Lana Del Rey – ‘Love’, Lust for Life and Guilty Pleasures

It doesn’t matter if I’m not enough
For the future or the things to come

There are few more disingenuous or faintly pathetic pop concepts than the Guilty Pleasure.  Pop is all about pleasure, no guilt necessary. Love what thou wilt shall be the whole of the law of pop. Love is the law of pop, love under will.

A Guilty Pleasure used to mean “something I’m embarrassed about liking because people I disrespect – like teenagers or women – also like it”. Then it evolved to mean “something I pretend to be embarrassed about liking so you think I’m even cooler than the people who dislike this stuff because they think it’s uncool”. There is no place for the guilty pleasure in pop.

And yet.

Sometimes you can’t help but like something that runs straight against what you believe to be your better pop senses.

When Lana Del Rey slunk sultrily onto the scene back in 2011 with ‘Video Games’ it was oh so easy to fall in love. Washed out ’50s/’60s romanticism  with an oh-so modern twist. Yes, there was an element of pastiche and almost (self-)parody to the whole thing, but hey, it just worked.

Then came album Born To Die, and it was half mesmerising, half utterly laughable.

There were a batch of just brilliant songs sprinkled across the record, like  ‘National Anthem’,  ‘Off to the Races’ and title track ‘Born to Die’ . But all rubbed up against each other, track-after-track-after-track of that ’50s/’00s ingenue pining for “daddy” over and over and over again was exhausting. It went from a touch of pastiche to the full French and Saunders.

I mean, you can’t really argue with that, can you? Summertime. Sadness. Summertime Sadness.

I’m feelin’ electric tonight
Cruising down the coast goin’ ’bout 99

The deluxe cash-in “Paradise Edition” of the album just underlined the whole problem.  Some good new songs like ‘Ride’, a great one in ‘Cola’, but all that over-the-top sultriness just suffocated. The cover of ‘Blue Velvet’, did more than make the Lynchian vibe explicit, it made it laughable. Recorded for an H&M ad, listening to it made you feel like a schnook for ever enjoying a single note of what LDR has ever put on plastic.

So Lana Del Rey became a guilty pleasure (if not a Guilty Pleasure). I still get a kick from her songs – though follow-up albums Ultraviolence (2014) and Honeymoon (2015) came and went without too much of them even faintly sticking in the brain.

So to ‘Love’, the teaser from LDR’s fourth album (that “debut” recorded back in 2008 when she was Lizzy Grant doesn’t count). And… just when I thought I was out… she pulls me back in.

It’s far from her most catchy song. Nowhere near her best actually. But for perhaps the first time ever her music doesn’t seem so painfully, artlessly, affected.

I’d always hesitate to use the word “real”, because there’s no more vacuous, contradictory concept in pop. Hell, it’s even worse than “Guilty Pleasure”. It’s more that despite all the welcome fluff and dazzle, ‘Love’ actually manages to connect on an emotional level.

The only song of hers that previously managed that was maybe her very best – ‘Young and Beautiful’ – her bit for the 2013 soundtrack of The Great Gatsby.

Since I started writing this, Lana announced the name of her next record, the second-hand Lust For Life, with a typically over-the-top black-and-white and-splashes-of-colour video about being “an artist” trying to “create something”. Eurgh.

The awful spectre of Lady Gaga’s self-conscious “I am an artiste” shtick looms awfully large. It’s absurd, ridiculous, clichéd and downright embarrassing. She lives in the H of the Hollywood sign for god’s sake.

And yet.

The thing is, LDR wears this mashup of The Twilight Zone and Bewitched a hell of a lot better than the crumpled Blue Velvet, which has long since faded to tedious, dull grey.

In actually embracing and outing the full-on artifice and fiction of the whole Lana Del Rey character, maybe she’s finally found a way to make it fun once again. Here’s hoping.


Ryan Adams – ‘To Be Without You’

“Nothing really matters anymore.”

Released on December 23, 2016,  ‘To Be Without You’ is the second single from the upcoming 16th (SIXTEENTH!) solo Ryan Adams album Prisoner, due out on February 17.

It follows the much thrashier, heavier, ‘Do You Still Love Me?’ and is back to that country, twangy, almost ‘Sweet Home Alabama’-y country Heartbreaker vibe.

Last year, on maybe the best song of the best album of the year – ‘I Need You’ from Skeleton Tree, Nick Cave kept singing “Nothing really matters /nothing really matters when the one you love is gone”.

Despite covering pretty much the same ground, isn’t nearly as bleak. How could it be? How could anything be? More tugging at your heartstrings than dragging you into the most despairing dark pit of gloom.

Film Music

8 reasons even non-Beatles fans should watch their new feature-length doc

A Beatles film? In 2016? Why should anyone bother? Because, incredibly, there’s still plenty to say half a century on.

Apple Corps

“But I don’t like The Beatles!” Even so. Here are eight reasons why – Fabs fan or not – you have to watch Ron Howard’s The Beatles: Eight Days A Week – The Touring Years.

Read the full article at Digital Spy


Got LIVE If You Want It! The 13 greatest live albums of all time

Some of the best artists (The Beatles, Madonna) never managed to release a truly great live album. Some of the finest live acts in history (Public Enemy, Manic Street Preachers) have got close but never quite pulled it off either.

Live albums are often little more than curios for completists or mementos for gig-goers. But when everything falls into place, a live album can be every bit as good, or even better, than what the band do in the studio.

Here are 13 of the best, along with some more-than honourable mentions.

13. Marilyn Manson – The Last Tour on Earth (1999)

Recorded between the release of Mechanical Animals and Holy Wood, a MM live album was never going to capture the raw insanity of the in-the-flesh Manson experience, or the clever-clever industrial-edged studio sound.

So what are you left with? Well, only one of the most unlikely crossover moments of the 1990s. A clutch of glampop classics played by a disgustingly hot live band, lapping up the adoration and egging it on with gloriously cheap pops (“Drugs, they say, are made right here in Cleveland”).

Like this? Try: David Bowie – Santa Monica ’72 (1994), Iggy And The Stooges – Metallic KO (1976, 1988, 1998)

12. Suicide – 23 Minutes in Brussels (1978)

Not all gigs go to plan. Originally released as a double-set with the less-messy 21½ Minutes in Berlin, this Brussels gig is an absolute shambles. Supporting Elvis Costello, abrasive synthpunk duo Suicide were not what the Belgians wanted on their stage, and boy did they let them know it.

Constant booing, chanting for the headline act, complete contempt in both directions. It all ends with Alan Vega’s mic being pinched, his nose being broken, and what sounds like a full scale riot.

Like this? Try: Bob Dylan – Live 1966, The “Royal Albert Hall” Concert (1998) , Atari Teenage Riot – Live at Brixton Academy (1999)

11. Kylie Minogue – Live in New York (2009)

Sex Kylie, Cute Kylie, Indie Kylie, Dance Kylie. She’s been through so many incarnations – but few gained much traction in the US. (Only ‘The Loco-Motion’ and ‘Can’t Get You Out of My Head’ troubled the Billboard Top 10).

But it was in NYC on her first American tour where she has her crowning glory. A stunning 2+ hour set of perfect pop songs performed to perfection. Hit after hit after hit, lushly arranged and bursting with energy – all topped off with a sprinkling of sassy chat.

Like this? Try: Girls Aloud – Live from the O2(2009), Leonard Cohen – Live in London (2009)

10. Underworld – Everything, Everything (2000)

On its release Everything, Everything seemed to get as much attention for its groundbreaking Tomato-FXd DVD as it did the music, but the recordings have endured.

Underworld have always been as hot on the road as they are in the studio and this set perfectly captures the way they ramp up that tension and give you those bursts of euphoric relief. Play its eight tracks at maximum volume and you feel like you’re there in the arena/dance tent with them.

Like this? Try: Daft Punk – Alive 1997 (1998) , Kraftwerk – Minimum-Maximum (2005)

9. The Rolling Stones – Got Live If You Want It! (1966)

Everyone agrees that 1970’s Get Yer Ya-Ya’s Out! – the first live album to top the UK charts – is the essential Stones live document. It’s not. This is.

It’s got fake credits, fake crowd noise, overdubs galore and even a couple of studio tracks snuck into the middle. It was only released as a contractual obligation. None of that matters.

It’s a snapshot of that moment when they straddled that rough R&B and brutal 200mph rock ‘n’ roll, before all the Midnight Rambling slowed them down and strung them out. Got Live If You Want It! is the Rolling Stones at their speedy best.

Like this? Try: Try: The Beatles – Live at the Hollywood Bowl (1977) and The Kinks – Live at Kelvin Hall (1967)

8. Johnny Cash – At Folsom Prison (1968)

The success of Cash’s 1955 single ‘Folsom Prison Blues’ got him invited to play at prisons all over the US, and in 1968 finally played at Folsom itself. A career-revitalizing release, Cash is backed by not only The Tennessee Three, but also his soon-to-be-wife June Carter and Carl ‘Blue Suede Shoes’ Perkins.

It’s a rollocking performance loaded with tales of crime and punishment. And it just about gets away with indulging some men who no doubt have done some bad, bad things.

Like this? Try: BB King – Live in Cook County Jail (1970), Elvis – Aloha From Hawaii via Satellite (1973/1998)

7. Lauryn Hill – MTV Unplugged No 2.0 (2002)

Or, The Disintegration of Lauryn Hill. If a live album at its heart is about capturing something real and raw, there is no better example. In 1996 The Fugees conquered the world with The Score. Two years later Hill achieved more critical acclaim with her solo debut The Miseducation of…. She’s still not released a studio follow-up.

Instead, there’s this. No beats, no frills, no sweeteners. Lauryn and an acoustic guitar. Plaintive, heartwrenching new songs, and rambling self-help monologues. Many dismissed it as career suicide, but it’s actually a statement of beauty and rare honesty.

Like this? Try: Joni Mitchell – Miles of Aisles (1974), Jay Z – Unplugged (2001)

6. Talking Heads – Stop Making Sense (1984/1999)

Jonathan Demme’s 1984 movie is one of the few actually watchable concert films in existence. An actual movie, rather than a failed BBC-at-Glastonbury style attempt at documentary. It works almost as well without the visuals, and you should skip the 1984 “album” and go straight to the 1999 “soundtrack” version for the whole show.

The running order reads like a best-of and the arrangements are gorgeous, from the acoustic guitar and tape of ‘Psycho Killer’ to the aural overload of ‘Girlfriend Is Better’.

Like this? Try: Gary Numan – Living Ornaments ’79/’80 (1981), Radiohead – I Might Be Wrong: Live Recordings (2001),

5. Nirvana – MTV Unplugged in New York (1994)

A band heavier than heaven unplug (sort of) and tear you apart you with the lightest of touches. They don’t play The Hits, but instead cover The Vaselines, a (then) little-played Bowie album track and Lead Belly-arranged oldie. Most remarkably, there’s a trio of Meat Puppet songs featuring the Kirkwood brothers as special guests.

Most great live albums dutifully capture a band at a moment in time. Unplugged in New York is a wilfully revisionist take, undertaken by the group themselves while they’re still a going concern.

Like this? Try: Neil Young – Live Rust (1979), Simon & Garfunkel – The Concert in Central Park (1982).

4. James Brown – Live at the Apollo (1963)

Funded by the man himself, Live at the Apollo captures lightning in a bottle. A shade over half an hour of the the tightest, hottest R&B ever stuck on plastic – in a studio or on stage or anywhere.

James Brown (& The Famous Flames) inspire squeals of delight from the Apollo crowd and you feel almost compelled to join in yourself. An intoxifying mix of bump and grind. When it hits ‘Please Please Please’ you drop to your knees like the man himself, begging for more.

Like this? Try:Aretha Franklin – Live at Fillmore West (1971/2005), Curtis Mayfield – Curtis/Live! (1971)

3. The Velvet Underground – Live at Max’s Kansas City (1972/2004)

Most will opt for the more polished 1969: The Velvet Underground Live double album, but it’s the rickety …Max’s Kansas City that gets the nod. A contractual obligation recorded on Brigid Polk’s tape recorder.

Nico and John Cale were long gone. Mo Tucker was on maternity leave. Jim Carroll is audible throughout slurring about a double bloody Pernod. And yet.. It’s just utterly righteous. Take away every bell and whistle and you’ve still got the greatest songs in rock ‘n’ roll history, played in their spiritual home.

Like this? Try: Kevin Ayers, John Cale, Brian Eno and Nico – June 1, 1974 (1974), Jerry Lee Lewis – Live at the Star Club, Hamburg (1964)

2. Ramones – It’s Alive (1979)

ONE, TWO, THREE, FOUR! Joey, Johnny, Dee Dee and – for the last album on drums – Tommy. Recorded live at the Rainbow on New Year’s Eve in 1977, it’s the timing that makes It’s Alive the perfect live album.

The Ramones had released three of the greatest rock ‘n’ roll albums in history in the past 20 months. They were over in England where they were treated as the heroes they were. 28 songs in 54 minutes – it’s the ultimate Ramones statement.

Like this? Try:MC5 – Kick out the Jams (1969), The Who – Live at Leeds (1970/1995/2001)

1. Sam Cooke – Live at the Harlem Square Club, 1963 (1985)

Sam Cooke’s first live album Sam Cooke at the Copa released shortly before his death was a great collection of songs, but its understated vibe didn’t do justice to raw power and sheer soul of the man or his politically and emotionally-charged performances.

Just over 20 years later came this masterpiece to put the record straight. Godly soul music that packs a punch and has the audience feeling every single rasped note.

Like this? Try: Donny Hathaway – Live (1971), The Clash – From Here to Eternity (1999)


5 greatest ever electronic records as picked by Luke Haines: From Hot Butter to Kraftwerk

Musician and author Luke Haines this week releases perhaps his most barmy and brilliant solo album yet.

With his guitars set aside, British Nuclear Bunkers has been recorded entirely using analogue synths, Haines’s own voice and excerpts from a nuclear warning tape.

Here the ex-Auteurs and Baader Meinhof frontman guides us through his favourite electronic records of all time.

Read the full article at Digital Spy