Lust for Life [CD]

Shes officially out of ideas. Every song sounds the same with the exception of the ones where there are rappers to break up the monotony of a song that sounds...exactly...the....same. Same lazy bored Im trying really hard to sound like Im not trying one and a half octave range. Born to Die and Ultraviolence were good and fun. Honeymoon was starting to stretch it. This is the musical equivalent of eating two day old leftovers....

Love her, CD - not so much. I mean its ok but shes better than this.

I absolutely adore Lana and this album gets too much hate and I think it needs a little more love. The packaging for the record is absolutely beautiful and high quality.

I absolutely love this album! Lana said that this was an album for the fans and she did not disappoint. Im honestly surprised to see a couple scathing reviews on here because this is a very powerful and thoughtful album. Im personally not fond of the 2-songs that feature rap artists but theyre not bad and they will appeal to some people. There is a great range of different kinds of songs for all of her fans. My favorite tracks are: 1. 13 Beaches 2. Cherry 3. White Mustang 4. Heroin I hope that you enjoy this album as much as I have.

My cat loves fancy feast ; especially because they are a wet food!

Love this album, but the inner sleeves will scratch your record if you use them as storage. Recommended to buy separate inner sleeves made for storage.

I love Lanas voice. I prefer her earlier albums, but I could listen to her voice singing pretty much anything.

Her debut proper, the mesmerising Born to die, heralded a pop renaissance, receiving a plethora of accolades. Undoubtedly, and much deservedly so, it now ranks among the top defining records of this decade, being the most profound pop revelation since Lady Gagas storming The fame, back in 2009. Following that all-conquering record, the highly addictive Paradise EP intrigued even more the hardcore fans of this unexpected pop saviour. Deeper, darker and dirtier than its predecessor, it made a perfect companion to Lana Del Reys debut, showing her artistic intentions, and enhancing the publics fascination with her enigmatic persona. With Ultraviolence, a diverse, stripped-down psychedelic pop-rock slow-burner of an album, LDR proved that she is an adamant artist, moving further away from the baroque hip-pop of Born to die, and the eclectic indie/goth pop of Paradise. This is where she started to transform into the niche artist that she is. 2015s Honeymoon, her most refined set to date, was so utterly self-indulgent, to the point that one would say that she was sabotaging herself, in an attempt to prove that she is neither interested nor willing to rehush any of those past records brilliance. Though enjoyable, its songs were missing the instant appeal and sophisticated simplicity which drenched all those fantastic pop songs that captured the crowds and created a worldwide fascination back in 2012-2013. Which only makes the release of this 4th set even more interesting, as on Lust for life the damned diva, desolate princess, innocent lolita, insatiable b*tch, presents her most optimistic set of songs, managing to save herself from becoming a martyr to to her own carefully-constructed persona. Although she made a killing with the tortured, heartbroken style on previous albums, Lust for life breaks away from contemplating troubled love affairs. Reflecting the troubled times we are in, and addressing the state of the nation that Lana seems to be so fixated with, as it can be witnessed on the wonderful triptych of Coachella - Woodstock in my mind, God Bless America - And all the beautiful women in it, and When the world was at war we kept dancing. Who would have thought that the day would come for a Lana album without her trademark romanticising of toxic relationships... The closest she gets to that is on Heroin, where the double entendre of the word alludes to the drug and to fame as a metaphor. First single Love was indicative of that radical move in her narrative, where she mused on how love is driving forward the young generation, maintaining a sense of wonder and empowerment in the face of adversity cause its enough to be young and in love. Gone are the Hollywood iconography and spurned love stories, this is a new and different artistic chapter for her. On Change, a simple voice/piano number (the last track for this new set, recorded hours before the mastered record was turned into the label), she sings: Change is a powerful thing, people are powerful beings. The uptempo Get free is Lanas modern manifesto (sic) where she is attempting to change her negative mindset : Im doing it for all of us ...And all my birds of paradise / Who never got to fly at night, she says. Beautiful people beautiful problems, featuring the enigmatic Stevie Nicks is a highlight, just like the Beatles-referencing Tomorrow never came that features vocals by Sean Lennon. The standout collaboration on the record is her euphoric duet with The Weeknd; so addictive, so liberating, pure pop perfection. Because, ultimately, what LDR does is pop music. As much as she is trying to distance herself from it, there will always be pop elements embodied in her work. With her gentle and sustained vocal approach, the gloomy sensuality, hazy atmosphere and usual melancholy, this expansive 16-track, 72-minute set is a joy to listen, leaving a feeling of pleasure and content, very much like the joyful precision on Lanas face on the albums cover artwork (where the theme of cars/trucks continues). Lana is too soulful and idiosyncratic an individual, resonant and artistically authentic an artist. She is doing the exact opposite of what is expected of her by those who liked her music in the first place, which ironically is exactly what made her relevant to the music scene, while simultaneously separating her from it. Although back in 2012 I got to become obsessed with her songs and persona, I can now appreciate her work more objectively. Lust for life is really great but cannot compare with her first couple of records which were excellent. Born to die will live on forever; Paradise was heavenly; Ultraviolence was ultra-cool; Honeymoon was lethargically pleasant. Lust for life marks a new chapter in her music. I urge everyone to listen to this and be surprised. I have promised to love her till the end of time, and with this new album where she tightens up her craft and roots her new approach in escapism, I may love her even more. We may be born to die, indeed, but at least let us put on a smile.

I have all the previous albums (love them all) from this great artist but I was disappointed with this release. Lana doesnt need anyone to be featured in her songs and I was so upset that she collaborated with the Weeknd (Ugh!) on the song Lust for Life, he just ruined it for me. On Summer Bummer and Groupie Love she had rappers on it and it was horrible, thats not what I expect on a Lana Del Rey CD. Ill listen to the few songs that remind me of her previous releases and skip over the rest. I expected better, maybe next time.

Giving this album 2 stars, because I simply do not like it. I dont hate it, but I dont like it. At all. Unfortunately, I bought the MP3 album. I wish I had waited and streamed it, because I cant return it. I loved Born To Die, and if everyone was honest about it, thats when Lana peaked. Its terribly sad that she peaked on her very first album, but there it is. It was cohesive, poetic, gritty storytelling music at its finest. Ultraviolence was darker and an attempt to flip the script on music as we know it. I couldnt get through the whole album, so I only purchased half. I was excited when Honeymoon came out, thinking that perhaps she was returning to her original style. It seemed like a more drug-induced/less depressed Ultraviolence. I purchased 2 songs from that album. THEN Lust for Life comes along and I am thrilled to see Stevie Nicks on here, as well as some other special guests I hadnt heard of. The cover + the guest singers made me think this would be a departure from the past 2 albums, and I was right - but, boy, it is NOT in a good way. This album is just clumsy. The rap doesnt fit. Again, trying to take a departure from music as we know it by flipping the script. It worked on West Coast. It doesnt work on Groupie Love (which is one of THE worst songs here) and Summer Bummer. The duet with Sean Ono made me sleepy. The incredible Stevie Nicks is featured in one of the worst songs on the album, and it makes me wonder what she was thinking agreeing to this. I had such high hopes when I saw her name in the track list. Anyway ... this album is indeed a departure from her previous style. Born To Die was creative genius. Ultraviolence was like walking in a depression haze, which isnt altogether bad. It had moments. I still half loved it. Honeymoon was mystical, drug induced nonsense. Lust for Life is the in between of all that - the waking up sober to the news moments, the buzz wearing off to a Beatles song moment, the black withdrawal moments, and the hazy high moments. The thing is - without comparing this to any previous album and having it stand on its own - this album is clumsy, not cohesive, feels contrived rather than like free-flowing art, and utilized some really bad ideas. Im sorry. It just stinks.