR! Bonus Reel, While Blue Banisters Played Like A Mixtape Of Solid But Random Song Ideas. Ninth Album Did You Know That There's A Tunnel Under Ocean Blvd Finds Del Rey Returning To The Powerful Level Of Song Sculpting She Reached On Nfr!, And Feels Like A Strong Step Forward As Much As It Does A Worthy Follow-up To Her Best Record. The Slow, Lingering Torch Song Style The Singer Has Been Perfecting Since The Beginning Of Her Career Shows Up In Fine Form On The Lovely, String-dazzled Melancholy Of The Title Track And The Gospel Choir-aided Opening Track, "The Grants." The Tone Of Ocean Blvd Is More Mature Than Previous Albums But Also More Distant. The Haunting Music-box Melody Of "Paris, Texas" Finds Del Rey On A Solitary Journey, Feeling Unsettled About Her Place In Life And Getting The Sense That It's Time To End A Crumbling Relationship. Much Of The Album Hovers In This Darkly Dreamy Mood, With Lyrics Sometimes Circling Around Themes Of Family Or Long-term Partnership, But Usually Choosing A Thick Atmospheric Malaise Over Overt Statements. Even The Folky Father John Misty Duet "Let The Light In" Renders Its Open Acoustic Guitar Chords And Soft Rock Affectations More Cloudy Than Crisp. Del Rey's Genre Experimentation Has Long Been A Part Of Her Sound, And It Results In Some Of Ocean Blvd's Most Exciting Moments As Well As Some Of Its Least. She Brings On Producer Jack Antonoff's Band Bleachers To Assist With "Margaret," And The Song Feels Flat And Unfinished, Antonoff Awkwardly Trying To Fit The Faux-springsteen Grumble He Uses In Bleachers Into The Tune's Flow. Conversely, The Seven-Minute "A&W" Is One Of Del Rey's More Daring And Immediately Mesmerizing Songs, Starting Out As A Slow-motion Lament But Changing Lanes Dramatically With A Severe Beat Switch That Comes Out Of Nowhere. Minimal Electronics Build Tension Until The Song Suddenly Explodes Into A Blur Of Cheerleader-chant Hooks And Overpowering Bass. It's A Career-best Track That Owes Its Excellence To Del Rey's Willingness To Take It Somewhere Wildly Unexpected. Other Great Experiments With Style Are "Fishtail," Which Floats Through Wispy Ambience Before A Trap Beat Drops, And The Watery Funk Of "Peppers," Which Loops A Sample From Tommy Genesis For Its Chorus. Now More Than A Decade Into Making Music, Lana Del Rey Has Honed A Style So Unique She's Almost A Genre Unto Herself. Full Of Brilliant Strides Forward, Ocean Blvd Is A Crucial Chapter In Del Rey's Ongoing Saga Of Heartbreak And Enchantment." AMG - Fred Thomas. more
	Did You Know That There's A Tunnel Under Ocean Blvd Colored Vinyl - New - 4859195 Sealed 2023 2LP Limited Edition Original, With Alternate Artwork & Pressed On Green Vinyl. "Lana Del Rey Could Have Retired After The Cinematic Grandeur Of Her 2019 High-Water Mark Norman Fucking Rockwell! That Album's Imaginative Songwriting, Finely Crafted Performances, And Exceptional Production Served As A Realization Of The Magnificence Promised By Earlier Efforts, And The Deepest Look Yet At Del Rey's Stormy Inner World. Subsequent Albums Suggested A Little Bit Of A Comedown After Such Heights. Both Released In 2021, Chemtrails Over The Country Club Felt Like An NFR! Bonus Reel, While Blue Banisters Played Like A Mixtape Of Solid But Random Song Ideas. Ninth Album Did You Know That There's A Tunnel Under Ocean Blvd Finds Del Rey Returning To The Powerful Level Of Song Sculpting She Reached On Nfr!, And Feels Like A Strong Step Forward As Much As It Does A Worthy Follow-up To Her Best Record. The Slow, Lingering Torch Song Style The Singer Has Been Perfecting Since The Beginning Of Her Career Shows Up In Fine Form On The Lovely, String-dazzled Melancholy Of The Title Track And The Gospel Choir-aided Opening Track, "The Grants." The Tone Of Ocean Blvd Is More Mature Than Previous Albums But Also More Distant. The Haunting Music-box Melody Of "Paris, Texas" Finds Del Rey On A Solitary Journey, Feeling Unsettled About Her Place In Life And Getting The Sense That It's Time To End A Crumbling Relationship. Much Of The Album Hovers In This Darkly Dreamy Mood, With Lyrics Sometimes Circling Around Themes Of Family Or Long-term Partnership, But Usually Choosing A Thick Atmospheric Malaise Over Overt Statements. Even The Folky Father John Misty Duet "Let The Light In" Renders Its Open Acoustic Guitar Chords And Soft Rock Affectations More Cloudy Than Crisp. Del Rey's Genre Experimentation Has Long Been A Part Of Her Sound, And It Results In Some Of Ocean Blvd's Most Exciting Moments As Well As Some Of Its Least. She Brings On Producer Jack Antonoff's Band Bleachers To Assist With "Margaret," And The Song Feels Flat And Unfinished, Antonoff Awkwardly Trying To Fit The Faux-springsteen Grumble He Uses In Bleachers Into The Tune's Flow. Conversely, The Seven-Minute "A&W" Is One Of Del Rey's More Daring And Immediately Mesmerizing Songs, Starting Out As A Slow-motion Lament But Changing Lanes Dramatically With A Severe Beat Switch That Comes Out Of Nowhere. Minimal Electronics Build Tension Until The Song Suddenly Explodes Into A Blur Of Cheerleader-chant Hooks And Overpowering Bass. It's A Career-best Track That Owes Its Excellence To Del Rey's Willingness To Take It Somewhere Wildly Unexpected. Other Great Experiments With Style Are "Fishtail," Which Floats Through Wispy Ambience Before A Trap Beat Drops, And The Watery Funk Of "Peppers," Which Loops A Sample From Tommy Genesis For Its Chorus. Now More Than A Decade Into Making Music, Lana Del Rey Has Honed A Style So Unique She's Almost A Genre Unto Herself. Full Of Brilliant Strides Forward, Ocean Blvd Is A Crucial Chapter In Del Rey's Ongoing Saga Of Heartbreak And Enchantment." AMG - Fred Thomas. more
	Did You Know That There's A Tunnel Under Ocean Blvd Colored Vinyl - New - 4859195 Sealed 2023 2LP Limited Edition Original, With Alternate Artwork & Pressed On Green Vinyl. "Lana Del Rey Could Have Retired After The Cinematic Grandeur Of Her 2019 High-Water Mark Norman Fucking Rockwell! That Album's Imaginative Songwriting, Finely Crafted Performances, And Exceptional Production Served As A Realization Of The Magnificence Promised By Earlier Efforts, And The Deepest Look Yet At Del Rey's Stormy Inner World. Subsequent Albums Suggested A Little Bit Of A Comedown After Such Heights. Both Released In 2021, Chemtrails Over The Country Club Felt Like An NFR! Bonus Reel, While Blue Banisters Played Like A Mixtape Of Solid But Random Song Ideas. Ninth Album Did You Know That There's A Tunnel Under Ocean Blvd Finds Del Rey Returning To The Powerful Level Of Song Sculpting She Reached On Nfr!, And Feels Like A Strong Step Forward As Much As It Does A Worthy Follow-up To Her Best Record. The Slow, Lingering Torch Song Style The Singer Has Been Perfecting Since The Beginning Of Her Career Shows Up In Fine Form On The Lovely, String-dazzled Melancholy Of The Title Track And The Gospel Choir-aided Opening Track, "The Grants." The Tone Of Ocean Blvd Is More Mature Than Previous Albums But Also More Distant. The Haunting Music-box Melody Of "Paris, Texas" Finds Del Rey On A Solitary Journey, Feeling Unsettled About Her Place In Life And Getting The Sense That It's Time To End A Crumbling Relationship. Much Of The Album Hovers In This Darkly Dreamy Mood, With Lyrics Sometimes Circling Around Themes Of Family Or Long-term Partnership, But Usually Choosing A Thick Atmospheric Malaise Over Overt Statements. Even The Folky Father John Misty Duet "Let The Light In" Renders Its Open Acoustic Guitar Chords And Soft Rock Affectations More Cloudy Than Crisp. Del Rey's Genre Experimentation Has Long Been A Part Of Her Sound, And It Results In Some Of Ocean Blvd's Most Exciting Moments As Well As Some Of Its Least. She Brings On Producer Jack Antonoff's Band Bleachers To Assist With "Margaret," And The Song Feels Flat And Unfinished, Antonoff Awkwardly Trying To Fit The Faux-springsteen Grumble He Uses In Bleachers Into The Tune's Flow. Conversely, The Seven-Minute "A&W" Is One Of Del Rey's More Daring And Immediately Mesmerizing Songs, Starting Out As A Slow-motion Lament But Changing Lanes Dramatically With A Severe Beat Switch That Comes Out Of Nowhere. Minimal Electronics Build Tension Until The Song Suddenly Explodes Into A Blur Of Cheerleader-chant Hooks And Overpowering Bass. It's A Career-best Track That Owes Its Excellence To Del Rey's Willingness To Take It Somewhere Wildly Unexpected. Other Great Experiments With Style Are "Fishtail," Which Floats Through Wispy Ambience Before A Trap Beat Drops, And The Watery Funk Of "Peppers," Which Loops A Sample From Tommy Genesis For Its Chorus. Now More Than A Decade Into Making Music, Lana Del Rey Has Honed A Style So Unique She's Almost A Genre Unto Herself. Full Of Brilliant Strides Forward, Ocean Blvd Is A Crucial Chapter In Del Rey's Ongoing Saga Of Heartbreak And Enchantment." AMG - Fred Thomas. more
	Honeymoon New - LP - 4748829 Sealed 2023 2LP US repress. Housed in a gatefold and includes 12x12 booklet and hype sticker on front shrink. more
	Honeymoon Colored Vinyl - 4748829 2015 Limited Edition 2LP 180gm Red Virgin Vinyl Housed In A Deluxe Gatefold Cover With Full Color 12x12 Booklet. Both LPs Appear New, Unplayed. more
	Lust For Life New - LP - B0026822-01 Sealed Urban Outfitters Limited Edition, Coke Bottle Clear Vinyl In Gatefold And Hype Sticker. more
	Lust For Life Colored Vinyl - Used - B0026822-01 2017 Urban Outfitters Limited Edition, Coke Bottle Clear Vinyl, Housed A In Gatefold Jacket. Beatuiful, Clean Copy. "Lana Del Rey Knows Perfectly Well Her Lust For Life Sounds Sleepy In Comparison To Iggy Pop's Full-blooded Roar, But That Doesn't Mean The Title Of Her Fourth Album Is Ironic. Compared To Her Previous Albums, Especially Its Somnolent 2015 Predecessor, Honeymoon, Lust For Life Is Positively Ebullient In Tone, If Not In Tempo. Lana Del Rey May Sing About A "Summer Bummer" But The Song Isn't In Sway To A Narcotic Undertow; It Simmers, Offering A Cool Bit Of Seduction For Muggy August Nights. Ldr Retains This Delicate Balance Throughout The Lengthy Lust For Life (At 71 Minutes, This Is An Album As Playlist, Designed To Be Looped Over And Over As Mood Music), Never Quite Succumbing To Either Despair Or Ecstasy But Rather Finding A Place Where There's No Separation Between The Two Emotions. That Said, Lana Del Rey Does Lean Toward Pleasure On Lust For Life, Luxuriating In Her Slow Rhythms And Shimmering Surfaces. What Once Seemed Icy -- The Glassy Gloss, The Sighing Melodies, Her Persistent Murmur -- Now Exudes Warmth, Where Even The Weeknd's Spectral Falsetto On The Title Track Feels Alluring. Ldr Manages To Sustain This Mood Over The Course Of 16 Songs, Every One Of Which Is A Gentle Variation Of Her Supple Signature. Sometimes, The Tracks Are Graced By A Guest -- In Addition To The Weeknd, A$ap Rocky Shows Up On Two Songs, Sean Ono Lennon On Another, While Stevie Nicks Stops By For "Beautiful People Beautiful Problems" -- But Usually What Sticks Is An Escalating Chorus Or A Hook That Echoes In The Distance. If Lust For Life Starts To Slow Down Toward Its Conclusion -- "Tomorrow Never Came" Seems Like The Logical Conclusion, But There's A Three-track Coda Afterward -- It Nevertheless Delivers Upon Its Promise Of A Sunnier Lana Del Rey, And The Very Fact That She Can Find So Many Textures In A Deliberately Limited Palette Is Impressive." AMG Review By Stephen Thomas Erlewine. more
	Paradise New - LP - B0017667-01 Sealed, Latest Reissue Pressing. "Even After Selling Nearly Three Million Copies Of Her Debut Album Worldwide, Lana Del Rey Still Faced A Challenge During 2012: Namely, Proving To Critics And Fans That Born To Die Wasn't A Fluke. In That Spirit, She Released Paradise, A Mini-Album Close To Christmas, One That Finds Her Copying Nearly Wholesale The Look And Feel Of Her Vampish Born To Die Personality. The Sound Is Also Very Familiar. Strings Move At A Glacial Pace, Drums Crash Like Waves In Slow Motion, And Most Of The Additional Textures In These Songs (Usually Electric Guitar Or Piano) Are Cinematic In Their Sound And References. Del Rey Is In Perfect Control Of Her Voice, Much More Assured Than She Was Even One Year Ago, And Frequently Capable Of Astonishing Her Listeners With A Very Convincing Act, Even While Playing Nearly The Same Character In Each Song. There's Really Only One Difference Between Born To Die And Paradise, But It's A Big One. Instead Of Acting The Softcore, Submissive, '60s-era Plaything, Here She's A Hardcore, Wasted, Post-Millennial Plaything. She Even Goes So Far As To Tell Her Audience That She Likes It Rough (In Words That Earned The Album A Parental Advisory Sticker), To Ask Whether She Can Put On A Show, And At Her Most Explicit, Proffering A Simile That Compares The Taste Of An Intimate Part Of Her Anatomy To Pepsi. Granted, At The Age Of 26, She Still Has A Few Things To Learn About Lyricism, Also Resorting To Cliché And Baby Talk In A Manner That May Fit The Persona In A Song, But Doesn't Result In Great Songwriting. (For Examples, Check "Body Electric," With The Lines "Elvis Is My Daddy, Marilyn's My Mother, Jesus Is My Bestest Friend" And "We Get Crazy Every Friday Night, Drop It Like It's Hot In The Pale Moonlight.") For All The Progress And Growth Del Rey Shows In The Vocal Realm, Her Songwriting Appears To Be In Stasis And The Productions Behind Her Have Actually Regressed From Born To Die. (The Inclusion Of A Cover, "Blue Velvet," Is Not Only A Perfect Match For Her Style, But Also A Hint That She Performs Up To Better Material.) Still, All Of This Is Merely The Fodder For Her Continuing Controversy And Popularity. Del Rey Puts It Better Here Than Anyone Else, With Another Simile: "Like A Groupie Incognito Posing As A Real Singer, Life Imitates Art"." AMG - John Bush. more
	Ultraviolence New - LP - B0020950-01 Sealed Repress Of The 2014 Release. "The Maelstrom Of Hype Surrounding Self-Modeled Hollywood Pop Star Lana Del Rey's 2012 Breakthrough Album, Born To Die, Found Critics, Listeners, And Pop Culture Aficionados Divided About Her Detached, Hyper-Stylized Approach To Every Aspect Of Her Music And Public Persona. What Managed To Get Overlooked By Many Was That Born To Die Made Such A Polarizing Impression Because It Actually Offered Something That Didn't Sound Like Anything Else. Del Rey's Sultry, Overstated Orchestral Pop Recast Her As Some Sort Of Vaguely Imagined Chanteuse For A Generation Raised On Adderall And The Internet, With Heavy Doses Of Twin Peaks Atmosphere Adding A Creepy Sheen To Intentionally Vapid (And Undeniably Catchy) Radio Hits. Follow-Up Album Ultraviolence Shifts Gears Considerably, Building A Thick, Slow-Moving Atmosphere With Its Languid Songs And Opulent Arrangements. Gone Are The Big Beats And Glossy Production That Resulted In Tracks Like "Summertime Sadness." Instead, Ultraviolence Begins With The Protracted, Rolling Melancholia Of "Cruel World," Nearly Seven Minutes Of What Feels Like A Sad, Reverb-Drenched Daydream. The Song Sets The Stage For The Rest Of The Album, Which Simmers With A Haunted, Yearning Feeling But Never Boils Over. Even The Most Pop-Friendly Moments Here Are Steeped In Patient, Jazz-Inflected Moodiness, As With The Sad-eyed Longing Of "Shades Of Cool" Or The Unexpected Tempo Changes That Connect The Slinky Verses Of Single "West Coast" To Their Syrupy, Swaying Choruses. Production From The Black Keys' Dan Auerbach Might Have Something To Do With The Metered Restraint That Permeates The Album, With Songs Like "Sad Girl" Carrying Some Of The Slow-burning Touches Of Greasy Blues-Rock Auerbach Is Known For. A Few Puzzling Moments Break Up The Continuity Of The Album. The Somewhat Hooky Elements Of "Brooklyn Baby" Can't Quite Rise Above Its Disjointed Song Structure And Cringeable Lyrics That Could Be Taken Either As Mockery Of The Hipster Lifestyle Or Self-Parody. "Money Power Glory" Steps Briefly Out Of The Overall Dreamscape Of The Album, Sounding Like A Tossed-Off Outtake From The Born To Die Sessions. Despite These Mild Missteps, Ultraviolence Thrives For The Most Part In Its Density, Meant Clearly To Be Absorbed As An Entire Experience, With Even Its Weaker Pieces Contributing To A Mood That's Consumptive, Sexy, And As Eerie As Big-budget Pop Music Gets. Del Rey's Loudest Detractors Criticized Her Music As A Hollow, Cliché-ridden Product Designed By The Music Industry And Lacking The Type Of Substance That Makes Real Pop Stars Pop. Ultraviolence Asserts That As A Songwriter, She Has Complete Control Of Her Craft, Deciding On Songs Far Less Flashy Or Immediate But Still Uniquely Captivating. As These Songs Shift Her Sound Into More Mature And Nuanced Places, It Becomes Clear That Every Deadpan Affectation, Lispy Lyric, And Overblown Allusion To Desperate Living Has Been A Knowing Move In The Creation Of The Strange, Beguiling Character -- And Sonic Experience -- We Know As Lana Del Rey." AMG Review By Fred Thomas. more