However, Grant’s hopefulness for the future and optimism seem to disappear from “13 Beaches,” “Cherry,” “White Mustang” and to an extent “In My Feelings.” It is almost as if she returns to her wistful, almost lethargic self, ignoring the fact that she ever did have a “lust for life.” The songs in my opinion seem rushed, almost as if she didn’t have enough songs for an album so she wrote them at the very last minute. Grant expresses her new-found love of life through a smile gifted to us in music video for “Love” The male vocals in the song, provided by Canadian singer and rapper The Weeknd, are smooth and almost songbird-like, almost calling in the new sun of the morning, a new beginning literally and metaphorically for Grant. The next track, “Lust For Life,” has very much the same hopeful atmosphere to it. The middle eight of the song in particular shows the artist’s new-found vivaciousness, as it is simply Grant almost whispering the phrase “Don’t worry baby,” which can almost be interpreted as her comforting the listener, and perhaps even herself, that things will get better. But does this album live up to Lana Del Rey’s musical aesthetic, and most of all, is it any good?Īt first listen, one cannot ignore the glitzy optimism of the first track, entitled “Love.” There is the use of the minor chords and the slow tempo, which at first makes it seem like many of her other works, but when you listen closely to the lyrics, it contains a shimmer of optimism which is absent in many of her other albums. When she announced her new album in a short YouTube video depicting her as a magical figure who lives on the H of the Hollywood sign, linking back to her references to the faded glamour of the 1950s in her other albums such as “Honeymoon,” her fans couldn’t contain themselves in their excitement. She will come out on the other side of all this.After a two year hiatus, Elizabeth Woolridge Grant, aka Lana Del Rey, released “Lust For Life,” a glittering new addition to her repertoire of albums. Yes, the case does provide more fuel for people who already hate her as an artist, but there are always haters for every artist no matter what they do.
And based on what others are saying on the internet, it seems people are really divided on this, meaning there are a lot of people who support Lana on this one and see the case as ridiculous. It does not diminish her past (or most likely future) accomplishments and general impact she has made on the scene. She has been in the industry for years and has built a following and a reputation that will not be destroyed by this, no matter how the case eventually goes. They certainly won't give it to her now FFS. RIP to the small chance she might of actually won the Grammy aswell and actually her attending the event. It reeks of greed and misogyny,pure and simple. Of course, I understand that this hypothesis could be false.) More interestingly if they lose (0%), might they not re-litigate the Hollies (or the songwriters') suit? Don't know enough about law to know, but can't precedents sometimes be overruled in later litigation?Īll those years Lana has spent building her reputation, slowly getting acclaim and respect gone down the toilet in a matter of a few days.
(I mean it could happen we're talking about a specific hypothesis where they think their Hollies plagiarism suit was bogus and want to convince others of that. So if they win (100%), they could disavow the result and cede the rights back to LDR. If you don't like the result of this exercise, then change the law". In other words, if this isn't just a label-reflex action, and does indeed reflect some kind of personal meaning for Radiohead, its meaning *might* be "hey we got sued for no reason, when you really take the trouble to consider it, so we're just going to do the same thing to demonstrate how easy it is- doing unto others as they did unto us.
To me it seems like Radiohead is intentionally milking the legal system to make some kind of abstract point, and LDR's song (with its chord progression) was in the wrong place at the wrong time.
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