Lana Del Rey | Billboard

<div id="artist" data-artist-name="Lana Del Rey" 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data-artist-news="[{"id":9555019,"path":"\/articles\/columns\/pop\/9555019\/lana-del-rey-blue-banisters-teaser","publishDate":1618242341,"modifiedDate":null,"title":"Lana Del Rey Shares 'Blue Banisters' 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Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.<\/p>\n","caption_raw":"Lana Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.\n","credit":"Melodie 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href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> shared appeared to tease a new song dubbed \"Blue Banisters\" in an <a href=\"https:\/\/www.instagram.com\/p\/CNgOvmUBIkx\/?utm_source=ig_web_copy_link\" target=\"_blank\">Instagram<\/a> post on Sunday (April 11).<\/p>\nThe singer posted a vintage-looking photo of herself looking up at the sky with the title underneath it. Following the tease, fans are speculating that a new single is on the horizon.<\/p>\nDel Rey recently released her\u00a0Chemtrails Over The Country Club <\/em>album,\u00a0which hit No. 2 on the Billboard 200 chart. Shortly after the LP's release, Del Rey <a href=\"https:\/\/www.billboard.com\/articles\/columns\/pop\/9543914\/lana-del-rey-rock-candy-sweet\/\" target=\"_blank\">already announced<\/a> that another new album,\u00a0Rock Candy Sweet,\u00a0<\/em>will arrive on June 1.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9554744\",\"type\":\"post\",\"title\":\"Lana Del Rey Gets Backlash After Sharing Photos of Queen Elizabeth and Prince Philip\",\"relative_path\":\"\\\/articles\\\/news\\\/9554744\\\/lana-del-rey-prince-philip-queen-elizabeth-photos-backlash\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9547912\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nMost recently, the 35-year-old <a href=\"https:\/\/www.billboard.com\/articles\/news\/9554744\/lana-del-rey-prince-philip-queen-elizabeth-photos-backlash\" target=\"_blank\">received backlash<\/a> for expressing admiration for Queen Elizabeth and Prince Philip's romance. The singer posted old photos of the couple as a tribute to the latter who died last Friday (April 9), saying, \"I\u2019ve always loved the way they loved.\" Fans were quick to point out that the Queen and Duke of Edinburgh were distant relatives, with one fan trolling \"Mmm i love how they were cousins<3.\"<\/p>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/0.gravatar.com\/avatar\/f290b5cc198db077d16199adeb67044b?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Cydney Lee","email":"[email 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href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> is receiving backlash on social media after showing her admiration for the longtime romance between the UK's Queen Elizabeth and Prince Philip.<\/p>\nFollowing news of Philip's <a href=\"https:\/\/www.nytimes.com\/2021\/04\/09\/obituaries\/prince-philip-dead.html?auth=login-email&login=email\" target=\"_blank\" rel=\"noopener\">death<\/a> on Friday (April 9), the 35-year-old songstress paid tribute to the Duke of Edinburgh by posting several vintage photos of the royal couple, who were married for 73 years.<\/p>\n\"I\u2019ve always loved the way they loved,\" Del Rey captioned the pictures on <a href=\"https:\/\/www.instagram.com\/p\/CNdwlC3hU95\/\" target=\"_blank\" rel=\"noopener\">Instagram<\/a>.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9550618\",\"type\":\"post\",\"title\":\"Lana Del Rey Ties This Rock Band for Most No. 1s on Alternative Albums Chart\",\"relative_path\":\"\\\/articles\\\/business\\\/chart-beat\\\/9550618\\\/lana-del-rey-alternative-albums-chart-record-foo-fighters\\\/\",\"media\":{\"width\":\"1548\",\"height\":\"1024\",\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"}],\"orientation\":\"landscape\",\"id\":\"9300831\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nIn one image, Queen Elizabeth is seen smiling up at Prince Philip, while another shows a black-and-white snapshot of the longtime partners holding two of their young children.<\/p>\nMany of Del Rey's nearly 19 million Instagram followers took issue with her post, noting that Philip and Elizabeth were distant relatives. \"Mmm i love how they were cousins<3,\" one person commented. Another wrote, \"Bestie they're related.\"<\/p>\nOthers begged the singer to remove the post. \"Please delete this I can't keep defending you,\" a fan responded, while another suggested, \"Step away from the phone BFF.\"<\/p>\nBillboard<\/em> has reached out to Del Rey's representatives for comment about the post.<\/p>\nIn late March, Del Rey released her newest album, Chemtrails Over the Country Club<\/em>, which <a href=\"https:\/\/www.billboard.com\/articles\/news\/9547921\/lana-del-rey-chemtrails-over-the-country-club-top-album-sales-chart\/\" target=\"_blank\" rel=\"noopener\">debuted at No. 1<\/a> on Billboard<\/em>'s Top Album Sales chart. The set follows 2017\u2019s Lust for Life<\/em> and 2014\u2019s Ultraviolence<\/em>. The singer has already <a href=\"https:\/\/www.billboard.com\/articles\/columns\/pop\/9543914\/lana-del-rey-rock-candy-sweet\/\" target=\"_blank\" rel=\"noopener\">teased her next project<\/a>, Rock Candy Sweet<\/em>, which is scheduled to arrive on June 1.<\/p>\nSee Del Rey's post about Queen Elizabeth and Prince Philip <a href=\"https:\/\/www.instagram.com\/p\/CNdwlC3hU95\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<div class=\"embedded-content\" data-nid=\"9554744\" data-nodetype=\"article\" data-template=\"video\">\n<script type=\"application\/json\">{\"account_id\":\"1125911414\",\"id\":\"6222598835001\",\"title\":\"Lana Del Rey on Madness of Trump: 'Needed a Reflection of Our World's Greatest Problem' | Billboard News\",\"featured_media\":\"9510780\"}<\/script><\/div>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/0.gravatar.com\/avatar\/9741ed070ba14d0cf5787cce040a69bd?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Mitchell Peters","email":"[email protected]","twitter":"realmitchpeters","facebook":"","path":"\/author\/mitchell-peters-2","slug":"mitchell-peters-2","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"News","attributes":[]},{"text":"Pop","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9550618,"path":"\/articles\/business\/chart-beat\/9550618\/lana-del-rey-alternative-albums-chart-record-foo-fighters","publishDate":1617387984,"modifiedDate":null,"title":"Lana Del Rey Ties This Rock Band for Most No. 1s on Alternative Albums Chart","mainMedia":{"nid":null,"type":"image","isPlaceholder":false,"sizes":{"original":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-compressed.jpg","width":"1548","height":"1024","mimeType":"image\/jpeg","cropped":false},"1024x1024":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1024x1024.jpg","width":"1024","height":"1024","mimeType":"image\/jpeg","cropped":true},"1024x1331_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1024x1024.jpg","width":"1024","height":"1024","mimeType":"image\/jpeg","cropped":true},"1024x577":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1024x577.jpg","width":"1024","height":"577","mimeType":"image\/jpeg","cropped":true},"1024x677_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1024x677.jpg","width":"1024","height":"677","mimeType":"image\/jpeg","cropped":true},"1092x722":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1092x722.jpg","width":"1092","height":"722","mimeType":"image\/jpeg","cropped":true},"120x120":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-120x120.jpg","width":"120","height":"120","mimeType":"image\/jpeg","cropped":true},"1240x696":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1240x696.jpg","width":"1240","height":"696","mimeType":"image\/jpeg","cropped":true},"1500x845":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1500x845.jpg","width":"1500","height":"845","mimeType":"image\/jpeg","cropped":true},"1696x952":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-1548x952.jpg","width":"1548","height":"952","mimeType":"image\/jpeg","cropped":true},"210x118":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-210x118.jpg","width":"210","height":"118","mimeType":"image\/jpeg","cropped":true},"224x148":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-224x148.jpg","width":"224","height":"148","mimeType":"image\/jpeg","cropped":true},"300x114":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-300x114.jpg","width":"300","height":"114","mimeType":"image\/jpeg","cropped":true},"300x169":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-300x169.jpg","width":"300","height":"169","mimeType":"image\/jpeg","cropped":true},"320x320":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-320x320.jpg","width":"320","height":"320","mimeType":"image\/jpeg","cropped":true},"320x416_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-320x416.jpg","width":"320","height":"416","mimeType":"image\/jpeg","cropped":true},"350x232":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-350x232.jpg","width":"350","height":"232","mimeType":"image\/jpeg","cropped":true},"394x221":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-394x221.jpg","width":"394","height":"221","mimeType":"image\/jpeg","cropped":true},"404x267":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-404x267.jpg","width":"404","height":"267","mimeType":"image\/jpeg","cropped":true},"420x236":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-420x236.jpg","width":"420","height":"236","mimeType":"image\/jpeg","cropped":true},"470x264":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-470x264.jpg","width":"470","height":"264","mimeType":"image\/jpeg","cropped":true},"480x270":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-480x270.jpg","width":"480","height":"270","mimeType":"image\/jpeg","cropped":true},"528x349":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/Lana-Del-Rey-bb20-2019-feat-billboard-wctbdso-1548-528x349.jpg","width":"5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Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.<\/p>\n","caption_raw":"Lana Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.\n","credit":"Melodie 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Over the Country Club" is her fifth leader, matching Foo Fighters' record.","body":"<a href=\"\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> ties <a href=\"\/music\/foo-fighters\" target=\"_blank\" rel=\"noopener\">Foo Fighters<\/a> for the most No. 1s in the history of Billboard<\/em>'s <a href=\"\/charts\/alternative-albums\" target=\"_blank\" rel=\"noopener\">Alternative Albums<\/a> chart, earning her fifth ruler with Chemtrails Over the Country Club<\/em> on the tally dated April 3.<\/p>\nChemtrails<\/em> bows at No. 1 with 75,000 equivalent album units earned in the March 19-25 tracking week, according to MRC Data. Of that sum, 58,000 units comprise album sales.<\/p>\nDel Rey first crowned Alternative Albums (which began in 2007) for two weeks in 2012 with her first LP, Born to Die<\/em>, followed by one-week reigns for Honeymoon<\/em> (2015), Lust for Life<\/em> (2017) and Norman Fucking Rockwell<\/em> (2019), ahead of Chemtrails<\/em>.\u00a0Foo Fighters have led the list with Echoes, Silence, Patience & Grace<\/em> (2007), Wasting Light<\/em> (2011), Sonic Highways<\/em> (2014), Concrete and Gold<\/em> (2017) and, this February, Medicine at Midnight<\/em>.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"8528500\",\"type\":\"post\",\"title\":\"Every Lana Del Rey Song, Ranked: Critic's List\",\"relative_path\":\"\\\/articles\\\/news\\\/list\\\/8528500\\\/lana-del-rey-best-songs-ranked\\\/\",\"media\":{\"width\":\"1500\",\"height\":\"845\",\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-compressed.jpg\",\"width\":\"1500\",\"height\":\"845\"},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-compressed.jpg\",\"width\":\"1500\",\"height\":\"845\"}],\"orientation\":\"landscape\",\"id\":\"9301685\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nConcurrently, Chemtrails<\/em> starts at No. 2 on the all-format <a href=\"\/charts\/billboard-200\" target=\"_blank\" rel=\"noopener\">Billboard 200<\/a>, becoming Del Rey's seventh top 10 (and sixth to reach the top three). It also crowns <a href=\"\/charts\/top-album-sales\" target=\"_blank\" rel=\"noopener\">Top Album Sales<\/a>, Del Rey's third to do so.<\/p>\nTen tracks from Chemtrails<\/em> dot the <a href=\"\/charts\/rock-songs\" target=\"_blank\" rel=\"noopener\">Hot Rock & Alternative Songs<\/a> chart (Del Rey's career weekly best), led by \"White Dress,\" which bows at No. 14.<\/p>\n<div class=\"embedded-content\" data-nid=\"9550618\" data-nodetype=\"article\" data-template=\"video\">\n<script type=\"application\/json\">{\"account_id\":\"1125911414\",\"id\":\"8hfXDdeO\",\"title\":\"Billboard Explains: The Boom of All-Female Collaborations\",\"featured_media\":\"9545703\"}<\/script><\/div>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/ec0094a791be94292591be91826fcaa9?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Kevin Rutherford","email":"[email protected]","twitter":"","facebook":"","path":"\/author\/kevin-rutherford-2","slug":"kevin-rutherford-2","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"Chart Beat","attributes":[]},"categories":[{"text":"Chart Beat","attributes":[]},{"text":"News","attributes":[]},{"text":"Rock","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":8528500,"path":"\/articles\/news\/list\/8528500\/lana-del-rey-best-songs-ranked","publishDate":1617224421,"modifiedDate":null,"title":"Every Lana Del Rey Song, Ranked: Critic's List","mainMedia":{"nid":null,"type":"image","isPlaceholder":false,"sizes":{"original":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-compressed.jpg","width":"1500","height":"845","mimeType":"image\/jpeg","cropped":false},"1024x1024":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1024x845.jpg","width":"1024","height":"845","mimeType":"image\/jpeg","cropped":true},"1024x1331_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1024x845.jpg","width":"1024","height":"845","mimeType":"image\/jpeg","cropped":true},"1024x577":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1024x577.jpg","width":"1024","height":"577","mimeType":"image\/jpeg","cropped":true},"1024x677_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1024x677.jpg","width":"1024","height":"677","mimeType":"image\/jpeg","cropped":true},"1092x722":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1092x722.jpg","width":"1092","height":"722","mimeType":"image\/jpeg","cropped":true},"120x120":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-120x120.jpg","width":"120","height":"120","mimeType":"image\/jpeg","cropped":true},"1240x696":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1240x696.jpg","width":"1240","height":"696","mimeType":"image\/jpeg","cropped":true},"1500x845":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-1500x845.jpg","width":"1500","height":"845","mimeType":"image\/jpeg","cropped":true},"210x118":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-210x118.jpg","width":"210","height":"118","mimeType":"image\/jpeg","cropped":true},"224x148":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-224x148.jpg","width":"224","height":"148","mimeType":"image\/jpeg","cropped":true},"300x114":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-300x114.jpg","width":"300","height":"114","mimeType":"image\/jpeg","cropped":true},"300x169":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-300x169.jpg","width":"300","height":"169","mimeType":"image\/jpeg","cropped":true},"320x320":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-320x320.jpg","width":"320","height":"320","mimeType":"image\/jpeg","cropped":true},"320x416_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-320x416.jpg","width":"320","height":"416","mimeType":"image\/jpeg","cropped":true},"350x232":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-350x232.jpg","width":"350","height":"232","mimeType":"image\/jpeg","cropped":true},"394x221":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-394x221.jpg","width":"394","height":"221","mimeType":"image\/jpeg","cropped":true},"404x267":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-404x267.jpg","width":"404","height":"267","mimeType":"image\/jpeg","cropped":true},"420x236":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-420x236.jpg","width":"420","height":"236","mimeType":"image\/jpeg","cropped":true},"470x264":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-470x264.jpg","width":"470","height":"264","mimeType":"image\/jpeg","cropped":true},"480x270":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-480x270.jpg","width":"480","height":"270","mimeType":"image\/jpeg","cropped":true},"528x349":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-528x349.jpg","width":"528","height":"349","mimeType":"image\/jpeg","cropped":true},"600x358":{"type":"image","path":"https:\/\/static.billboard.com\/files\/media\/lana-del-rey-bb20-fea-2019-u-billboard-h-1500-600x358.jpg","width":"600","height":"358","mimeType":"image\/jpeg","cropped":true},"60x60":{"type":"image","path":"https:\/\/static.billboard.com\/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Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.<\/p>\n","caption_raw":"Lana Del Rey photographed on Aug. 8, 2019 at The Beckett Mansion in Los Angeles.\n","credit":"Melodie 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is <a href=\"\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a>? Few new artists of the 2010s emerged so fully formed, with a voice and image beyond their years. To her devoted fans, she inspires <a href=\"https:\/\/www.redbull.com\/au-en\/lana-del-rey-melbourne-review-march\" target=\"_blank\" rel=\"noopener\">near-religious fervor<\/a>, like a millennial Stevie Nicks with the aura of Princess Diana. At her best, a Lana Del Rey song is intangible, like magic -- a fully realized world that feels like it\u2019s always existed.<\/p>\nWhen her self-directed \u201cVideo Games\u201d clip became a viral YouTube phenomenon in mid-2011, Lana Del Rey was an enigma. The song set off one of the <a href=\"https:\/\/www.stereogum.com\/1080072\/one-year-of-lana-del-rey-a-retrospective\/photo\/\" target=\"_blank\" rel=\"noopener\">most controversial debut years<\/a> of any artist in recent memory. Whatever sparked the reaction -- her self-consciously constructed persona, her gloomy, melodramatic lyrics, her listless stage presence -- she\u2019d struck a cultural nerve; her music was genuinely provocative.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"8527901\",\"type\":\"post\",\"title\":\"Lana Del Rey on Finding Her Voice and Following Her Muse: 'I Have Never Taken a Shortcut'\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/8527901\\\/lana-del-rey-billboard-cover-story-2019\\\/\",\"media\":{\"width\":\"1500\",\"height\":\"845\",\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fgahtc-1500-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fgahtc-1500-compressed.jpg\",\"width\":\"1500\",\"height\":\"845\"},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fgahtc-1500-compressed.jpg\",\"width\":\"1500\",\"height\":\"845\"}],\"orientation\":\"landscape\",\"id\":\"9300843\",\"caption\":null,\"credit\":null}}<\/script><\/div>\n <\/p>\nBorn to Die<\/em>, her 2012 major-label debut, arrived with impossibly high levels of <a href=\"https:\/\/www.vulture.com\/2012\/01\/anatomy-of-a-backlash-lana-del-rey.html\" target=\"_blank\" rel=\"noopener\">both hype and trepidation<\/a>, to decidedly <a href=\"https:\/\/pitchfork.com\/reviews\/albums\/16223-lana-del-rey\/\" target=\"_blank\" rel=\"noopener\">mixed<\/a> <a href=\"https:\/\/www.vulture.com\/2012\/01\/lana-del-rey-lurching-toward-vegas.html\" target=\"_blank\" rel=\"noopener\">initial<\/a> <a href=\"https:\/\/www.vulture.com\/2012\/01\/leaked-time-to-argue-about-lana-del-reys-actual-album.html\" target=\"_blank\" rel=\"noopener\">reactions<\/a>. Del Rey took the girl-group, Nancy Sinatra pop stylings of the \u201960s, and fused it with modern cinematic production and a glamorous, Hollywood-inspired image, to create a kind of hyper-real 21st century Americana. \u201cLana Del Rey\u201d became an instantly identifiable aesthetic, the same way the likes of David Lynch, Mad Men<\/em>, Margaret Keane, or Amy Winehouse had before her. The Paradise<\/em> EP and her epic \u201cRide\u201d video soon followed, expanding on Born to Die<\/em>\u2019s themes of romantic fatalism, while galvanizing an emerging cult fanbase that hung on her every word.<\/p>\nIn 2013, \u201cYoung and Beautiful,\u201d her theme from Baz Luhrmann\u2019s The Great Gatsby,<\/em> and the Cedric Gervais remix of \u201cSummertime Sadness\u201d made Del Rey a reliable hitmaker, and a household name. And then, with her 2014 sophomore LP Ultraviolence<\/em>, she burned it all down, trading the hip-hop beats for fiery psych-rock guitars, on songs where she had no interest in coming off as sympathetic. 2015\u2019s Honeymoon<\/em> indulged in jazz and soul, opening herself back up to the possibility of happiness. On 2017\u2019s Lust For Life<\/em>, Lana rebooted her image once again, adopting an optimistic, Woodstock-inspired outlook for our uncertain age. The critically beloved\u00a0Norman Fucking Rockwell,<\/em>\u00a0from 2019,\u00a0was her most complete reinvention yet, turning her into a folk-rock troubadour who\u2019d\u00a0<a href=\"\/articles\/columns\/pop\/8527901\/lana-del-rey-billboard-cover-story-2019\" target=\"_blank\" rel=\"noopener\">never seemed more human<\/a>.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"8527944\",\"type\":\"gallery\",\"title\":\"Lana Del Rey: Photos From the Billboard Cover Shoot\",\"relative_path\":\"\\\/photos\\\/8527944\\\/lana-del-rey-photos-billboard-cover-shoot\\\/\",\"media\":{\"width\":\"1548\",\"height\":\"1024\",\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wthmphda-1548-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wthmphda-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-wthmphda-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"}],\"orientation\":\"landscape\",\"id\":\"9300830\",\"caption\":null,\"credit\":null},\"slideCount\":\"8\"}<\/script><\/div>\nMarch's\u00a0Chemtrails Over the Country Club<\/i> was the opposite of radical, but served a crucial purpose in reconnecting Del Rey with her roots as a singer-songwriter in the American tradition. Her most creatively unburdened album, Chemtrails<\/i> felt instantly timeless -- cementing her place in the modern canon alongside her Laurel Canyon idols, the likes of Joan Baez and Joni Mitchell.<\/p>\nThrough all the controversies, Lana\u2019s artistry has endured. Born to Die<\/em> has stayed on the Billboard 200 albums chart <a href=\"\/articles\/columns\/chart-beat\/8094772\/lana-del-rey-born-to-die-300-weeks-billboard-200-albums-chart\" target=\"_blank\" rel=\"noopener\">for almost a full decade<\/a>, the second-longest charting album by a female solo artist in history. Without intending to, that album became one of the main catalysts for pop\u2019s mid-2010s shift from brash EDM to a <a href=\"https:\/\/thebaffler.com\/downstream\/streambait-pop-pelly\" target=\"_blank\" rel=\"noopener\">moodier, hip-hop-inflected palette<\/a>. She\u2019s influenced not just her peers, but the next generation of alternative-leaning pop stars: Lorde, Halsey, Billie Eilish, Banks, Sky Ferreira, Father John Misty, Sia, Miley Cyrus, Selena Gomez,\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=IdneKLhsWOQ\" target=\"_blank\" rel=\"noopener\">Taylor<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=Kwf7P2GNAVw\" target=\"_blank\" rel=\"noopener\">Swift<\/a>, and now Olivia Rodrigo -- but Lana Del Rey remains utterly inimitable. Now 34, she\u2019s matured into a generational balladeer; yet she\u2019s become more down-to-earth, no longer defined by the tragic figures who once inhabited her songs. She\u2019s often seemed like a figure out of her own time: a \u201960s hippie, a jazz singer, an old-Hollywood icon. But the last decade of popular music wouldn\u2019t be the same without her.<\/p>\nLana\u2019s told so many different stories within and outside of her music, that ranking her individual songs allows a valuable opportunity to take a critical look at her entire body of work. Here, Billboard<\/em> tries to examine every facet of her identity with equal consideration -- the pop star, singer-songwriter, visual artist, icon. This list includes every commercially available Lana Del Rey song, excluding remixes, YouTube uploads, unreleased tracks, and several Great Gatsby soundtrack cuts that merely sample her voice.<\/p>\nWe\u2019ve decided to omit her original indie debut album, 2010\u2019s Lana Del Ray a.k.a. Lizzy Grant<\/em>, where she wasn\u2019t fully formed -- even down to the spelling of her name. Though the album was briefly issued on iTunes, it was <a href=\"http:\/\/www.mtv.com\/news\/2695337\/lana-del-rey-first-album-5-points-records-interview\/\" target=\"_blank\" rel=\"noopener\">taken down<\/a> two months later at Lana\u2019s own request, and has never been officially available since. While it\u2019s worth a listen for hardcore fans, it ultimately feels like more of a prologue than a part of the Del Rey songbook.\u00a0We\u2019ve also excluded her 2020 spoken-word poetry audiobook Violet Bent Backwards over the Grass<\/i> -- a singular, sprawling work in her catalogue, but not directly comparable to her musical compositions.<\/p>\nThat leaves us with 113 fascinating songs, almost all of which are good, and at least 50 of which are absolutely exceptional. See our ranking of all of them below.<\/p>\n113. \u201cGuns and Roses\u201d (Ultraviolence<\/em> deluxe edition bonus track, 2014)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/c8NgNs3h20A\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nMany of Lana\u2019s songs have used rock \u2018n\u2019 roll imagery to great effect, but \u201cGuns and Roses\u201d does nothing with it. \u201cHe loved guns and roses,\u201d she sings repeatedly in the chorus, reminding you of better songs, by her and Guns N\u2019 Roses. Rick Nowels\u2019 production conjures a thick atmosphere, like Tricky with John Bonham drums, but the songwriting is unusually lazy by her standards -- a vague recollection of an unfinished demo. To be fair, Ultraviolence\u2019s bonus tracks may only have been released due to <a href=\"https:\/\/www.complex.com\/music\/2015\/09\/lana-del-rey-interview-outtakes\/on-making-art-vs-satisfying-the-major-label-machine\" target=\"_blank\" rel=\"noopener\">iTunes\u2019 demand for a deluxe edition<\/a>.<\/p>\n112. <a href=\"https:\/\/www.youtube.com\/watch?v=z5rAVwZo4sY\" target=\"_blank\" rel=\"noopener\">\u201cLolita\u201d<\/a> (Born to Die<\/em> deluxe edition bonus track, 2012)\u00a0<\/strong><\/p>\n\u201cLolita\u201d is cut from the same cloth as \u201cNational Anthem\u201d or \u201cOff to the Races,\u201d but its hooks feel tuneless, and its hip-hop beats gaudy and cluttered. The lyrics reference Vladimir Nabokov\u2019s Lolita<\/em>, but evoke no emotion -- they\u2019re just Lana at her brattiest, referencing icons with little purpose except as cheap signifiers of her taste. At best, \u201cLolita\u201d is an failed experiment, at worst, a creative dead end. But listening to the far better <a href=\"https:\/\/www.youtube.com\/watch?v=Bc5bCExt6L0\" target=\"_blank\" rel=\"noopener\">demo version<\/a>, you can hear what she had in mind -- it originally sounded like the theme to a \u201960s spy film.<\/p>\n111. <a href=\"https:\/\/www.youtube.com\/watch?v=E4p3-IpaIzE\" target=\"_blank\" rel=\"noopener\">\u201cFlorida Kilos\u201d<\/a> (Ultraviolence<\/em> deluxe edition bonus track, 2014)<\/strong><\/p>\nCo-written by director Harmony Korine for his unproduced film <a href=\"https:\/\/nylon.com\/articles\/what-happened-to-harmony-korines-the-trap\" target=\"_blank\" rel=\"noopener\">The Trap<\/em><\/a>, \u201cFlorida Kilos\u201d -- the least subtle Lana Del Rey song of all time -- romanticizes the drug trade in Florida. Though the song never uses the word \u201ccocaine,\u201d it crams in seemingly every other term for it. With a jauntier guitar-pop feel than the rest of the album, \u201cFlorida Kilos\u201d plays like the soundtrack to a group of line-dancing cokeheads with nothing but themselves on their minds.<\/p>\n110. <a href=\"https:\/\/www.youtube.com\/watch?v=JzYJYFaCI7s\" target=\"_blank\" rel=\"noopener\">\u201cLucky Ones\u201d<\/a> (Born to Die<\/em> deluxe edition bonus track, 2012)<\/strong><\/p>\n\u201cLucky Ones\u201d paraphrases three iconic Bruce Springsteen lyrics in its opening lines: \u201cLet's get out of this town, baby we're on fire\/ Everyone around here seems to be going down, down, down.\u201d Unlike those classics, \u201cLucky Ones\u201d is too thinly sketched to make its written-in-the-stars love story believable.<\/p>\n109. <a href=\"https:\/\/www.youtube.com\/watch?v=xhTYU9Jnacw\" target=\"_blank\" rel=\"noopener\">\u201cIs This Happiness\u201d<\/a> (Ultraviolence<\/em> deluxe edition bonus track, 2014)<\/strong><\/p>\nA portrait of two unfulfilled artists trapped in an equally dead-end relationship. \u201cYou think you\u2019re Hunter S. Thompson\/ I think you\u2019re fucking crazy as the day\u2019s long,\u201d sings Lana, with as little romance as she can muster. With her restrained vocals, and a plain piano accompaniment, \u201cIs This Happiness\u201d just manages to pull at your heartstrings -- even if the song intentionally goes nowhere.<\/p>\n108. <a href=\"https:\/\/www.youtube.com\/watch?v=ZwSSsld_YnY\" target=\"_blank\" rel=\"noopener\">\u201cWait For Life\u201d<\/a> (Emile Haynie feat. Lana Del Rey, We Fall<\/em>, 2015)<\/strong><\/p>\nLana provides lead vocals on the debut single from Emile Haynie, the main producer behind Born to Die<\/em>\u2019s cinematic hip-hop sound. The chorus pairs a beautiful melody with grim lyrics: \u201cI wait for life to end\/ But it never comes around.\u201d Surprisingly for Haynie, \u201cWait For Life\u201d has little in the way of drums -- it\u2019s mostly strings and bluesy piano. The production may be lush, but the song\u2019s sadness is one-dimensional. By 2015, Lana was regularly exploring far more nuanced artistic territory.<\/p>\n107. <a href=\"https:\/\/www.youtube.com\/watch?v=zx_dTSPzXlk\" target=\"_blank\" rel=\"noopener\">\u201cBurning Desire\u201d<\/a> (Paradise<\/em> iTunes bonus track, 2012)<\/strong><\/p>\nThe lowest moments on Paradise<\/em> felt like a retread of Born to Die<\/em>, with the same musical elements shuffled around. The closing track on some editions of the EP, \u201cBurning Desire\u201d is the most illustrative example of a mediocre Lana Del Rey song. Her deep alto in the chorus is alluring, but the lyrics are a series of car cliches with little narrative or emotional depth: \u201cI\u2019m driving fast, flash!\/ Everyone knows it\/ I\u2019m trying to get to you, baby.\u201d The song found its match in its music video, a beautifully empty Jaguar ad.<\/p>\n106. \u201cSeason of the Witch\u201d (non-album single, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/zA4OjrpVsiY\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nDonovan\u2019s 1966 original has become an <a href=\"https:\/\/music.avclub.com\/looking-past-the-sunshine-and-the-mellow-donovan-predi-1798271942\" target=\"_blank\" rel=\"noopener\">unlikely standard<\/a>, evoking the looming cultural paranoia of the mid-\u201960s. Lana\u2019s interpretation, recorded for the <a href=\"https:\/\/www.youtube.com\/watch?v=Vlya92LZqZw\" target=\"_blank\" rel=\"noopener\">Scary Stories to Tell in the Dark<\/em><\/a> film, is nowhere near as obvious as most slowed-down movie trailer cover songs, but it still feels a bit neutered. At a slower tempo, with less drums, it\u2019s less propulsive; and where Donovan\u2019s voice is sly, charismatic, Lana\u2019s is smooth and ethereal. She makes it more literally witchy, which perhaps misses the song\u2019s metaphor. It\u2019s still a worthy cover, but there\u2019s not much she can subvert about the already-so-subversive original, which has lost none of its potency.<\/p>\n105. <a href=\"https:\/\/www.youtube.com\/watch?v=F4ELqraXx-U\" target=\"_blank\" rel=\"noopener\">\u201cWhite Mustang\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cWhite Mustang\u201d isn\u2019t a bad song, but it doesn\u2019t feel notable enough to warrant its own <a href=\"https:\/\/www.breatheheavy.com\/lana-del-reys-best-american-record-soundtracked-to-the-white-mustang-video-makes-way-more-sense\/\" target=\"_blank\" rel=\"noopener\">video treatment<\/a>. Lana describes her jealousy while dating a musician, feeling like a secondary concern to his art. \u201cThe day I saw your white Mustang,\u201d repeats the chorus, which treats the car as a stand-in for the man, but never elaborates on that central metaphor. The production is business as usual -- piano, trap drums -- as is the Rich Lee-directed video, even with its admittedly beautiful digital shots of the L.A. skyline.<\/p>\n104.<\/strong> <a href=\"https:\/\/www.youtube.com\/watch?v=leopt__ATR0\" target=\"_blank\" rel=\"noopener\">\u201cDon\u2019t Call Me Angel\u201d<\/b><\/a> (Ariana Grande with Miley Cyrus & Lana Del Rey, <\/b>Charlie\u2019s Angels: Original Motion Picture Soundtrack<\/i><\/b>, 2019)<\/b><\/p>\nThis bouncy, much-hyped Max Martin-produced single allows all three of its stars to be themselves -- yet they never meet in the middle. Miley\u2019s her usual defiant self, while Ariana\u2019s in <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=LH4Y1ZUUx2g\" target=\"_blank\" rel=\"noopener\">femme fatale<\/span><\/a> mode, but it\u2019s Lana who elevates the song into a strange level of camp. As the song abruptly shifts gears into a narcotic halftime bridge, she drops more cliches than in any song since the <\/span>Paradise<\/span><\/i> era: \u201cI drop it down, I pick it up, I back it off the county line\/ I fell from heaven, now I\u2019m living like a devil...\u201d She sticks to her sonic comfort zone, but that only makes her sound even more out of place, both within the song and her own discography -- as \u201cDon\u2019t Call Me Angel\u201d was released just two weeks after <\/span>Norman Fucking Rockwell<\/span><\/i>. At best, it\u2019s a reminder of how Lana\u2019s successes have come on her own terms, without capitulating to more conventional mainstream pop trends.<\/span><\/p>\n103.<\/strong> <a href=\"https:\/\/www.youtube.com\/watch?v=wy9sXy5oHjw\" target=\"_blank\" rel=\"noopener\">\u201cHallucinogenics\u201d<\/b><\/a> (Matt Maeson feat. Lana Del Rey, non-album single, 2020)<\/b><\/p>\nA shouty acoustic indie-blues song in the vein of Mumford & Sons, the original solo version of \u201cHallucinogenics\u201d was a big hit on <\/span><a href=\"https:\/\/www.billboard.com\/articles\/business\/chart-beat\/9439785\/matt-maeson-becomes-first-male-soloist-in-15-years-with-two-alternative-airplay-no-1s\/\" target=\"_blank\" rel=\"noopener\">alternative and rock radio<\/span><\/a>. Maeson\u2019s lyrics conjure up dramatic images (\u201cPushing past the limit, trippin\u2019 on hallucinogenics\/ My cigarette burnt my finger \u2019cause I forgot I lit it\u201d), but his bombastic delivery crowds out any sense of intimate emotional connection. Lana\u2019s not an obvious choice for a duet partner, but she does bring some warmth to the song, introducing it with a soft verse, and adding prominent backing vocals throughout. She arguably improves the song by tempering its more macho qualities -- yet it doesn\u2019t exactly need her presence, either. A softer version could have made for a good cover, but as it is, \u201cHallucinogenics\u201d doesn\u2019t play to Lana\u2019s strengths.<\/span><\/p>\n102. <a href=\"https:\/\/www.youtube.com\/watch?v=vUiE_0GPqKE\" target=\"_blank\" rel=\"noopener\">\u201cGod Save Our Young Blood\u201d<\/a> (B\u00f8rns feat. Lana Del Rey, Blue Madonna<\/em>, 2018)<\/strong><\/p>\nB\u00f8rns, like Lana, can also seem like a figure out of his time -- as if he emerged from a time machine from the \u201970s, with his impossibly high tenor and bell-bottom jeans. The two have real vocal chemistry, but the music feels too off-kilter to be the anthemic pop single it wants to be. Each chorus brings an unnecessary key change, each more disorienting than the last.<\/p>\n101. <a href=\"https:\/\/www.youtube.com\/watch?v=Col9Av1ydS4\" target=\"_blank\" rel=\"noopener\">\u201cBig Eyes\u201d<\/a> (Big Eyes: Original Motion Picture Soundtrack<\/em>, 2014)<\/strong><\/p>\nIts chorus may be nursery-rhyme simple -- \u201cWith your big eyes\/ And your big lies\u201d -- but \u201cBig Eyes\u201d made the perfect theme for <a href=\"https:\/\/www.youtube.com\/watch?v=LA9tOZhJkjA\" target=\"_blank\" rel=\"noopener\">an emotional turning point<\/a> in Tim Burton\u2019s 2014 film of the same name. Big Eyes was inspired by the life of the artist Margaret Keane, whose signature paintings of big-eyed children became an American phenomenon, all while her husband spent years taking credit for her work. Over brooding minor-key piano and strings, Lana sings as if she\u2019s the voice inside Keane\u2019s head. Her suspicions of her husband\u2019s emotional manipulation come true, culminating in a lyric that sums up Lana\u2019s own career -- \u201cIt\u2019s amazing what women in love will do.\u201d Still, \u201cBig Eyes\u201d doesn\u2019t particularly stand out in Lana\u2019s discography -- it\u2019s ultimately too tied to its usage in the film.<\/p>\n100. <a href=\"https:\/\/www.youtube.com\/watch?v=HUB63iL3icA\" target=\"_blank\" rel=\"noopener\">\u201cReligion\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nA tender, minor-key ballad about finding true love after some troubled times. Genuinely moving, but neither Lana\u2019s narrative -- \u201cIt never was about the money or the drugs\/ For you, there\u2019s only love\u201d -- nor the spaghetti-western guitars build to the climax the song deserves.<\/p>\n99. <a href=\"https:\/\/www.youtube.com\/watch?v=-bXWWqeo-hE\" target=\"_blank\" rel=\"noopener\">\u201cBel Air\u201d<\/a> (Paradise<\/em>, 2012)<\/strong><\/p>\nWritten around a delicate piano motif reminiscent of <a href=\"https:\/\/www.youtube.com\/watch?v=31mjvrydaLM\" target=\"_blank\" rel=\"noopener\">\u201cWalking in the Air,\u201d<\/a> Howard Blake\u2019s theme from the 1982 animated short The Snowman<\/em>, Lana tells a fairytale of a woman waiting to meet her lover in heaven. \u201cBel Air\u201d is unusual for a Lana composition, in that it\u2019s major-key and<\/em> haunting, but the song doesn\u2019t develop as much as it should -- it just travels in circles for most of its four minutes.<\/p>\n98. \u201cBlue Velvet\u201d (Paradise<\/em>, 2012)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/BwCitgDib-g\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nRecorded to promote her H&M Fall 2012 campaign, Lana\u2019s reedy lower register is perfect for the traditional jazz-pop of \u201cBlue Velvet.\u201d Apart from the programmed drums, it\u2019s a straightforward cover of Bobby Vinton\u2019s definitive reading of the song. The music video is suitably eerie, but it\u2019s even stranger to see the titular scene from David Lynch\u2019s Blue Velvet <\/em>repurposed for an advertisement, even if it\u2019s one as memorable as this.<\/p>\n97. <a href=\"https:\/\/www.youtube.com\/watch?v=VCnlcpgk_hQ\" target=\"_blank\" rel=\"noopener\">\u201cAmerican\u201d<\/a> (Paradise<\/em>, 2012)<\/strong><\/p>\nA love song whose lyrics might read as silly -- \u201cElvis is the best, hell yes\/ Honey, put on that party dress\u201d -- if not for the tenderness of Lana\u2019s delivery, and the gentle string arrangement behind her. \u201cBe young, be dope, be proud\/ Like an American,\u201d goes the chorus -- dreamlike, alluring enough that you might buy into her fantasy\u2026 but ultimately, the sentiment is one-dimensional. Unlike in some of her later, more powerfully optimistic tracks, her flag-waving nostalgia isn\u2019t grounded by any sense of reality. Lana would <a href=\"\/articles\/columns\/pop\/7873135\/lana-del-rey-donald-trump-american-flag-no-more\" target=\"_blank\" rel=\"noopener\">distance herself<\/a> from such overt displays of patriotism just a few years later.<\/p>\n96. <a href=\"https:\/\/www.youtube.com\/watch?v=rcavCo3ZMgM\" target=\"_blank\" rel=\"noopener\">\u201cWithout You\u201d<\/a> (Born to Die<\/em> deluxe edition bonus track, 2012)<\/strong><\/p>\nLana plays a starlet who has it all -- \u201cmoney, notoriety, and rivieras\u201d -- but none of that matters when she\u2019s with her true love. \u201cWithout You\u201d feels a tad too light to belong on Born to Die<\/em> proper, but the chorus does have one of her prettiest melodies: \u201cI\u2019ve nothing without you\u2026\u201d Interestingly, it\u2019s her first song to explicitly value love over fame.<\/p>\n95. <a href=\"https:\/\/www.youtube.com\/watch?v=jDj6orud0n8\" target=\"_blank\" rel=\"noopener\">\u201cIn My Feelings\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nIt\u2019s unlike Lana to openly admit that she \u201cfell for another loser,\u201d but \u201cIn My Feelings\u201d is her shadiest song -- an almost alt-R&B track allegedly inspired by her brief dalliance <a href=\"https:\/\/genius.com\/Lana-del-rey-in-my-feelings-lyrics\" target=\"_blank\" rel=\"noopener\">with G-Eazy<\/a>. In fact, she\u2019s never depicted a lover with so few redeeming qualities: \u201cGet that cigarette smoke out of my face\/ You\u2019ve been wastin\u2019 my time while you\u2019re takin\u2019 what\u2019s mine.\u201d In the chorus, she finally regains her sanity: \u201cWho\u2019s doper than this bitch?\/ Who\u2019s freer than me?...\/ I\u2019m feelin\u2019 all my fuckin\u2019 feelings!\u201d<\/p>\n94. <a href=\"https:\/\/www.youtube.com\/watch?v=QbLGjeR9bvI\" target=\"_blank\" rel=\"noopener\">\u201cArt Deco\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nHoneymoon<\/em> is an excellent album, but starting with \"Art Deco\" at track seven, it can get too laid-back for its own good. An ode to young women and nightlife, \u201cDeco\u201d is more sleepy than invigorating, though that\u2019s partly by design -- it\u2019s a song for comedowns, not parties themselves. Rick Nowels and Kieron Menzies\u2019 lush orchestral soundscapes can occasionally overwhelm Lana\u2019s thinner compositions.<\/p>\n93. <a href=\"https:\/\/www.youtube.com\/watch?v=GVQON-muEFc\" target=\"_blank\" rel=\"noopener\">\u201cSalvatore\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nIs \u201cSalvatore\u201d supposed to be ridiculous? Even four years later, it\u2019s hard to tell. A dour, yet campy ballad about a affair with a classically handsome Italian man, \u201cSalvatore\u201d has an unforgettable chorus where Lana babbles semi-Italian phrases out of context: \u201cAhhhhh, ahhhh, cacciatore...\/ Limousines...\/ Ciao amore...\/ Soft ice cream.\u201d You could interpret the song as a bourgeois woman distracting herself from her distant lover by indulging in hedonistic pleasures\u2026 I guess. When Lana <a href=\"\/articles\/events\/year-in-music-2017\/8071053\/lana-del-rey-lust-for-life-interview-no-1s-2017\" target=\"_blank\" rel=\"noopener\">later called Honeymoon<\/em><\/a> \u201clike a vanity project, just for me,\u201d \u201cSalvatore\u201d must have been what she had in mind.<\/p>\n92.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=Nj9QqP-ce4E\" target=\"_blank\" rel=\"noopener\">\u201cLet Me Love You Like a Woman\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2020)<\/b><\/p>\nA decidedly underwhelming choice for a lead single, \u201cLet Me Love You Like a Woman\u201d signaled that <\/span>Chemtrails<\/span><\/i> would not be a particularly pop-leaning era. A sleepy piano ballad, it\u2019s not even a standout on the album itself. It\u2019s best appreciated on its own terms, as a song where Lana pledges a tender, lasting love over sweet -- some would say rote -- melodies. Unusually for Lana, it\u2019s a song that conjures little intrigue or imagination beyond its brief three minutes. Unlike the studio version, her live <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=rhlM0rhl7Mk\" target=\"_blank\" rel=\"noopener\">Tonight Show<\/em> performance<\/span><\/a> features backing vocalists, and simply feels fuller and more alive.<\/span><\/p>\n91. <a href=\"https:\/\/www.youtube.com\/watch?v=pkIYYpAjsjo\" target=\"_blank\" rel=\"noopener\">\u201c24\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\n\u201cThere\u2019s only 24 hours in a day\/ And half of those, you lay awake with thoughts of murder and carnage,\u201d sings Lana -- about a man she supposedly loves! \u201c24\u201d plays as a brooding, <a href=\"\/articles\/news\/6805226\/lana-del-rey-bond-song-nme-007\" target=\"_blank\" rel=\"noopener\">Bond-like<\/a> orchestral warning to herself and the listener: \u201cIf you lie down with dogs, then you\u2019ll get fleas\/ Be careful of the company you keep.\u201d The song\u2019s most memorable for its ending, where Lana wails, \u201cYou\u2019re hard to reach!\u201d -- and the music drops out dramatically, for one thrilling measure.<\/p>\n90. \u201cPrisoner\u201d (The Weeknd feat. Lana Del Rey, Beauty Behind the Madness<\/em>, 2015)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/x0bRHmTQEsE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\nLana Del Rey and The Weeknd\u2019s careers have many parallels. Their music\u2019s defined by stories of tortured romance, they both made the unlikely leap from viral success to the pop charts\u2026 and they\u2019re two of the only singer-songwriters in 2010s pop who tell complete stories through their lyrics. As Abel Tesfaye <a href=\"https:\/\/pitchfork.com\/features\/interview\/9711-the-dark-knight-returns-a-conversation-with-the-weeknd\/\" target=\"_blank\" rel=\"noopener\">said in 2015,<\/a> \u201cMe and Lana have been friends for a long time. I\u2019ve inspired her, she\u2019s inspired me... She is the girl in my music, and I am the guy in her music.\u201d \u201cPrisoner\u201d is an arena-sized alt-R&B track that\u2019s suitably exciting, but could have aimed much higher. Though Lana was Abel\u2019s first female guest vocalist, she feels too much like an extension of him, rather than a much-needed feminine counterpoint to his usual tales of debauchery. They\u2019d have more meaningful collaborations in the years to come.<\/p>\n89. <a href=\"https:\/\/www.youtube.com\/watch?v=L6K8Uq88BEQ\" target=\"_blank\" rel=\"noopener\">\u201cCarmen\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\nThe rare Lana song that\u2019s written in third-person, \u201cCarmen\u201d tells of a teenage girl who\u2019s driven to sex work by her alcoholism. Lana plays mournful verses against bittersweet choruses: \u201cHer mind\u2019s like a diamond...\/ She\u2019s still shining\/ Like lightning.\u201d But musically, it\u2019s one of the more one-dimensional tracks on Born to Die<\/em>, and the collage-style video makes \u201cCarmen\u201d feel even more claustrophobic\u2026 until it ends with a coda of a woman dancing to a gentle Erik Satie piano waltz -- perhaps, a moment of hope?<\/p>\n88.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=5HMBniu9Evg\" target=\"_blank\" rel=\"noopener\">\u201cSummertime (The Gershwin Version)\u201d<\/b><\/a> (non-album single, 2020)<\/b><\/p>\nAfter covering \u201cDoin\u2019 Time,\u201d it was only a matter of time before Lana found her way to the original song Sublime were referencing. Her interpretation of \u201cSummertime,\u201d one of George Gershwin\u2019s most iconic works in the Great American Songbook, is suitably lush and indulgent, with a touch of New Orleans swing. Though the chords and ghostly backing harmonies feel melancholy, there\u2019s an undeniable joy to Lana\u2019s drawn-out vocal delivery. It\u2019s not a major release for her, nor an all-time great reading of the song, but she breathes just enough new life into an old classic -- and in doing so, draws a connection from Gershwin to Sublime to herself, further evidence of her being one of the few modern musicians who\u2019s in dialogue with the full last century of popular song.<\/span><\/p>\n87. <a href=\"https:\/\/www.youtube.com\/watch?v=ocKrWwWeHLQ\" target=\"_blank\" rel=\"noopener\">\u201cBartender\u201d<\/a> (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\nOver baroque piano reminiscent of \u201cBel Air,\u201d \u201cBartender\u201d finds Lana dreaming of escape from onlookers\u2019 prying eyes: \u201cI bought me a truck in the middle of the night...\/ Photo-free exits from baby\u2019s bedside\/ \u2019Cause they don't yet know what car I drive\u2026\u201d This version of Lana\u2019s in love with a bartender, but older and wiser, <a href=\"https:\/\/www.nme.com\/news\/music\/lana-del-rey-149-1264690\" target=\"_blank\" rel=\"noopener\">resists temptation<\/a>: \u201cBaby, remember, I\u2019m not drinking wine\/ But that Cherry Coke you serve is fine...\u201d \"Bartender\u201d is dreamy and inscrutable, like a parable with no moral to its story. In <a href=\"https:\/\/pitchfork.com\/news\/lana-del-rey-teases-new-song-bartender\/\" target=\"_blank\" rel=\"noopener\">a 2018 interview with Pitchfork<\/a>, Lana called it \u201cthis weird track... that doesn\u2019t belong to a record yet.\u201d \u201cBartender\u201d does feel out of place near the tail end of Norman Fucking Rockwell<\/i>, but on its own, it\u2019s a peculiar little ditty that defies categorization.<\/p>\n86. <a href=\"https:\/\/www.youtube.com\/watch?v=zKYYVrrs2oY\" target=\"_blank\" rel=\"noopener\">\u201cThe Next Best American Record\u201d<\/a> (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n\u201cThe Next Best American Record\u201d is another of Lana\u2019s portraits of an artistic and romantic relationship, where she describes a lover who sounds like Eddie Vedder or Jackson Maine: \u201cHe was \u201970s in spirit, \u201990s in his frame of mind...\u201d She sings fondly of their collaborations -- \u201cWe were so obsessed with with writing the next best American record\/ \u2019Cause we were just that good\u201d -- but the chorus instead shifts to a banal Lana-ism, almost like her protagonist\u2019s distracted by her love: \u201cWhatever\u2019s on tonight, I just wanna party with you!\u201d The song culminates in a bridge lyric that pays tribute to him -- \u201cI see you for who you really are\/ Why the thousands of girls love\/ The way Bill plays guitar\u201d -- but ends with the sinister sound of glass shattering.<\/p>\n85. <a href=\"https:\/\/www.youtube.com\/watch?v=BiKYRNoyzZ0\" target=\"_blank\" rel=\"noopener\">\u201cThe Blackest Day\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nHoneymoon<\/i>\u2019s back half can feel like a series of distant, beautiful dirges -- not always for the better -- but \u201cThe Blackest Day\u201d embodies that coldness with graceful melodies and production. The song finds Lana going through the five stages of grief, as she attempts to process a breakup. Though she pens two intriguing turns of phrase, \u201cI\u2019m not simple, it\u2019s trigonometry,\u201d and \u201cAll I hear is Billie Holiday,\u201d she shies away from exploring either -- choosing instead to immerse herself completely in her heartbreak.<\/p>\n84. <a href=\"https:\/\/www.youtube.com\/watch?v=8waJ7W3QcJc\" target=\"_blank\" rel=\"noopener\">\u201cOnce Upon a Dream\u201d<\/a> (Maleficent: Original Motion Picture Soundtrack<\/em>, 2014)<\/strong><\/p>\nIn Disney\u2019s 1959 film\u00a0Sleeping Beauty<\/em>, <a href=\"https:\/\/www.youtube.com\/watch?v=TXbHShUnwxY\" target=\"_blank\" rel=\"noopener\">\u201cOnce Upon a Dream\u201d<\/a> soundtracks a chirpy courtship scene between Aurora and the prince, as performed by Mary Costa and Bill Shirley. As the theme from Maleficent<\/em>, a reimagining of the fairytale starring Angelina Jolie, Lana\u2019s take is darker and slower -- yet more hopeful than much of her early discography. She imbues those familiar words -- \u201cI know you, I walked with you once upon a dream\u201d -- with a vivid sense of memory, retelling a old story the way she chooses to remember it.<\/p>\n83. <a href=\"https:\/\/www.youtube.com\/watch?v=teSMNuuDnrs\" target=\"_blank\" rel=\"noopener\">\u201cGod Bless America \u2013 And All the Beautiful Women in It\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nA \u201960s hippie sentiment with drums by trap producer Metro Boomin, this is a different kind of anthem to 2012\u2019s \u201cAmerican\u201d -- one that acknowledges the political turmoil of the moment, that treats its title as a demand for peace. \u201cGod bless America,\u201d croons Lana in the chorus, before two \u201cPaper Planes\u201d-style gunshots ring out, just in case you missed her point. But on another level, the song is a loving tribute to all the women whose strength inspires her: \u201cI feel your arms all around me\/ In the air or the streets of the city\/ Feels like I am free\u2026\u201d<\/p>\n82. <a href=\"https:\/\/www.youtube.com\/watch?v=efwkzobSviA\" target=\"_blank\" rel=\"noopener\">\u201cBlack Beauty\u201d<\/a> (Ultraviolence<\/em> deluxe edition bonus track, 2014)<\/strong><\/p>\nA gentle rejoinder to a lover who\u2019s too goth to live: \u201cYou said if you could have your way\/ You\u2019d make it night time all today\/ So it\u2019d suit the mood of your soul.\u201d He won\u2019t return Lana\u2019s affections, and she can\u2019t change him, but she remains enthralled by his beauty anyway. \u201cBlack Beauty\u201d has similar themes to \u201cShades of Cool,\u201d but it\u2019s more plainspoken, wistful. Curiously, this bonus track is Lana\u2019s only collaboration with Paul Epworth, the producer and songwriter behind many of Adele and Florence + the Machine\u2019s biggest songs, but who doesn\u2019t leave his usual maximalist stamp here.<\/p>\n81. <a href=\"https:\/\/www.youtube.com\/watch?v=_RqPl5i1Mk4\" target=\"_blank\" rel=\"noopener\">\u201cI Can Fly\u201d<\/a> (Big Eyes: Original Motion Picture Soundtrack<\/em>, 2014)<\/strong><\/p>\n\u201cI Can Fly\u201d plays over the end credits to Big Eyes,<\/em> a melancholy yet triumphant coda to Margaret Keane\u2019s story. In the verses, Lana\u2019s vocals are still muted and hesitant, but she soars in the chorus -- as if she\u2019s reliving a traumatic memory, before realizing she\u2019s already survived it. Lana clearly sees much of herself in Margaret Keane, who by the end of the film, is finally free to make art that\u2019s not just about sadness, that embodies the full expression of the human spirit. \u201cI had a dream that I was fine\/ I wasn\u2019t crazy, I was divine...\u201d<\/p>\n80. <a href=\"https:\/\/www.youtube.com\/watch?v=Sd8nU87OCrA\" target=\"_blank\" rel=\"noopener\">\u201cWoman\u201d<\/a> (Cat Power feat. Lana Del Rey, Wanderer<\/em>, 2018)<\/strong><\/p>\nCat Power might be Lana\u2019s closest immediate predecessor -- a sometimes uncomfortably raw songwriter and performer, who reinvented herself as a soulful troubadour in the second half of her career. \u201cWoman\u201d starts as a sparse cowboy blues song, but accelerates into its choruses, building in urgency each time. Lana only sings a few lines, mostly backup, but her presence lends crucial moral support. Though it\u2019s not quite an anthem, it is a defiant, yet warm feminist declaration that plays on both artists\u2019 histories in the public eye: \u201cI\u2019m a woman of my word, now haven't you heard?\/ My word's the only thing I\u2019ve ever needed.\u201d<\/p>\n79. \u201cGroupie Love\u201d (feat. A$AP Rocky, Lust For Life<\/em>, 2017)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/tBwoRviPvVw\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nThis Lust For Life<\/em> promo single might be the least critical ode to the groupie since the heyday of glam metal. Still, Lana so vividly realizes the emotions of a starry-eyed young fan that you can\u2019t help but buy into her fantasy. The lush production, and the slow, almost chopped-and-screwed \u201cgroupie looooove\u201d chorus are stunning. Lana\u2019s had a few <a href=\"https:\/\/revolt.tv\/stories\/2017\/07\/10\/lana-del-rey-asap-rocky-collaborations-0700c6418c\" target=\"_blank\" rel=\"noopener\">previous encounters<\/a> with A$AP Rocky, her \u201cNational Anthem\u201d video\u00a0co-star and <a href=\"https:\/\/www.vulture.com\/2017\/07\/lana-del-rey-asap-rocky-review.html\" target=\"_blank\" rel=\"noopener\">unlikely kindred spirit<\/a>, but Lust For Life<\/em> marks their first official set of musical collaborations. In his second feature on the album in a row, Rocky plays a Prince Charming who may or may not have a dark side: \u201cLove girls, you and I, so who do we trust?\/ You and I \u2019til the day we die.\u201d<\/p>\n78.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=EqFkraaM4Aw\" target=\"_blank\" rel=\"noopener\">\u201cYou\u2019ll Never Walk Alone\u201d<\/b><\/a> (<\/b>The End of the Storm [Official Soundtrack]<\/i><\/b>, 2020)<\/b><\/p>\n\u201cYou\u2019ll Never Walk Alone\u201d is a song with a long, unbroken history. Written by Rodgers and Hammerstein for the 1945 musical <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=wlsUfOjVhrM\" target=\"_blank\" rel=\"noopener\">Carousel<\/span><\/i><\/a>, the 1963 cover by Gerry and the Pacemakers was adopted as the Liverpool Football Club\u2019s official anthem -- and has remained an iconic crowd singalong ever since. A <\/span><a href=\"https:\/\/www.liverpoolfc.com\/news\/first-team\/130816-photos-lana-del-rey-at-anfield\" target=\"_blank\" rel=\"noopener\">Liverpool fan<\/span><\/a> herself, Lana contributed a version for the club\u2019s documentary <\/span>The End of the Storm<\/span><\/i>. She sings largely a cappella, in an exposed, wavering vibrato, before she\u2019s overtaken by strings, piano, and a baritone choir. When her voice returns at the climax almost two minutes later, she hits a stunningly beautiful high G. Though there\u2019ve been hundreds of recorded covers, Lana\u2019s might be the most ethereal interpretation since the operatic original -- even if she\u2019s not present for half of her own recording.<\/span><\/p>\n77.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=SVEfKFlhDik\" target=\"_blank\" rel=\"noopener\">\u201cI\u2019ll Be Home for Christmas\u201d<\/b><\/a> (Kacey Musgraves feat. Lana Del Rey, <\/b>The Kacey Musgraves Christmas Show<\/i><\/b>, 2019)<\/b><\/p>\nRecorded for Musgraves\u2019 Amazon Prime Christmas special, Lana joins Kacey for a stripped-down cover of this Bing Crosby standard. The two typically take very different approaches to melancholy -- Lana\u2019s is grand and existential, Kacey\u2019s small and intricate -- but here, Lana matches Kacey\u2019s energy, singing at barely above a whisper. They manage to make one of the saddest Christmas songs even sadder, and the results are magical.\u00a0<\/span><\/p>\n76. <a href=\"https:\/\/www.youtube.com\/watch?v=U2TPS-9oMtc\" target=\"_blank\" rel=\"noopener\">\u201cStargirl Interlude\u201d<\/a> (The Weeknd feat. Lana Del Rey, Starboy<\/em>, 2016)<\/strong><\/p>\nHalfway through The Weeknd\u2019s third official album, Lana Del Rey takes the reins. \u201cI shouldn\u2019t cry, but I love it, starboy,\u201d she sings, higher than she ever has on record. \u201cStargirl Interlude\u201d is more overtly sexual than much of her work, but more spiritual than almost any of The Weeknd\u2019s; a perfect union, if only it were <a href=\"\/articles\/columns\/pop\/8235597\/greatest-interludes-of-all-time-top-50-list\" target=\"_blank\" rel=\"noopener\">longer than two minutes<\/a>.<\/p>\n75. <a href=\"https:\/\/www.youtube.com\/watch?v=QbajAoqIsQg\" target=\"_blank\" rel=\"noopener\">\u201cBurnt Norton (Interlude)\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nOver a crackling, ambient loop, Lana reads the opening lines of <a href=\"http:\/\/www.davidgorman.com\/4quartets\/1-norton.htm\" target=\"_blank\" rel=\"noopener\">\u201cBurnt Norton,\u201d<\/a> a T.S. Eliot poem about the fleeting, circular nature of time. Rather than co-opting the poem for her own artistic narrative, she presents herself as a vessel for Eliot\u2019s words. Though it\u2019s too short to rank any higher, \u201cBurnt Norton\u201d is a complete recording in and of itself, one that perfectly embodies Honeymoon<\/em>\u2019s sense of serene stillness.<\/p>\n74. <a href=\"https:\/\/www.youtube.com\/watch?v=tuaSfBDoiQk\" target=\"_blank\" rel=\"noopener\">\u201cWhen the World Was at War We Kept Dancing\"<\/a>\u00a0(Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cIs it the end of an era?\/ Is it the end of America?\u201d Lana implores the listener to look to history: \u201cNo, it's only the beginnin\u2019\/ If we hold on to hope, we\u2019ll have our happy ending...\u201d The lyrics may not add up to a definitive political statement -- Lana\u2019s rarely do -- but the music cannily embodies the uncertainty of the modern age. The titular chorus is mesmerizing, as Del Rey coos in a high falsetto while trap hi-hats twirl around her.<\/p>\n73. <a href=\"https:\/\/www.youtube.com\/watch?v=AcVQJJoD45w\" target=\"_blank\" rel=\"noopener\">\u201cSummer Bummer\u201d<\/a> (feat. A$AP Rocky and Playboi Carti, Lust For Life<\/em>, 2017)<\/strong><\/p>\nA return to hip-hop stylings not heard since Born to Die<\/em>, this Lust For Life<\/em> promo single opens with Lana\u2019s optimistic vocals over dour, muted piano -- \u201cIt\u2019s never too late to be who you wanna be\/ To say what you wanna say\u201d -- until the song transitions to a buzzy trap beat co-produced by Boi-1da. It\u2019s equally novel to hear A$AP Rocky rap with far more energy than we\u2019re used to on a Lana album, as it is to hear her drawling in a triplet flow in the third verse. Over ad-libs by Playboi Carti, Rocky teases a flirtation that might, but probably won\u2019t outlast the season: \u201cShe just might become my lover for real\/ I might fuck with her all summer for real...\u201d It evokes a kind of summertime sadness she\u2019s never documented before -- sweaty, uncomfortable, delirious.<\/p>\n72. <a href=\"https:\/\/www.youtube.com\/watch?v=nbcXvlEa7Wk\" target=\"_blank\" rel=\"noopener\">\u201cHappiness is a butterfly\"<\/a>\u00a0(Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\nEach stanza of \u201cHappiness is a butterfly\u201d contradicts the last, like its opening lines: \u201cDo you want me or do you not?\/ I heard one thing, now I'm hearing another\u2026\u201d Over Jack Antonoff\u2019s dour piano chords, Lana waxes philosophical about life\u2019s uncertainties: \u201cHappiness is a butterfly\/ Try to catch it, like, every night\/ It escapes from my hands into moonlight\u2026\u201d Will she find true love with the man of this particular song?<\/p>\nShe responds with a classically Lana Del Rey turn of phrase: \u201cIf he\u2019s a serial killer, than what\u2019s the worst\/ That can happen to a girl who\u2019s already hurt?\u201d Her mindset calls back to Ultraviolence<\/em> -- she\u2019s so fatalistic that death might be an improvement\u2026 but does it even matter? She keeps coming back to one phrase: \u201cBaby, I just wanna dance with you.\u201d Music and dance may not fix anything, but it\u2019s all Lana has in the moment, forever chasing that butterfly.<\/p>\n71. <a href=\"https:\/\/www.youtube.com\/watch?v=EnbCJDFvT7M\" target=\"_blank\" rel=\"noopener\">\u201cSwan Song\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nAs early as 2012, Lana Del Rey was <a href=\"https:\/\/www.factmag.com\/2012\/02\/06\/lana-del-rey-i-dont-think-ill-write-another-record\/\" target=\"_blank\" rel=\"noopener\">dramatically teasing her retirement<\/a>: \u201cI don\u2019t think I\u2019ll write another record\u2026 I feel like everything I wanted to say, I\u2019ve said already.\u201d \u201cSwan Song\u201d almost makes good on that threat: \u201cAnd I will never sing again\/ And you won\u2019t work another day...\/ It will be our swan song...\u201d And yet, \u201cSwan Song\u201d is nothing more than a fantasy, more minor-key than hopeful. Sometimes you need to visualize a future before you choose not to go down that path.<\/p>\n70. \u201cLooking for America\u201d (non-album single, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/em1pHFTvK1s\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nReleased in the wake of the El Paso and Dayton mass shootings, \u201cLooking for America\u201d is Lana\u2019s immediate response to the country\u2019s epidemic of gun violence. Over Jack Antonoff\u2019s minimal fingerpicked guitar, she sings about the nostalgic America we so often depict in art, that lives in our memories: \u201cOne without the gun, where the flag can freely fly\/ No bombs in the sky, only fireworks when you and I collide.\u201d With great sadness and empathy, Lana shows us how violence affects everyone, down to our most intimate personal emotions. The sad punchline -- \u201cit\u2019s just a dream I had in mind...\u201d<\/p>\n69. <a href=\"https:\/\/www.youtube.com\/watch?v=Vs_sURGuYys\" target=\"_blank\" rel=\"noopener\">\u201cBeautiful People Beautiful Problems\u201d<\/a> (feat. Stevie Nicks, Lust For Life<\/em>, 2017)<\/strong><\/p>\nStevie Nicks has always been one of Lana\u2019s biggest influences in both music and spirit, two self-proclaimed <a href=\"https:\/\/vmagazine.com\/article\/lana-del-rey-stevie-nicks-cover-story\/\" target=\"_blank\" rel=\"noopener\">\u201cwitchy sisters\u201d<\/a> who\u2019ve carved their own paths through popular music. So it\u2019s thrilling to hear the two sing together as peers, on a composition that\u2019s worthy of Stevie\u2019s one-of-a-kind presence. Much like The Beatles\u2019 <a href=\"https:\/\/www.youtube.com\/watch?v=EGlo9LzmOME\" target=\"_blank\" rel=\"noopener\">\u201cGetting Better,\u201d<\/a> \u201cBeautiful People Beautiful Problems\u201d sets dark verse lyrics to much brighter music -- \u201cGreen is the planet from the eyes of a turtle dove\/ \u2019Til it runs red, runs red with blood\u2026\u201d But the chorus is more uplifting, and a little self-deprecating: \u201cWe\u2019re just beautiful people with beautiful problems...\/ But we gotta try\/ Every day and night.\u201d Even musical icons can\u2019t pretend to have all the answers, but they\u2019ll keep searching.<\/p>\n68. <a href=\"https:\/\/www.youtube.com\/watch?v=9bAl93PPj54\" target=\"_blank\" rel=\"noopener\">\u201cDon\u2019t Let Me Be Misunderstood\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\n\u201cDon\u2019t Let Me Be Misunderstood\u201d was a canny nod to Lana\u2019s reputation, and her second album in a row to end with a <a href=\"https:\/\/www.youtube.com\/watch?v=9ckv6-yhnIY\" target=\"_blank\" rel=\"noopener\">Nina Simone cover<\/a>. Just three years after Born to Die<\/em>, she was already working on rehabilitating her controversial image: \u201cDon\u2019t you know, no one alive can always be an angel?\/ When everything goes wrong, you see some bad\u2026\u201d The Lana of old might have elevated this into melodrama to rival Nina\u2019s original, but instead, she delivers a surprisingly breezy interpretation. It doesn\u2019t feel like some weighty artistic statement -- she just wants to set the record straight, while putting her stamp on a timeless song.<\/p>\n67. <a href=\"https:\/\/www.youtube.com\/watch?v=j5ND1vE-5z8\" target=\"_blank\" rel=\"noopener\">\u201cFlipside\u201d<\/a> (Ultraviolence<\/em> deluxe edition bonus track, 2014)<\/strong><\/p>\n\u201cAre you gonna hurt me now?\/ Or are you gonna hurt me later?\u201d With just her voice and Blake Stranathan\u2019s fuzzed-out guitar, \u201cFlipside\u201d tells a sad narrative with a gentle, empathetic touch. Lana sings about letting go of an unreliable lover, at least for now: \u201cYou caught me once\/ Maybe on the flipside you could catch me again.\u201d He may have dominated their relationship, but she gets the last word. With its grungy feel, \u201cFlipside\u201d is also the rare Lana song that references the recent past -- the \u201990s -- and spiritual predecessors like Hole and PJ Harvey.<\/p>\n66. <a href=\"https:\/\/www.youtube.com\/watch?v=UmHPF04CHlw\" target=\"_blank\" rel=\"noopener\">\u201cDiet Mountain Dew\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\nLike a \u201960s girl-group song with hip-hop drums, \u201cDiet Mountain Dew\u201d resembles a more polished version of Lana\u2019s indie debut album, Lana Del Ray a.k.a. Lizzy Grant<\/em>. Though she\u2019s still singing about a not-so-great relationship, the song\u2019s playfully wistful -- \u201cNever was there ever a girl so pretty\/ Do you think we\u2019ll be in love forever?\u201d \u201cDiet Mountain Dew\u201d was an early fan favorite, including the <a href=\"https:\/\/www.youtube.com\/watch?v=u89_AiQu9BQ\" target=\"_blank\" rel=\"noopener\">original trip-hop version<\/a> Lana uploaded to YouTube in 2011. But she\u2019s rarely played the song live, and it feels like she\u2019s outgrown it in the years since.<\/p>\n65. <a href=\"https:\/\/www.youtube.com\/watch?v=4jRJ8cym2eI\" target=\"_blank\" rel=\"noopener\">\u201cMillion Dollar Man\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\n\u201cI don't know how you get over, get over\/ Someone as dangerous, tainted, and flawed as you,\u201d sings Lana, in an bluesy ballad that\u2019s garnered comparisons to Fiona Apple. Like many of her early songs, \u201cMillion Dollar Man\u201d is about being seduced by beautiful surfaces, oblivious to the harm that men can do because they\u2019re charming. \u201cYou\u2019re screwed up and brilliant\/ You look like a million dollar man\/ So why is my heart broke?\u201d She asks, but she\u2019d yet to find the answer.<\/p>\n64. <a href=\"https:\/\/www.youtube.com\/watch?v=vK1YiArMDfg\" target=\"_blank\" rel=\"noopener\">\u201cCalifornia\u201d<\/a> (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\nNorman Fucking Rockwell<\/em>\u2019s fourth song in a row about unconditional love, \u201cCalifornia\u201d is the most \u201970s rock-styled track Lana\u2019s ever recorded, with its fuzzed-out guitars and leisurely double-tracked vocals. In the verses, she addresses a lover in the present tense: \u201cYou don\u2019t ever have to be stronger than you really are\/ When you\u2019re lying in my arms.\u201d But then she reveals that they\u2019re long gone: \u201cYou said to a friend that you wish you were doing better\/ I wanted to reach out, but I never said a thing\u2026\u201d<\/p>\nIn the chorus, drums and guitars build on a melancholy chord progression, as if she\u2019s on a jet plane flying away from her loved one: \u201cIf you come back to America, just hit me up\/ We\u2019ll do whatever you want, travel wherever how far...\/ I\u2019ll pick up all of your Vogue<\/em>s and all of your Rolling Stone<\/em>s.\u201d \u201cCalifornia\u201d connects the dots between two of Lana\u2019s most powerful depictions of regret: the personal nostalgia of \u201cOld Money,\u201d where she dreams of rekindling an old relationship; and the cultural nostalgia of \u201cThe greatest,\u201d where she laments the decline of American rock \u2018n\u2019 roll and popular culture. \u201cCalifornia\u201d isn\u2019t quite as vivid as either of those songs, but there\u2019s still comfort to be found in its familiar melodies.<\/p>\n63. \u201cGods and Monsters\u201d (Paradise<\/em>, 2012)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Rzkt9t_e75o\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nOver slow, insistent drums, Lana tells a Los Angeles tale worthy of <a href=\"https:\/\/www.dazeddigital.com\/artsandculture\/article\/32257\/1\/the-darkest-depictions-of-hollywood-in-film\" target=\"_blank\" rel=\"noopener\">Mulholland Drive<\/em> or The Neon Demon<\/em><\/a>. Playing both omniscient narrator and doomed ingenue, she trades her soul for success in the music industry: \u201cLike a groupie incognito, posing as a real singer\/ Life imitates art!\u201d Lana\u2019s protagonist finds her idea of heaven, yet she\u2019s also lucid enough to see that it\u2019s \u201cinnocence lost,\u201d a beautiful tragedy. Though it wasn\u2019t a single, \u201cGods and Monsters\u201d received quite the music video tribute when Jessica Lange covered it in <a href=\"https:\/\/www.youtube.com\/watch?v=4tCuf3SGHTU\" target=\"_blank\" rel=\"noopener\">American Horror Story: Freak Show<\/a><\/em>.<\/p>\n62. <a href=\"https:\/\/www.youtube.com\/watch?v=eP4eqhWc7sI\" target=\"_blank\" rel=\"noopener\">\u201cLust For Life\u201d<\/a> (feat. The Weeknd, Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cLust For Life\u201d is Lana\u2019s first title track that doesn\u2019t feel like a grand statement, but it is one of her most positive depictions of sexuality, the \u201clust for life [that] keeps us alive.\u201d And it is a thrill to hear Lana and The Weeknd sing such sweet melodies, channeling \u201960s girl groups like the Shangri-Las and the Angels over booming modern pop production -- one of her two collaborations with Max Martin. Like \u201cLove,\u201d \u201cLust For Life\u201d is a bubblegum pop song at heart. But while \u201cLove\u201d feels perfect in its simplicity, \u201cLust For Life\u201d hints at hidden depths that go unexplored: The song interpolates <a href=\"https:\/\/www.poetryfoundation.org\/poems\/51642\/invictus\" target=\"_blank\" rel=\"noopener\">\"Invictus,\"<\/a>\u00a0the poem by William Ernest Henley -- \u201cWe\u2019re the masters of our own fate\/ We\u2019re the captains of our own souls\u201d -- but the lyrics don\u2019t elaborate upon those existential themes, making it the rare Lana Del Rey song that isn\u2019t dark enough.<\/p>\n61. <a href=\"https:\/\/www.youtube.com\/watch?v=uNuMH2i6wdI\" target=\"_blank\" rel=\"noopener\">\u201cCherry\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cCherry\u201d is unusually sour and cynical by Lust for Life\u2019s standards. Lana describes a strange relationship, built on her own sacrifice, that constantly ruins her: \u201cLove, is it real love?\/ It\u2019s like smilin\u2019 when the firin\u2019 squad\u2019s against you\/ And you just stay lined up.\u201d \u201cCherry\u201d transposes a \u201960s-style folk song onto dramatic synth bass and sampled drums -- a terse combination that just works.<\/p>\n60. <a href=\"https:\/\/www.youtube.com\/watch?v=ClJtq3fA4_M\" target=\"_blank\" rel=\"noopener\">\u201cRadio\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\n\u201cRadio\u201d opens with the sound of strings and crackling vinyl, as Lana drawls a melody reminiscent of the 1940s: \u201cNot even they can stop us now\u2026\/ Boy, I\u2019ve been raised from the dead.\u201d She celebrates her newfound success, and she leaves her troubles in the rear-view mirror -- \u201cBaby, love me \u2019cause I\u2019m playing on the radio!\u201d But even Born to Die<\/em>\u2019s sweetest song has a little venom. She cusses, and ends each chorus with a shoutout to her doubters: \u201cHow do you like me now?\u201d<\/p>\n59.\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=Mn2ZroMnvK0\" target=\"_blank\" rel=\"noopener\">\u201cBreaking Up Slowly\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/strong><\/p>\n\u201cBreaking Up Slowly\u201d opens not with Lana\u2019s voice, but that of her co-writer Nikki Lane, sounding remarkably like Stevie Nicks\u2019 reedy contralto. With its country-blues style, it\u2019s as much Lane\u2019s song as Del Rey\u2019s; a plea to let go of doomed relationships, not prolong the agony. \u201cI don\u2019t wanna live with a life of regret\/ I don\u2019t wanna end up like Tammy Wynette,\u201d croons Lane, alluding to Wynette\u2019s <\/span><a href=\"https:\/\/www.biography.com\/news\/tammy-wynette-george-jones-relationship-marriage-divorce\" target=\"_blank\" rel=\"noopener\">tumultuous private relationship<\/span><\/a> with fellow country icon George Jones. Although the song sounds traditional, it\u2019s revisionist in spirit -- acting as a direct rejoinder to Wynette\u2019s most (in)famous song, <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=AM-b8P1yj9w\" target=\"_blank\" rel=\"noopener\">\u201cStand by Your Man.\u201d<\/span><\/a> The Lana Del Rey of <\/span>Ultraviolence<\/span><\/i> would have indulged in the painful fantasy of love at any cost; but on <\/span>Chemtrails<\/span><\/i>, she\u2019s committed to the reality of the situation. Unlike the rest of the album, there\u2019s no musical uplift to be found, even if the lyrics are ultimately optimistic: \u201cIt's hard to be lonely, but it's the right thing to do.\u201d<\/span><\/strong><\/p>\n58. \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=4e97neNvxB4\" target=\"_blank\" rel=\"noopener\">Dark Paradise\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\nAt first, \u201cDark Paradise\u201d seems to be about an ex -- until Lana reveals that the song is a literal lament: \u201cYour soul is haunting me...\/ But I wish I was dead\/ Dead like you.\u201d Though the music\u2019s thumping and cinematic, she delivers those lines so casually that it\u2019s shocking. For years, listeners debated -- was Lana glamorizing feminine suffering? Or was she simply expressing her honest, morbid thoughts? When she made a similarly infamous statement <a href=\"https:\/\/www.theguardian.com\/music\/2014\/jun\/12\/lana-del-rey-ultraviolence-album\" target=\"_blank\" rel=\"noopener\">in a Guardian<\/em> interview<\/a> -- \u201cI wish I was dead already\u201d -- none other than <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/frances-bean-cobain-to-lana-del-rey-early-death-isnt-cool-84819\/\" target=\"_blank\" rel=\"noopener\">Frances Bean Cobain<\/a> criticized her for romanticizing suicide. Many of Lana\u2019s songs thrive on such uncomfortable tension, even ones as poppy and melodic as this one.<\/p>\n57.\u00a0\u00a0<\/b><a href=\"https:\/\/www.youtube.com\/watch?v=AEt5owHwVD0\" target=\"_blank\" rel=\"noopener\">\u201cYosemite\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/strong><\/p>\nA <\/span><a href=\"https:\/\/lanadelrey.fandom.com\/wiki\/Yosemite_(song)\" target=\"_blank\" rel=\"noopener\">Lust For Life<\/span><\/i>-era recording<\/span><\/a> that finally found its way onto <\/span>Chemtrails<\/span><\/i>, \u201cYosemite\u201d sees Lana looking upon a relationship with no regrets. Echoing \u201cVenice Bitch,\u201d she looks forward and back at the same time: \u201cSeasons may change\/ But we won\u2019t change\/ Isn\u2019t it sweet how we know that already?\u201d She\u2019s often sounded like an old soul, but she\u2019s never sung from the perspective of a much older woman before. Alongside Rick Nowels\u2019 fingerpicked steel-string, her vocals were recorded in a single take. \u201cYosemite\u201d is one of her most haunting pieces of music, yet aside from a reference to \u201ctelevision static,\u201d there\u2019s little darkness to be found in the lyrics. In the chorus, she sums up the defining theme of <\/span>Chemtrails<\/span><\/i>, her philosophy of unconditional love and artistic expression: \u201cWe did it for fun, we did it for free\/ I did it for you, you did it for me\/ We did it for the right reasons.\u201d<\/span><\/strong><\/p>\n56. <a href=\"https:\/\/www.youtube.com\/watch?v=3-nW3luYvzc\" target=\"_blank\" rel=\"noopener\">\u201cHeroin\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nLana\u2019s own favorite song from Lust For Life<\/em> finds her musing on an old ex\u2019s fatal overdose. She ruminates on the dark side of California -- the air thick with organs, mellotrons and muted drums -- and what drives people to self destruction: \u201cTopanga\u2019s hot today, Manson\u2019s in the air\/ And all my friends have gone, \u2019cause they still feel him here\u2026\u201d But this Lana, in 2017, is no longer living in the torment of \u201cYayo\u201d and \u201cCruel World.\u201d She\u2019s older and wiser, but the past still pulls her back in: \u201cThe facts of life can sometimes make it hard to dream.\u201d \u201cHeroin\u201d offers no resolution, but it leads directly into \u201cChange\u201d and \u201cGet Free,\u201d the album\u2019s ending suite: \u201cMakes me feel like I can change\/ All of my evil ways and shit\/ I\u2019d be lying, if I said I wasn\u2019t sick of it.\u201d<\/p>\n55. <a href=\"https:\/\/www.youtube.com\/watch?v=3fR2qL7wy68\" target=\"_blank\" rel=\"noopener\">\u201cTomorrow Never Came\u201d<\/a> (feat. Sean Ono Lennon, Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cTomorrow Never Came\u201d might be Lana\u2019s most overtly nostalgic song, a pastoral folk-rock dream that\u2019s utterly transporting. But as she recalls the most idyllic moments of a relationship, she also remembers that it ended. \u201cYou said you\u2019d love me like no tomorrow\/ I guess tomorrow never came...\u201d<\/p>\nIronically, Lana\u2019s present reality is a kind of utopia: \u201cLennon and Yoko, we would play all day long\/ \u2018Isn\u2019t life crazy?,\u2019 I said now that I\u2019m singin\u2019 with Sean!\u201d Sean Ono Lennon, who also played the majority of the song\u2019s instruments, sounds almost exactly like his father -- bringing an indefinable magic that you rarely hear on \u201cretro\u201d songs. Nostalgia has its limits, but the past lives on through them, and us, to rewrite the future.<\/p>\n54. <a href=\"https:\/\/www.youtube.com\/watch?v=HSX8y4T7DZM\" target=\"_blank\" rel=\"noopener\">\u201cCola\u201d<\/a> (Paradise<\/em>, 2012)<\/strong><\/p>\n\u201cMy pussy tastes like Pepsi cola,\u201d drawls Lana, in an opening line that left many shook. \u201cCola\u201d depicts a world that\u2019s glamorous, tempting, and utterly amoral -- where you can have any pleasure you like, if you can drive fast enough to escape the consequences. \u201cCome on baby, let\u2019s ride...\/ I know your wife and she wouldn't mind\/ We made it out to the other side...\u201d It\u2019s one of the more thrilling tracks in her discography, culminating in the the horror-film shriek she deploys in the bridge.<\/p>\nIn those early years, Lana made you believe she was living out her Hollywood fantasies, whether you liked her or not. But recently, reality has brought \u201cCola\u201d back down to earth: The song\u2019s once-cheeky nod to <a href=\"https:\/\/www.vanityfair.com\/style\/2017\/10\/lana-del-rey-cola-harvey-weinstein-speculation\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein<\/a>, who she\u2019d been photographed with at the time -- \u201cHarvey\u2019s in the sky with diamonds and he\u2019s making me crazy\u201d -- feels uncomfortable, ever since the specifics of his sexual abuse allegations have gone public. Lana\u2019s since committed to <a href=\"\/articles\/columns\/pop\/8022249\/lana-del-rey-retire-cola-live-concerts-harvey-weinstein\" target=\"_blank\" rel=\"noopener\">retiring<\/a> \u201cCola\u201d from her live shows, explaining, \u201cThat would be the only right thing to do.\u201d<\/p>\n53. <a href=\"https:\/\/www.youtube.com\/watch?v=5hFCZ1tzWR0\" target=\"_blank\" rel=\"noopener\">\u201cBody Electric\u201d<\/a> (Paradise<\/em>, 2012)<\/strong><\/p>\nOf the many origin stories Lana\u2019s told, \u201cBody Electric\u201d is the most melodramatic. Heartbroken over an ex-boyfriend, she discovers herself through dance and music. Over thundering drums and Western guitars, she\u2019s reborn as an artist: \u201cI sing the body electric...\/ I\u2019m on fire!\u201d Borrowing its manifesto from <a href=\"https:\/\/www.poetryfoundation.org\/poems\/45472\/i-sing-the-body-electric\" target=\"_blank\" rel=\"noopener\">a famous Walt Whitman poem<\/a>, \u201cBody Electric\u201d lays out Lana\u2019s creation myth, her earliest inspirations: \u201cElvis is my daddy\/ Marilyn\u2019s my mother\/ Jesus is my bestest friend.\u201d<\/p>\nAll three icons appear in <a href=\"https:\/\/www.youtube.com\/watch?v=VwuHOQLSpEg\" target=\"_blank\" rel=\"noopener\">Tropico<\/em><\/a>, the 2013 short film directed by Anthony Mandler, where Lana portrays a modern Eve, cast out of the garden of Eden. In the real world, she becomes a stripper who liberates herself by robbing her rich older clients, and is then readmitted to heaven. Set to \u201cBody Electric,\u201d \u201cGods and Monsters,\u201d and \u201cBel Air,\u201d Tropico<\/em> is overloaded with heavy-handed symbolism, pushing her early obsession with Hollywood doom-and-gloom to its breaking point. \u201cBody Electric\u201d is particularly compelling, but she couldn\u2019t possibly make songs that were even more fever-pitched and theatrical. She\u2019d soon outgrow this version of the Lana Del Rey persona.<\/p>\n52. \u201cFuck it I love you\u201d (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/LrSX_OcpeJg\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nA weird, offbeat surf-pop ditty that opens with a confession: \u201cI like to see everything in neon\/ Drink lime green, stay up \u2019til dawn\/ Maybe the way that I\u2019m living is killing me\u2026\u201d Lana can\u2019t outrun her past, but in the chorus, she throws her cares to the wind: \u201cDream a little dream of me\/ Make me into something sweet\/ Turn the radio on, dancing to a pop song\/ Fuck it I love you!\u201d It\u2019s as if she\u2019s not just singing to a lover, but the state of California itself.<\/p>\nThough the song\u2019s mostly minor-key, it\u2019s full of playful little oddities: those rising and falling synths in the chorus, and Lana\u2019s almost mumbled pre-chorus, with its dissonant vocal harmonies. Curiously, the CD master -- likely an older version -- replaces the \u201960s pop drums with half-time trip-hop beats; a more somber, but less compelling interpretation. The music video, the first half of a double feature with \u201cThe greatest,\u201d depicts Lana singing and surfing in slow-motion -- a spiritual experience that ends under the comforting sound of crashing waves.<\/p>\n51.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=DOKZxWSczNg\" target=\"_blank\" rel=\"noopener\">\u201cDance Till We Die\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/p>\nInspired by a night spent <\/span><a href=\"https:\/\/www.interviewmagazine.com\/culture\/who-is-lana-del-rey-jack-antonoff-september-poetry-cover\" target=\"_blank\" rel=\"noopener\">dancing with Joan Baez<\/span><\/a>, Lana\u2019s first verse acknowledges her personal relationships with four of her idols: Baez, Joni Mitchell, Stevie Nicks and Courtney Love. Like Lana herself, these four women are cultural symbols, yet real, ordinary human beings too. She\u2019s equally inspired by both sides of them, and how they never rest on their laurels: \u201cWe won\u2019t say when, we won\u2019t ask why\/ We won\u2019t stop dancin\u2019 \u2019til we die.\u201d Most of the song is a ballad, backed by Jack Antonoff\u2019s warm, understated instruments -- so when the bridge suddenly slips into a New Orleans blues groove, it\u2019s as if you\u2019ve drunkenly stumbled into a club on Bourbon Street too. That raucous, celebratory moment -- and Lana\u2019s spectacular vocal -- lasts just 30 seconds before returning to the original instrumental. The glitz and glamour will fade, yet Lana Del Rey remains, the eternal troubadour.<\/span><\/p>\n50. <a href=\"https:\/\/www.youtube.com\/watch?v=WU_EGJOQ69o\" target=\"_blank\" rel=\"noopener\">\"How to disappear\"<\/a> (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\nWhen Lana and Jack Antonoff premiered \u201cHow to disappear\u201d <a href=\"https:\/\/youtu.be\/bfHEnw6Rm-4?t=4929\" target=\"_blank\" rel=\"noopener\">live in late 2018<\/a> with just piano and vocals, it was utterly disarming. The studio version is a \u201960s soul song with subtle, disorienting electronic production that amplifies the strangeness of the lyrics. \u201cHow to disappear\u201d is driven by a oddly figurative Lana narrative -- like a moral parable without a clear answer. In the verses, she describes men from a distance, as if they\u2019re figures <a href=\"https:\/\/genius.com\/Bruce-springsteen-reason-to-believe-lyrics\" target=\"_blank\" rel=\"noopener\">from Bruce Springsteen\u2019s Nebraska<\/em><\/a>. To John, she sings, \u201cAll of the guys tell me lies, but you don\u2019t\/ You just crack another beer\/ And pretend that you\u2019re still here\u201d -- like he\u2019s the man from \u201cVideo Games,\u201d from another perspective. To Joe, she pledges, \u201cI love that man like nobody can\/ He moves mountains and pounds them to ground again\u2026\u201d<\/p>\nIn each chorus, the instruments drop out as she sings \u201cThis is how to disappear,\u201d mourning how they\u2019ve vanished from her life. The third verse jumps ahead to her now-idyllic life: \u201cNow it\u2019s been years since I left New York\/ I\u2019ve got a kid and two cats in the yard\u2026\u201d Lana makes a promise -- \u201cI\u2019m always going to be right here\/ No one\u2019s going anywhere\u201d -- but the song ends abruptly, with barely any time to process its resolution. \u201cHow to disappear\u201d finds Lana swimming against the currents of time to deliver her message: she\u2019ll be here for you, even if you\u2019re not.<\/p>\n49. <a href=\"https:\/\/www.youtube.com\/watch?v=5kYsxoWfjCg\" target=\"_blank\" rel=\"noopener\">\u201cMusic to Watch Boys To\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\n\u201cI see you\u2019re going\/ So I play my music, watch you leave...\u201d On Honeymoon<\/em>\u2019s second single, Lana bids farewell to a lover by shutting out the world, \u201csinging soft grunge just to soak up the noise.\u201d It\u2019s extraordinarily difficult to make compelling music about passivity, but Honeymoon<\/em>\u2019s best songs manage to be dramatic and meditative in nature.<\/p>\n\u201cMusic to Watch Boys To\u201d casts Lana as a detached observer of her own fate, as if she\u2019s witnessing her emotions secondhand. \u201cI press record and watch you leave,\u201d she sings, already prepared to document her experience through art. Though producers Rick Nowels and Kieron Menzies conjure a vague, hazy atmosphere, like Beach House\u2019s dream pop with shades of <a href=\"https:\/\/www.youtube.com\/watch?v=NwhflMf0Gyc\" target=\"_blank\" rel=\"noopener\">\u201960s exotica<\/a>, the song is never more alluring than in its extended a cappella intro -- pure, undistilled Lana Del Rey.<\/p>\n48. <a href=\"https:\/\/www.youtube.com\/watch?v=C_qmj7z1XhU\" target=\"_blank\" rel=\"noopener\">\u201cFucked My Way Up to the Top\u201d<\/a> (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nUltraviolence<\/em>\u2019s most sardonic, morbidly funny song, \u201cFucked My Way Up to the Top\u201d garnered immediate attention for its cutting lyrics. When asked about the song by <a href=\"https:\/\/imgur.com\/a\/tkDgT\" target=\"_blank\" rel=\"noopener\">Grazia<\/em> magazine<\/a>, Lana stated: \u201cIt\u2019s about a singer who first sneered about my allegedly not authentic style, but later she stole and copied it.\u201d Though never confirmed, fans have speculated about its subject being <a href=\"https:\/\/www.theguardian.com\/music\/2013\/jul\/25\/lana-del-rey-lashes-lady-gaga\" target=\"_blank\" rel=\"noopener\">Lady Gaga<\/a>, <a href=\"https:\/\/www.breatheheavy.com\/lana-del-reys-new-song-about-lorde\/\" target=\"_blank\" rel=\"noopener\">Lorde<\/a>, or even her own past <a href=\"https:\/\/www.thefader.com\/2014\/06\/04\/cover-story-lana-del-rey-is-anyone-she-wants-to-be\" target=\"_blank\" rel=\"noopener\">relationship with a label executive<\/a>.<\/p>\nDiss tracks -- if you even call this one -- rarely contain this much self-loathing. Lana spends most of the song taking shots at her protagonist, a singer with more vanity than talent. But even as she\u2019s being shady -- \u201cMimicking me\u2019s a fucking bore\u201d -- she finds points of empathy. \u201cNeed you baby, like I breathe you baby,\u201d she repeats in the bridge, as her desperation blurs the lines between the character she\u2019s playing, and the \u201creal\u201d Lana.<\/p>\nIn 2014, people still genuinely thought of Lana Del Rey as an \u201cindustry plant,\u201d a <a href=\"https:\/\/www.flavorwire.com\/462212\/lana-del-rey-is-the-urban-outfitters-of-music\" target=\"_blank\" rel=\"noopener\">faux-sad-girl<\/a> flash in the pan with no sense of irony. She\u2019d eventually prove them wrong -- in part by making an album that absorbed those criticisms, and showed us how it felt to endure them. Isn\u2019t every artist a narcissist, on some level?<\/p>\n47. <a href=\"https:\/\/www.youtube.com\/watch?v=cjDfD_RtYiA\" target=\"_blank\" rel=\"noopener\">\u201cCoachella \u2013 Woodstock in My Mind\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nThis\u00a0Lust For Life<\/em>\u00a0promotional single was inspired by Lana\u2019s experience at that year\u2019s Coachella. <a href=\"\/articles\/columns\/pop\/7793118\/lana-del-rey-coachella-woodstock-in-my-mind-listen\" target=\"_blank\" rel=\"noopener\">In her words<\/a>, \u201cI had complex feelings about spending the weekend dancing whilst watching tensions [with] North Korea mount.\u201d \u201cCoachella \u2013 Woodstock in My Mind\u201d sounds like the music of today\u2019s youth, mixed with that of their parents; hippie folk-rock sentiments set to melodic alt-R&B. Watching the kids celebrate at Coachella, Lana wonders what their future will look like. Searching for answers, she looks upward, in a chorus filled with wonder: \u201cI\u2019d trade it all for a stairway to heaven...\/ I\u2019d trade the fame and the fortune and the legend\/ I\u2019d give it all away if you give me just one day to ask him one question...\u201d<\/p>\nThe truth is, reality isn\u2019t always so rose-tinted. Modern music festivals are as much about the <a href=\"https:\/\/www.gq-magazine.co.uk\/article\/coachella-2019-influencers-business\" target=\"_blank\" rel=\"noopener\">social climbing<\/a> as the music, and the original Woodstock, though epochal, <a href=\"\/articles\/news\/festivals\/8527413\/woodstock-originally-reported-1969\" target=\"_blank\" rel=\"noopener\">wasn\u2019t exactly heaven<\/a>. Call her naive, but Lana Del Rey chooses positivity; she believes in the power of art and symbols. \u201cCoachella\u201d ends with a beautiful fade-out, ushering in Lust For Life<\/em>\u2019s shift from the personal to the political.<\/p>\n46. <a href=\"https:\/\/www.youtube.com\/watch?v=BnfumBZQKyQ\" target=\"_blank\" rel=\"noopener\">\u201cMoney Power Glory\u201d<\/a> (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nOn Born to Die<\/em>, Lana sang about the fame and fortune she was on the verge of attaining. \u201cMoney Power Glory\u201d takes that character and her ambitions to the extreme. In her sole collaboration with writer and producer Greg Kurstin, who provides the song\u2019s heavy, dubby drums, Lana mourns the death of the old order, and proposes a new one: greed. \u201cI want money, and all your power, all your glory\/ Hallelujah, I wanna take you for all that you got,\u201d goes the chorus -- high, spectacular, yet anything but triumphant.<\/p>\n\u201cDope and diamonds\/ That\u2019s all I am,\u201d she repeats in the bridge, sounding utterly dejected. Lana\u2019s past odes to materialism, like \u201cNational Anthem,\u201d were usually sung with a knowing wink. \u201cMoney Power Glory\u201d makes fame and wealth sound like an incurable hallucination.<\/p>\n45. \u201cDayglo Reflection\u201d (Bobby Womack feat. Lana Del Rey, The Bravest Man in the Universe<\/em>, 2012)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/_eJkETkfdSg\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nOn legendary soul singer Bobby Womack\u2019s final album, produced by Damon Albarn, Womack and Lana Del Rey trade musings about the infinite beauty within existence. Over stunning jazz piano chords, and offbeat drums <a href=\"https:\/\/www.whosampled.com\/sample\/206266\/Bobby-Womack-Lana-Del-Rey-Dayglo-Reflection-Captain-Beefheart-%26-His-Magic-Band-Moonlight-on-Vermont\/\" target=\"_blank\" rel=\"noopener\">sampled from a Captain Beefheart record<\/a>, his weathered voice gives way to her smooth, silky tone, becoming as much her song as his. Lana\u2019s first big collaboration with an established artist, \u201cDayglo Reflection\u201d proved the depth of her musicianship, that she was far more than a flash in the pan. The trio\u2019s <a href=\"https:\/\/vimeo.com\/50683472\" target=\"_blank\" rel=\"noopener\">only live performance<\/a>, on French TV show Le Grand Journal<\/em>, is riveting. Womack and Del Rey hold hands tightly throughout, willing the experience not to end.<\/p>\n44. <a href=\"https:\/\/www.youtube.com\/watch?v=2CSWw2OVxio\" target=\"_blank\" rel=\"noopener\">\u201cPretty When You Cry<\/a>\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nThe most ragged gutter ballad on a raw album, \u201cPretty When You Cry\u201d was written and improvised on the spot. Lana\u2019s first take, her voice cracking and wounded, remains the core of the final recording. Blake Stranathan\u2019s scuzzy, hypnotic guitars drag the song even further down, like Cat Power or the Velvet Underground at their lowest. \u201cAll those special times I spent with you, my love\/ They don't mean shit compared to all your drugs\/ But I don't really mind...\u201d Lana knows her character\u2019s fate is hopeless. All she can do is sing a paean to her own demise: \u201cI\u2019m pretty when I cry...\u201d<\/p>\n43. <a href=\"https:\/\/www.youtube.com\/watch?v=jvm6DpqqbLk\" target=\"_blank\" rel=\"noopener\">\u201cSad Girl\u201d<\/a> (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nOn much of Ultraviolence<\/em>, Lana plays a tragic, almost villainous figure. \u201cBeing a mistress on the side\/ Might not appeal to fools like you,\u201d she coos on \u201cSad Girl,\u201d over fingerpicked blues guitar. Not mincing words, she you in on her secret -- she\u2019s in denial. \u201cHis money on the side...\/ Makes me a sad girl...\/ I\u2019m a bad girl,\u201d she sings over and over. With its lush pianos and mellotrons, self-destruction has rarely sounded so beautiful.<\/p>\n42. <a href=\"https:\/\/www.youtube.com\/watch?v=axRMZqUNVEw\" target=\"_blank\" rel=\"noopener\">\u201cGet Free\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nLust For Life<\/em> found Lana reassessing the role of her music, and what it means to the culture. On the album\u2019s final track, she looks to the past. She quotes \u201cRide\u201d directly, refuting the mindset she was once in: \u201cSometimes it feels like I\u2019ve got a war in my mind\/ I want to get off, but I keep ridin\u2019 the ride.\u201d She looks to the present, articulating her motivations behind <a href=\"https:\/\/www.instagram.com\/p\/BfRMAL8ha5o\/\" target=\"_blank\" rel=\"noopener\">the journey<\/a> that started with \u201cLove\u201d: \u201cThis is my commitment\/ My modern manifesto\/ I\u2019m doin\u2019 it for all of us\/ Who never got the chance.\u201d And she opens another door for the future: \u201cI wanna move\/ Out of the black\/ Into the blue\u2026\u201d<\/p>\nThe song\u2019s guitar chords (which do bear a passing resemblance <a href=\"\/articles\/columns\/pop\/8260906\/lana-del-rey-radiohead-copyright-dispute-settled-lollapalooza-brasil-video\" target=\"_blank\" rel=\"noopener\">to Radiohead\u2019s \u201cCreep\u201d<\/a>) are neither happy or sad, but open, undetermined. For that reason, \u201cGet Free\u201d is almost an anticlimactic track to end on. It\u2019s not as buoyant as \u201cLove,\u201d as moving as \u201cChange\u201d... but as the song ends on sounds of crashing waves, you feel like you\u2019re right there with Lana, ready to take the next step on a lifelong journey towards nirvana.<\/p>\n41. <a href=\"https:\/\/www.youtube.com\/watch?v=5xx9gTEQaiQ\" target=\"_blank\" rel=\"noopener\">\"Love song\"<\/a> (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\nIn its sonic palette -- muted piano chords, fluttering strings, subtle bass drops -- \u201cLove song\u201d might be the closest Lana\u2019s come to replicating the sound of \u201cVideo Games,\u201d with the entirely opposite emotional effect. \u201cLove song\u201d breaks no new lyrical ground for Lana, with its references to fast cars and party dresses, but she assembles those images into one of her most tender displays of romance. Time stands still as she sings, \u201cIs it safe to just be who we are?\/ Oh, be my once in a lifetime,\u201d over an Antonoff production that feels like the summer sun through a car window.<\/p>\nFree from darkness, without a care in the world, it\u2019s the kind of observational, low-stakes song she couldn\u2019t have written on records past. Lana\u2019s always aspired to turn her life into art, but she\u2019s rarely found beauty in such ordinary moments, the way <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-norman-rockwell-matters\" target=\"_blank\" rel=\"noopener\">Norman Rockwell<\/a>\u00a0is remembered for painting\u00a0America. \u201cThe taste, the touch, the way we love\/ It all comes down to make the sound of our love song\u2026\u201d<\/p>\n40.\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=aK_lWrowOwg\" target=\"_blank\" rel=\"noopener\">\u201cNot All Who Wander Are Lost\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/strong><\/p>\nNamed after a phrase borrowed from <\/span><a href=\"https:\/\/genius.com\/22503228\" target=\"_blank\" rel=\"noopener\">Tolkien<\/span><\/a>, this is one of Lana\u2019s sparsest songs -- somewhere between the whisper-close intimacy of Elliott Smith and the genteel country strains of <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=FzeEQfXNOGA\" target=\"_blank\" rel=\"noopener\">Patsy Cline<\/span><\/a> in the \u201960s. Portraying a singer who lives on the road, she sings to a fellow wanderer who claims he\u2019ll commit: \u201cThe thing about men like you is you got a lot to say\/ But will you stay?\u201d Though the verses feel modern, the titular chorus, sung with gorgeous countermelodies, has the feel of a folk spiritual passed down through the generations. Lana\u2019s written the inverse of \u201cRide\u201d -- a song where she stays on the move, yet just maybe, she\u2019s already found peace inside herself.<\/span><\/strong><\/p>\n39.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=_l0NeLJjL4I\" target=\"_blank\" rel=\"noopener\">\u201cDark But Just a Game\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/p>\nWritten around a phrase Jack Antonoff said to her, \u201cDark But Just a Game\u201d captures the duality of Lana Del Rey better than any song since \u201cWest Coast.\u201d It feels like two songs in one: the minor-key, dubby verses where she muses on \u201cthe price of fame\u201d -- how every tragic icon is eventually swallowed by their public image. By contrast, the choruses are major-key and folky, as she sings about herself: \u201cThe best ones lose their minds\/ So I\u2019m not gonna change\/ I\u2019ll stay the same.\u201d She\u2019s never before sung about Hollywood tragedy with such a light touch. The song is a little moral parable: whether or not you choose to gamble with fame, the artist that stays true to herself survives.<\/span><\/p>\n38. <a href=\"https:\/\/www.youtube.com\/watch?v=oPU8XJcA__k\" target=\"_blank\" rel=\"noopener\">\u201cHoneymoon\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nIn 2019, Honeymoon<\/em> marks the midpoint of Lana Del Rey\u2019s career; the calm after the storm of Born to Die<\/em> and Ultraviolence<\/em>. With its <a href=\"https:\/\/www.youtube.com\/watch?v=ZHDnptEbkG0\" target=\"_blank\" rel=\"noopener\">Bernard Herrmann<\/a>-inspired film noir strings, \u201cHoneymoon\u201d sounds much darker than its title suggests, yet it's\u00a0far more languorous than any of her previous work. This new Lana is no longer tormented by love, content to simply indulge her music in the concept of romance.<\/p>\n\u201cHoneymoon\u201d betrays little sense of desire -- over its six minutes, the song floats luxuriously in the air, gently building to a climax that never arrives. Though she invites us to join her -- \u201cOur honeymoon\/ Say you want me too\u201d -- she\u2019s never written a more mysterious, inscrutable song. Like a lounge jazz singer in purgatory, she sings on and on: \u201cDreaming away your life...\u201d<\/p>\n37. \u201cDoin\u2019 Time\u201d (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/qolmz4FlnZ0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nIt\u2019s always been easy to dismiss Sublime as \u201990s bros, but behind their Cali ska-punk image lay a confluence of dub, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Doin%27_Time#Composition\" target=\"_blank\" rel=\"noopener\">jazz<\/a>, even rap-inflected songwriting. Lana makes just the slightest of changes to the '96 original -- she lowers the tempo, and her production is more atmospheric -- but she breathes a dizzying amount of new life into the song. It\u2019s surreal to hear her sing lines like \u201cBradley\u2019s on the microphone with Ras M.G.,\u201d as if she\u2019s channeling his ghost through her own artistic vision. \u201cDoin\u2019 Time\u201d isn\u2019t just a tribute to Sublime; with the benefit of hindsight, Lana\u2019s able to be more generous with the song than the band were in their original lifetime.<\/p>\n36. <a href=\"https:\/\/www.youtube.com\/watch?v=PgvNrQ6KBu4\" target=\"_blank\" rel=\"noopener\">\u201cThis Is What Makes Us Girls\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\nBorn to Die<\/em>\u2019s finale frames the album as a coming-of-age narrative. In the verses, Lana sings about getting into trouble as an adventurous teenager. But the chorus zooms out, like the ending montage of a film: \u201cThis is what makes us girls\/ We don\u2019t stick together \u2019cause we put love first\/ Don\u2019t cry about him...\/ It\u2019s all gonna happen!\u201d<\/p>\nWhere \u201cBorn to Die\u201d opened the album with a romantic sense of doom, \u201cThis Is What Makes Us Girls\u201d ends it with desperate hope, a plea for women to love themselves -- even if Lana\u2019s narrator doesn\u2019t know if she\u2019ll ever really grow up. Born to Die<\/em> wasn\u2019t about wallowing in sadness, it was a generational statement -- a call for the listener to cry on Lana\u2019s glamorous shoulder, and when the tears stop, to pick themselves back up and see how much they\u2019ve grown.<\/p>\n35. <a href=\"https:\/\/www.youtube.com\/watch?v=MUc28dZQg5s\" target=\"_blank\" rel=\"noopener\">\u201cYou Must Love Me\u201d<\/a> (Unmasked: The Platinum Collection<\/em>, 2018)<\/strong><\/p>\nIn one recording, Lana covers two inspirations -- <a href=\"https:\/\/www.nme.com\/news\/music\/lana-del-shares-cover-must-love-evita-2254640\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber<\/a> and <a href=\"https:\/\/www.culledculture.com\/lana-del-reys-method-increasingly-channels-madonnas\/\" target=\"_blank\" rel=\"noopener\">Madonna<\/a> -- in one fell swoop. \u201cYou Must Love Me\u201d was written not for the original version of Evita<\/em>, but its 1996 film adaptation. Madonna sings her version near the end of Eva Per\u00f3n\u2019s life; her voice is raw, desperate to be loved and remembered as an icon. In Lana\u2019s version, recorded to commemorate Lloyd Webber\u2019s 70th birthday, her vocal performance is smooth, unvarnished, yet no less affecting. Instead of demanding love, she gives unconditionally, with boundless emotional generosity. \u201cYou Must Love Me\u201d is as pure an expression of romance as she\u2019s ever recorded.<\/p>\n34. <a href=\"https:\/\/www.youtube.com\/watch?v=JRWox-i6aAk\" target=\"_blank\" rel=\"noopener\">\u201cBlue Jeans\u201d<\/a> (Born to Die<\/em>, 2011)<\/strong><\/p>\nAs the much-anticipated follow-up to \u201cVideo Games,\u201d \u201cBlue Jeans\u201d condensed a similar vein of melodrama into a more concise, yet equally strange pop song. The first track Lana recorded with Emile Haynie, who\u2019d go on to define Born to Die<\/em>\u2019s sound, \u201cBlue Jeans\u201d combines a hodgepodge of classical strings, Twin Peaks<\/em> guitar twang, stop-start hip-hop drums, and almost jarring vocal samples. Lana gives one of her most unhinged vocal performances, spitting the verses in her lower register; desperately pleading as the choruses escalate into a heart-pounding double-time bridge. \u201cI will love you till the end of time\/ I would wait a million years,\u201d she sings, promising devotion to a lover even as a life of crime takes him away from her.<\/p>\nWe\u2019d never heard anything else quite like it in 2011, before Lana\u2019s neo-noir visuals and hip-hop stylings trickled down to mainstream pop. Though she\u2019s outgrown her early, regrettably named <a href=\"https:\/\/www.theguardian.com\/music\/2011\/may\/13\/new-band-lana-del-ray\" target=\"_blank\" rel=\"noopener\">\u201cgangster Nancy Sinatra\u201d<\/a> persona, she\u2019s written few songs since that are as brazenly thrilling as \u201cBlue Jeans.\u201d<\/p>\n33. \u201cHigh by the Beach\u201d (Honeymoon<\/em>, 2015)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/QnxpHIl5Ynw\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nHoneymoon<\/em>\u2019s first official single found Lana looking for an escape from the public\u2019s prying eyes. She sounds terse, tired, yet relaxed all at once, as she sings about a peace she\u2019s yet to find. \u201cHigh by the Beach\u201d slyly reinvents Born to Die<\/em>\u2019s sonic palette, but with none of the sturm und drang. Beneath jazzy, ambiguous organs and blippy synths lies a circular, muted trap beat -- a hip-hop facsimile of playing a drum kit with jazz brushes.<\/p>\nIn one of her most recognizable videos, directed by Jake Nava, Lana finds refuge in a lavish beachside house, until a paparazzi helicopter intrudes\u2026 so she pulls a grenade launcher out of a guitar case, and shoots them out of the sky. It culminates in one of her definitive images, a still shot of her holding a gun: defiant, glamorous, remorseless. Don\u2019t call her a celebrity -- she\u2019s an artist.<\/p>\n32.\u00a0\u00a0<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=vBHild0PiTE\" target=\"_blank\" rel=\"noopener\">\u201cChemtrails Over the Country Club\u201d<\/b><\/a> (<\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b><\/strong><\/p>\nThe title track of Lana\u2019s sixth album is an enigma wrapped in a mystery. On the surface, Lana\u2019s protagonist sings sweetly about her everyday life in America: \u201cWe laugh about nothing as the summer gets cool\/ It\u2019s beautiful how this deep normality settles down over me.\u201d Yet the song keeps coming back to its titular phrase -- those chemtrails an ever-present omen. Jack Antonoff\u2019s waltz arrangement grows subtly darker with time, but there\u2019s no payoff -- instead, the song drags on and on, slowly fading into a nearly minute-long drum outro. Much like \u201cVideo Games,\u201d the song\u2019s beauty feels unreal -- as if it\u2019s all a distraction from some slow, inevitable, indefinable doom.<\/span><\/strong><\/p>\n31. \"Cinnamon Girl\" (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/DCYmJDO2_IE\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nA sonic return to Honeymoon<\/em>\u2019s serene orchestral trap, this time with Antonoff at the helm. \u201cCinnamon Girl\u201d is less a story than a sketch of a lover who causes Lana pain, but who she pledges to uplift: \u201cAll the pills that you take\/ Violet, blue, green, red to keep me at arm\u2019s length don\u2019t work\/ You try to push me out, but I just find my way back in\u2026\u201d<\/p>\nThe song builds to a devastating, confessional chorus: \u201cThere\u2019s things I wanna say to you, but I\u2019ll just let you live\/ Like if you hold me without hurting me\/ You\u2019ll be the first who ever did.\u201d The more she repeats those words, the more affecting they become. Just as fascinating is a 90-second instrumental outro that plays out in several movements -- from strings to twinking piano to trap drums -- that dwells on the song\u2019s beautiful, unresolved tension.<\/p>\nSongwriting isn\u2019t just about what an artist says, but what they leave to the imagination. With so few words, Lana conjures an entire, unfulfilled romantic history in the listener\u2019s mind, and shows how one gesture can begin to heal the future.<\/p>\n30. <a href=\"https:\/\/www.youtube.com\/watch?v=BT2atmOqvPc\" target=\"_blank\" rel=\"noopener\">\u201cGod Knows I Tried\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nOne of a handful of waltzes in her catalogue, \u201cGod Knows I Tried\u201d finds Lana retreating from public view. \u201cI feel free when I see no one\/ And nobody knows my name...\/ I've got nothing much to live for\/ Ever since I found my fame... \u201d After all she\u2019s endured, she sounds weary, yet calm, knowing that little can faze her.<\/p>\nIn her<a href=\"\/articles\/news\/cover-story\/6737539\/lana-del-rey-billboard-cover-pop-stardom-relationships-anxiety\" target=\"_blank\" rel=\"noopener\"> 2015 Billboard<\/em> feature<\/a>, novelist Bruce Wagner describes \u201cGod Knows I Tried\u201d as \u201csomewhere between The Beach Boys\u2019 <a href=\"https:\/\/www.youtube.com\/watch?v=CWPo5SC3zik\" target=\"_blank\" rel=\"noopener\">\u2018God Only Knows\u2019<\/a> and Leonard Cohen\u2019s <a href=\"https:\/\/www.youtube.com\/watch?v=CWPo5SC3zik\" target=\"_blank\" rel=\"noopener\">\u2018Hallelujah\u2019<\/a>\u201d -- lofty comparisons that her song truly earns. A timeless piece of religious, existential poetry, Lana leaves her ultimate fate to God. By 2015, the year she turned 30, she had little to prove as an artist except to herself. Whatever her reputation, she knows she did her best.<\/p>\n29.\u00a0<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=pLiCh9PXbwg\" target=\"_blank\" rel=\"noopener\">\u201cTulsa Jesus Freak\u201d<\/b><\/a> (<\/b>Chemtrails over the Country Club<\/i><\/b>, 2021)<\/b><\/p>\nOn \u201cTulsa Jesus Freak,\u201d Lana\u2019s narrator dreams of leaving her lifestyle behind and returning to the Midwest with her man. Her love\u2019s unreliable (\u201cKeep that bottle at your hand, my man\u201d) and they\u2019ll be in the middle of nowhere (\u201cDown in Arkansas the stores are all closed\u201d), but Lana\u2019s a desperate believer: \u201cWe\u2019re white-hot forever\/ And only God knows!\u201d In the verses, there\u2019s a subtle, eerie layer of Auto-Tune on her voice; in the choruses, tiny bits of <\/span>Ultraviolence<\/span><\/i>-style fuzz creep in over Antonoff\u2019s muted trip-hop production. Nearly every other track on <\/span>Chemtrails<\/span><\/i> is a positive depiction of settling down -- so of course, Lana had to get in just one song that makes domesticity sound like being trapped in a dusty attic.<\/span><\/p>\n28. <a href=\"https:\/\/www.youtube.com\/watch?v=7KzPh_x5w14\" target=\"_blank\" rel=\"noopener\">\u201cThe Other Woman\u201d<\/a> (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nFirst recorded by Sarah Vaughan, but made iconic by Nina Simone, both singers delivered \u201cThe Other Woman\u201d with a certain distance. They sang as an impartial observer, or perhaps the wife, telling a sad morality play of a beautiful, loveless mistress. But Lana steps into the other woman\u2019s shoes, embracing the beauty of the melody, the lushness of her lounge jazz arrangement. There\u2019s zero separation between herself and the character she\u2019s playing. Her voice quivers as she sings the closing lines -- \u201cAnd as the years go by\/ The other woman will spend her life aloooone\u201d -- as if they\u2019re the last notes she\u2019ll ever sing.<\/p>\nThis is the same downtrodden figure of \u201cRide,\u201d \u201cUltraviolence,\u201d \u201cShades of Cool,\u201d who devotes herself to older men who\u2019ll never really love her back. She\u2019s so trapped by two ideals, young and beautiful, that there\u2019s nothing else to her. On Ultraviolence<\/em>, love is the ultimate drug, true believers are addicts, and Lana Del Rey is their prophet. \u201cThe Other Woman\u201d isn\u2019t just the final track on the album; it essentially exorcises Lana\u2019s mistress character for good. She\u2019d never sing about herself in the same way again.<\/p>\n27. <a href=\"https:\/\/www.youtube.com\/watch?v=j2YI4h9_9Uo\" target=\"_blank\" rel=\"noopener\">\u201c<\/a><a href=\"https:\/\/www.youtube.com\/watch?v=j2YI4h9_9Uo\" target=\"_blank\" rel=\"noopener\">Yayo<\/a>\u201d (Paradise<\/em>, 2012)<\/strong><\/p>\nOn Paradise<\/em>, \u201cYayo\u201d feels distant, drenched in reverb, as Lana warbles over piano like a lounge singer. But the original <a href=\"https:\/\/www.youtube.com\/watch?v=XC6g_wHjGss\" target=\"_blank\" rel=\"noopener\">acoustic guitar-led version<\/a>, the most significant track on 2010\u2019s Lana Del Ray a.k.a. Lizzy Grant<\/em>, is so intimate that it\u2019s almost too sad to listen to. \u201cYayo\u201d paints a stark portrait of a toxic submissive relationship: \u201cI need you like a baby when I hold you\/ Like a druggie, like I told you.\u201d Her situation feels completely hopeless, but she persists with the charade: \u201cLet me put on a show for you, daddy...\u201d As the song ends, it feels like a beautiful death rattle. In either version, \u201cYayo\u201d could be the most tragic song Lana\u2019s ever written.<\/p>\n26. <a href=\"https:\/\/www.youtube.com\/watch?v=TdrL3QxjyVw\" target=\"_blank\" rel=\"noopener\">\u201cSummertime Sadness\u201d<\/a> (Born to Die<\/em>, 2012)<\/strong><\/p>\n\u201cSummertime Sadness\u201d isn\u2019t the most grand or moving song on Born to Die<\/em>, but it is the most accessible. Lana\u2019s lyrics are fueled by desire, but unlike many of her early songs, there\u2019s no literal sense of tragedy: \u201cGot my bad baby by my heavenly side\/ I know if I go, I'll die happy tonight!\u201d The phrase \u201csummertime sadness\u201d is seasonal -- it suggests <a href=\"https:\/\/www.youtube.com\/watch?v=TgehoIgtDtE\" target=\"_blank\" rel=\"noopener\">a fever<\/a>, a temporary affliction, a young love that knows it\u2019s fleeting. Glamorous, romantic, but not overwhelmingly sad, the music video was a perfect realization of <a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/instagrams-instant-nostalgia\" target=\"_blank\" rel=\"noopener\">early Instagram culture<\/a> -- think girls in flower crowns at music festivals, shot through nostalgic, analog-style camera filters.<\/p>\nInitially Born to Die<\/em>\u2019s fourth single, it wasn\u2019t until 2013 that <a href=\"https:\/\/www.youtube.com\/watch?v=akhmS1D2Ce4\" target=\"_blank\" rel=\"noopener\">the Cedric Gervais remix<\/a> made Lana the unlikeliest of mainstream pop stars. His version is hardly subtle, though it\u2019s not as hammer-blunt as much of pop or EDM at the time. Even in a different sonic landscape, over electro-house synths and 4\/4 kick drums, Lana\u2019s distinct vocals don\u2019t lose their personality. Though Gervais\u2019 version was a bigger crossover hit at the time, it ultimately feels like it exists in an alternate universe -- Lana hadn\u2019t heard the remix <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/lana-del-rey-vamp-of-constant-sorrow-74230\/\" target=\"_blank\" rel=\"noopener\">until it was on the radio<\/a>, and has never shown any affection for it <a href=\"https:\/\/www.complex.com\/music\/lana-del-rey-interview-2017-cover-story\" target=\"_blank\" rel=\"noopener\">in interviews<\/a>. The original remains the definitive version. It\u2019s far more representative of Lana\u2019s musical sensibilities, and in one of the first signs of her reach within popular culture, even inspired a <a href=\"https:\/\/www.youtube.com\/watch?v=93CZ6oFR8Q0\" target=\"_blank\" rel=\"noopener\">Bangerz<\/em>-era Miley Cyrus cover<\/a>.<\/p>\nEither way, \u201cSummertime Sadness\u201d wasn\u2019t all that provocative, and didn\u2019t inspire furious debates about Lana\u2019s authenticity -- it was just a great pop song. Between the original and the remix, it\u2019s still her highest-performing single to date, reaching No. 6 on the Billboard Hot 100 in September 2013.<\/p>\n25. <a href=\"https:\/\/www.youtube.com\/watch?v=jq30l5-vBbo\" target=\"_blank\" rel=\"noopener\">\u201cFreak\u201d<\/a> (Honeymoon<\/em>, 2015)<\/strong><\/p>\nIs it ironic that one of our greatest modern California mythologizers is an east coast native? But that\u2019s exactly it -- the Californian dream, from the Wild West to Coachella, has always been a dream of escape and rebirth. Whether or not that\u2019s attainable is anyone\u2019s guess -- including Lana\u2019s. \u201cLooking back, my past\/ It all seems stranger than a stranger,\u201d she sings, before inviting you to leave it all behind, and cleanse yourself with her in the Pacific Ocean. The song\u2019s production is an odd, alluring mix of trap 808s, 1940s noir brass, and layers of disembodied backing vocals, voices inside her head. It\u2019s as if Lana\u2019s seduced herself into believing, too -- she\u2019s rarely gotten so high on her own mythology.<\/p>\nThe video, the first since 2012 to be directed by Lana herself, casts Father John Misty as a guru-like figure surrounded by young women who take acid and literally drink Kool-Aid. We see no death, but there is an afterlife -- a five-minute extended coda of blissfully slow footage of Lana and friends frolicking underwater, set to Claude Debussy\u2019s <a href=\"https:\/\/www.youtube.com\/watch?v=Kn7MnQc0rC0\" target=\"_blank\" rel=\"noopener\">\u201cClair de Lune.\u201d<\/a> It may be the purest image of beauty she\u2019s ever created.<\/p>\n24. <a href=\"https:\/\/www.youtube.com\/watch?v=p0FdAM9knDo\" target=\"_blank\" rel=\"noopener\">\u201cChange\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\n\u201cChange\u201d carries the weight of Lana\u2019s personal growth, after all she\u2019d been through. Rick Nowels\u2019 muted, flowing piano arpeggios embody her thoughts, as the specter of war hangs over her. \u201cThere\u2019s somethin\u2019 in the wind, I can feel it blowin\u2019 in\/ It\u2019s comin\u2019 in softly on the wings of a bomb\u2026\u201d Her voice wounded, hesitant, Lana wonders if anything she does matters. \u201cLately, I\u2019ve been thinkin\u2019 it's just someone else's job to care\/ Who am I to sympathize when no one gave a damn?\u201d<\/p>\nBut as the song progresses, modulating to a major key, she becomes more resolute, as if she\u2019s emerging from a fog. In the pre-chorus, she names a new mantra, four words she aspires to: \u201chonest, capable...\/ beautiful, stable.\u201d There\u2019ll always be sadness in Lana\u2019s music, and in life, but by 2017, she was past romanticizing her feelings of self-destruction. The song\u2019s ultimate message is that uncertainty is okay -- it\u2019s a fact of life. In a serendipitous moment, \u201cChange\u201d was <a href=\"https:\/\/genius.com\/a\/songwriter-producer-rick-nowels-explains-how-lana-del-rey-s-lust-for-life-came-together\" target=\"_blank\" rel=\"noopener\">recorded the night<\/a> before Lust For Life<\/em> was to be submitted to the label. The album wouldn\u2019t feel complete without it.<\/p>\n23. <a href=\"https:\/\/www.youtube.com\/watch?v=3-NTv0CdFCk\" target=\"_blank\" rel=\"noopener\">\u201cLove\u201d<\/a> (Lust For Life<\/em>, 2017)<\/strong><\/p>\nAmidst the turmoil of early 2017, Lana Del Rey did the unthinkable: she wrote a song with no darkness, no contradictions, just love. Somehow, she conjured her album\u2019s unlikely first single from familiar elements: \u201960s girl group melodies, booming Phil Spector-style drums, and the <a href=\"https:\/\/en.wikipedia.org\/wiki\/I%E2%80%93V%E2%80%93vi%E2%80%93IV_progression\" target=\"_blank\" rel=\"noopener\">most common chord progression<\/a> in pop music. She wasn\u2019t just singing for herself, or for the sake of nostalgia -- she was singing for the next generation. \u201cLook at you, kids, you know you're the coolest\/ The world is yours and you can\u2019t refuse it...\/ It\u2019s enough, to be young and in love...\u201d\u00a0In the most shocking move of all, in the music video and the album cover, Lana actually smiles. She\u2019s not totally unburdened -- \u201cIt\u2019s enough just to make you feel crazy, crazy, crazy...\u201d but it\u2019s a start. It would be so, so easy to call \u201cLove\u201d naive, but after so long, it felt just right.<\/p>\n22.\u00a0\u00a0<\/b><a href=\"https:\/\/www.youtube.com\/watch?v=EqSvJU0xaqg\" target=\"_blank\" rel=\"noopener\">\u201cFor Free\u201d<\/b><\/a> (feat. Zella Day & Weyes Blood, <\/b>Chemtrails Over the Country Club<\/i><\/b>, 2021)<\/b> <\/strong><\/p>\nChemtrails<\/span><\/i> is Lana\u2019s third album to end with a cover -- this time of Joni Mitchell, from her foundational 1970 album <\/span>Ladies of the Canyon<\/span><\/i>. Where Joni\u2019s original recording is just solo piano and voice, youthful and uncertain, Lana\u2019s cover is more indulgent, sung with more tenderness to herself. Alongside her peers and tourmates, the indie pop-turned-folk singer Zella Day and the baroque-pop prodigy Natalie Mering, a.k.a. Weyes Blood, Lana uses Joni\u2019s words to muse on their own lives. They acknowledge their success -- \u201cI play for fortunes\/ And those velvet curtain calls\u201d -- but watching a man on the street, playing his clarinet for free, they can\u2019t help but feel a twinge of envy. In the 51 years since Joni wrote \u201cFor Free,\u201d so much has changed -- yet the core human questions we grapple with, in life and art, are the same. All Lana Del Rey can wish for is a career like Joni\u2019s -- successful, beloved, entirely her own person\u2026 to dance till she dies, and look back with no regrets.<\/span><\/strong><\/p>\n21. <a href=\"https:\/\/www.youtube.com\/watch?v=5TGULdbFzyc&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">\u201cOld Money\u201d<\/a> (Ultraviolence<\/em>, 2014)<\/strong><\/p>\nOn Ultraviolence<\/em>\u2019s penultimate track, the druggy haze fades away. Soundtracked by lush piano and strings, Lana sounds clear-eyed, lucid, as she recalls a time when her world seemed idyllic. \u201cOld Money\u201d is the most grounded version of Lana\u2019s creation myth, one where she has loving parents and a stable upbringing, but still has to leave her Eden in search of fulfilment. \u201cMy father\u2019s love was always strong\/ My mother\u2019s glamour lives on and on\/ Yet still inside, I felt alone\/ For reasons unknown to me...\u201d<\/p>\nWe\u2019re all shaped by our experiences, but sometimes nothing can explain what compels our direction in life. Much of Ultraviolence<\/em> is about the unavoidable call of addiction, how our brain chemistry determines our fate. But with \u201cOld Money,\u201d Lana shows us that there is love in our past; that we can always go home, at least in our memories. \u201cAnd if you call for me, you know I\u2019ll run\/ I\u2019ll run to you\u2026\u201d<\/p>\n20. \u201cTerrence Loves You\u201d (Honeymoon<\/em>, 2015)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/emDU4QvdwVk\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nThe crown jewel of Honeymoon<\/em>, and Lana\u2019s <a href=\"https:\/\/www.stereogum.com\/1825607\/lana-del-rey-terrence-loves-you\/mp3s\/\" target=\"_blank\" rel=\"noopener\">own favorite song<\/a> from the album. As she mourns a lover -- dead or gone, it feels the same -- she finds solace in her art: \u201cI lost myself when I lost you\/ But I still got jazz when I\u2019ve got those blues...\u201d With its glimpses of fluttering strings and saxophone, \u201cTerrence Loves You\u201d is her jazziest song, and perhaps her most timeless -- it feels like it could have been recorded in the 1930s. \u201cTerrence\u201d epitomizes Honeymoon<\/em>: an album where Lana allows herself to feel her sadness, but is never overwhelmed by it; where there\u2019s a distant light at the end of the tunnel, if you allow yourself the resilience to get there.<\/p>\n19.\u00a0<\/strong>\u201cWild at Heart\u201d<\/b> (<\/b>Chemtrails over the Country Club<\/i><\/b>, 2021)<\/b><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/vMZdbpeyHAc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\nLana Del Rey has always fantasized about two things: unconditional love, and leaving her stardom behind. Combine the two, and you get an instant classic. She\u2019s never sounded half as carefree as she does on \u201cWild at Heart,\u201d singing over the warmest, most \u201970s soft-rock instrumental of her career. The words are familiar, but the beauty\u2019s in the details: the cute, knowingly silly lyrics like \u201cI love you lots like polka dots\/ You\u2019re killing me more\/ Than coffee pots and Insta-thots.\u201d It\u2019s the way her voice flutters in the pre-chorus, the rare downward key change into the chorus with her leisurely double-tracked vocals, and the bridge -- stacked with more vocal harmonies than we\u2019ve ever heard on a Lana song. \u201cWild at Heart\u201d is simple and life-affirming, a song it's impossible to imagine her writing even four years prior.<\/span><\/p>\n18. \u201cOff to the Races\u201d (Born to Die<\/em>, 2011)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/1CaS4pSpS3c\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nWhen it premiered on the iTunes Store in late December 2011, \u201cOff to the Races\u201d came as quite the curveball. Whatever \u201cVideo Games\u201d and \u201cBlue Jeans\u201d seemed to presage, it wasn\u2019t a song as wordy and offbeat and campy<\/em> as this. On first listen, Lana\u2019s lyrics seem like a mishmash of conflicting images: \u201cGod, I\u2019m so crazy, baby\/ I\u2019m sorry that I\u2019m misbehaving\/ I\u2019m your little harlot, starlet\/ Queen of Coney Island...\u201d<\/p>\nTo add to the stylistic disorientation, she delivers her vocal with a jazz singer\u2019s intonation, a rapper\u2019s cadence, and even slips into a Betty Boop-like squeak, all over clattering beats. \u201cOff to the Races\u201d floods you with unapologetically feminine cliches, so overwhelming that it feels hyper-real. Lana could have made a career out of aggressively weird songs like this, but there\u2019s only one \u201cOff to the Races,\u201d and that\u2019s perfect.<\/p>\n17. \u201c13 Beaches\u201d (Lust For Life<\/em>, 2017)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Mcvz8DnuoGI\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nCritics have often described Lana\u2019s songs as <a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/born-to-die-2-247383\/\" target=\"_blank\" rel=\"noopener\">trip-hop<\/a>, a label that usually comes off as reductive. But \u201c13 Beaches\u201d finally takes Lana to full Massive Attack territory, with wind-swept strings, and sampled drums straight out of <a href=\"https:\/\/www.youtube.com\/watch?v=u7K72X4eo_s\" target=\"_blank\" rel=\"noopener\">\u201cTeardrop,\u201d<\/a> and the results are glorious. The song was inspired by a <a href=\"https:\/\/genius.com\/a\/lana-del-rey-s-new-song-13-beaches-is-inspired-by-a-real-experience-with-the-paparazzi\" target=\"_blank\" rel=\"noopener\">real-life experience<\/a>, where Lana spent a day trawling through the California coastline to find one beach without paparazzi or onlookers.<\/p>\nThe lyrics echo \u201cHigh by the Beach,\u201d but this version of Lana is more mature. She knows that she\u2019s looking for an escape, and that she can\u2019t outrun her memories. Each line of the chorus brings a new confession: \u201cIt hurts to love you, but I still love you\/ It\u2019s just the way I feel...\/ And that I\u2019ve been dyin\u2019\/ For something real.\u201d She acknowledges her pain, but more than that, she sounds determined to survive. The beach grants her the serenity to confront her demons: \u201cCan I let go, and let your memory dance\/ In the ballroom of my mind?\u201d<\/p>\n16. \u201cUltraviolence\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/ZFWC4SiZBao\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nIt can be hard to tell how literally we should take a Lana Del Rey song, but \u201cUltraviolence\u201d seems to be chillingly autobiographical. A somber ballad, Lana sings from the perspective of a woman who\u2019s rationalizing the domestic abuse she\u2019s going through. She croons with an unnerving tenderness, reliving her emotional turnoil in the moment. \u201cI\u2019m your jazz singer and you\u2019re my cult leader\/ I love you forever,\u201d she speaks in the bridge, alluding to a real experience she had in an <a href=\"https:\/\/www.digitalspy.com\/music\/a815836\/the-surprising-stories-behind-six-of-lana-del-reys-biggest-hits\/\" target=\"_blank\" rel=\"noopener\">\u201cunderground sect.\u201d<\/a> These are themes that most would consider too heavy for a pop song -- but this was the title track and third single of an album that <a href=\"\/articles\/columns\/chart-beat\/6133901\/lana-del-rey-lands-first-no-1-album-on-billboard-200\" target=\"_blank\" rel=\"noopener\">debuted atop the Billboard 200<\/a>.<\/p>\nBut \u201cUltraviolence\u201d is far from the first to explore such territory. The lyrics reference two equally disturbing pop-art predecessors: <a href=\"https:\/\/www.youtube.com\/watch?v=2-MBpL4GbUY\" target=\"_blank\" rel=\"noopener\">\u201cHe Hit Me (It Felt Like a Kiss),\u201d<\/a> the 1962 Crystals single co-written by the now-infamous Phil Spector; and A Clockwork Orange<\/em>, the disturbing, satirical book and film that coined the term \u201cultraviolence.\u201d Violence in art is rarely mundane; it\u2019s brutal and spectacular -- because what\u2019s the point in enduring pain if it can\u2019t be turned into something meaningful? Ultraviolence<\/em> depicts beauty and tragedy in equal measure -- each deepening the other\u2019s grip on us, the listener.<\/p>\n15. \u201cNorman fucking Rockwell\u201d (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/wPt0dGg4BKA\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nLana\u2019s fifth album opens with lush brass, strings, and Randy Newman-like piano. And then, an all-time opening line: \u201cGoddamn man-child\/ You fucked me so good that I almost said, \u2018I love you!\u2019\u201d Once upon a time, we thought of Lana as an eternal sad-girl, a Morrissey-esque moper. But here, she turns her sweet venom on those who would box her in -- \u201cYour head in your hands\/ As you color me blue.\u201d<\/p>\nThe man in this song is her mirror image; a mediocre artist defined by his self-loathing masculinity, who refuses to evolve with the times -- \u201cYour poetry\u2019s bad and you blame the news\/ But I can\u2019t change that, and I can\u2019t change your mood.\u201d \u201cNorman fucking Rockwell\u201d interrogates the concept of sadness, but Lana herself is far from blue -- she\u2019s made it out to the other side, triumphant. The song ends on the oceanic sounds of brass, as if beckoning you to <a href=\"https:\/\/www.youtube.com\/watch?v=HCRGrnhdNQE\" target=\"_blank\" rel=\"noopener\">sail away<\/a> on a great voyage\u2026<\/p>\n14. \u201cCruel World\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/epvlvDzKfv8\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\u201cCruel World\u201d opens Ultraviolence<\/em> by pulling us into a completely different sonic world. Over nearly seven minutes, Lana sifts through the wreckage of a relationship. \u201cShared my body and my mind with you\/ That\u2019s all over now...\/ I\u2019m finally happy now that you\u2019re gone.\u201d Dan Auerbach\u2019s guitars chime beneath her, until the chorus erupts into distortion, pulling her violently back to a past that still haunts her: \u201cYou dance in circles around me\/ You\u2019re fucking crazy...\/ You\u2019re crazy for me.\u201d<\/p>\nWhile Born to Die<\/em> and Paradise<\/em> expanded the scope of mainstream pop, Ultraviolence<\/em> could be the most aggressively uncommercial \u201cpop\u201d album of its decade. Gone are the Hollywood references, the cinematic hip-hop production -- this is the blues, spiritual and guttural and painfully honest. As the song ends with her wails, Lana Del Rey is ready to burn down everything you thought you knew about her. Things would never be the same.<\/p>\n13. \u201cNational Anthem\u201d (Born to Die<\/em>, 2012)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/sxDdEPED0h8\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\u201cMoney is the reason we exist\/ Everybody knows it, it's a fact\/ Kiss kiss!\u201d The fifth and final single from Born to Die<\/em> is a playful take on love as materialism, with a dark underbelly. In the verses, Lana plays fast and loose with syllables and rhymes: \u201cI sing the national anthem\/ While I\u2019m standing over your body, hold you like a python.\u201d Some thought it was creative, others <a href=\"https:\/\/pitchfork.com\/reviews\/albums\/16223-lana-del-rey\/\" target=\"_blank\" rel=\"noopener\">irritating<\/a>, but she\u2019d found a way to internalize hip-hop\u2019s rhythms and attitude like few white female pop stars before her. The chorus finds Lana at her most celebratory, but the bridge is more sinister: \u201cIt\u2019s a love story for the new age\u2026 Overdose and dying\/ On our drugs, and our love, and our dreams, and our rage\/ Blurring the lines between real and the fake.\u201d What if all this glamor and wealth only masks a deeper emptiness? Lana knows, but she doesn\u2019t care -- she\u2019ll buy in anyway.<\/p>\nIt\u2019s impossible to hear the song without thinking of the epic music video, which cast Lana as both Marilyn Monroe and Jackie Kennedy, and A$AP Rocky as JFK. More than simple \u201960s cosplay, it was a star-making performance for both artists. \u201cNational Anthem\u201d presented itself as not just an alternate vision of American history, but an alternative to the brash mainstream pop of the early 2010s. With virtually no radio airplay, Lana played the role of usurper, fashioning herself as an icon through YouTube and the press -- and it worked. \u201cNational Anthem\u201d was her first song that people had to dissect as an event, that was too big to be dismissed outright. Though she\u2019d steer away from such pop grandeur in the years to come, \u201cNational Anthem\u201d helped enthrone her as a pop star for life.<\/p>\n12. \u201cWest Coast\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/oKxuiw3iMBE\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nThe first glimpse of Lana Del Rey\u2019s sophomore album, \u201cWest Coast\u201d radically reimagined what a Lana Del Rey song could sound like -- not once, not twice, but three<\/em> times over. First, those verses -- her voice unusually hushed, driven by gentle guitar brushstrokes and restless, skittering drums. Her voice rises, \u201cyour love, your love, your looove,\u201d as the verse grinds to a halt. A guitar twangs, and the chorus crawls into a deeper state of consciousness, twisting the song into an entirely new configuration: Lana\u2019s vocal harmonies float above Dan Auerbach\u2019s shuffling \u201cnarco-swing\u201d instrumentation.<\/p>\n\u201cWest Coast\u201d is an astonishing pop record because it breaks the rules of mainstream pop, going to territory only Lana could walk. Even with little radio promotion, it remains her second highest-charting single, <a href=\"\/articles\/columns\/chart-beat\/6062928\/lana-del-reys-west-coasts-onto-hot-100-at-no-17\" target=\"_blank\" rel=\"noopener\">debuting in the top 20<\/a> of the Hot 100 -- which shows just how central a figure she was to mid-\u201910s pop. It\u2019s her contribution to a century of <a href=\"http:\/\/grantland.com\/hollywood-prospectus\/the-musical-genealogy-of-lana-del-reys-new-single-west-coast\/\" target=\"_blank\" rel=\"noopener\">California mythology<\/a>, channeling everything from Chinatown<\/em> to The Doors to even Dr. Dre, as a high G-funk synth infiltrates the song\u2019s final chorus. \u201cDown on the west coast, they got their icons,\u201d she sings, willing herself to become one too.<\/p>\n\u201cWest Coast\u201d feels less like a song that someone wrote than a recording that materialized from the hazy Pacific air with a mind of its own. But what about the song\u2019s third reimagination? Its <a href=\"https:\/\/www.youtube.com\/watch?v=pqg73BLoyFU\" target=\"_blank\" rel=\"noopener\">radio mix<\/a> turns it into a jaunty \u201970s soft rock jam worthy of Fleetwood Mac. Even stripped of all its darkness, \u201cWest Coast\u201d is mesmerizing.<\/p>\n11. \u201cYoung and Beautiful\u201d (Music from Baz Luhrmann\u2019s Film The Great Gatsby<\/em>, 2013)\u00a0<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/o_1aF54DO60\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\u201cYoung and Beautiful\u201d is not simply about youth or beauty. It\u2019s a desperate, existential plea by someone who doesn\u2019t want to burn out, but is terrified of fading away. \u201cI\u2019ve seen the world, done it all\/ Had my cake now\u2026\u201d In the chorus, she asks over and over, \u201cWill you still love me when I\u2019m no longer young and beautiful?\u201d She can only answer herself -- \u201cI know you will, I know you will, I know that you will\u2026\u201d \u201cYoung and Beautiful\u201d remains the height of Lana\u2019s work with melodic pop songsmith <a href=\"\/articles\/news\/5672633\/rick-nowels-lana-del-rey-co-writer-talks-summertime-sadness-and-his-catalog-of\" target=\"_blank\" rel=\"noopener\">Rick Nowels<\/a>, who\u2019s since become her longest-tenured collaborator. His production, with its cavernous, chamber pop strings, is breathtaking -- and the arguably superior <a href=\"https:\/\/www.youtube.com\/watch?v=RXYqDXAAtK4\" target=\"_blank\" rel=\"noopener\">Dan Heath orchestral version<\/a>, used in the music video, is even more immersive.<\/p>\nThere\u2019s just one exception -- a bridge that awkwardly takes the song out of its classic Hollywood setting. \u201cAll that face makes me wanna party!\u201d Even so, that made it a perfect theme for Baz Luhrmann\u2019s gaudy, yet subversive The Great Gatsby<\/em>. Both the film and F. Scott Fitzgerald\u2019s novel are about glittery surfaces that mask desperate, empty cores. There\u2019s the faintest hint of knowing narcissism in \u201cYoung and Beautiful,\u201d a buried irony that most pop singers would run from. Fittingly, Lana performed it at <a href=\"\/articles\/columns\/pop-shop\/6099249\/kanye-west-and-kim-kardashian-serenaded-by-lana-del-rey-at-wedding\" target=\"_blank\" rel=\"noopener\">Kim and Kanye\u2019s Versailles wedding<\/a> -- an iconic pop culture moment that none of the general public have actually seen.<\/p>\nThe music video, directed by Chris Sweeney and Sophie Muller, lets you imagine. Lana\u2019s never looked more glamorous, made up like Rita Hayworth in <a href=\"https:\/\/www.theguardian.com\/film\/2011\/jul\/16\/rita-hayworth-gilda-patterson\" target=\"_blank\" rel=\"noopener\">Gilda<\/em><\/a>; singing to an orchestra in silhouette, evoking <a href=\"https:\/\/www.artofthetitle.com\/title\/fantasia\/\" target=\"_blank\" rel=\"noopener\">Fantasia<\/em><\/a>. It\u2019s her <a href=\"https:\/\/www.youtube.com\/watch?v=GuJQSAiODqI\" target=\"_blank\" rel=\"noopener\">\u201cVogue,\u201d<\/a> the moment she ascended to the level of movie-star icon in the popular consciousness. \u201cYoung and Beautiful\u201d remains one of Lana\u2019s biggest pop crossover hits, and one of her most timeless songs. Youth and beauty are fleeting, but the fear of loneliness is eternal.<\/p>\n10. \u201cShades of Cool\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/rJABBmAMXnY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\nUltraviolence<\/em>\u2019s second single is a soulful, slow-burning waltz that pays tribute to two of Lana\u2019s muses: music and men. In the moody verses, she idolizes her lover -- \u201cMy baby lives in shades of blue\/ Blue eyes and jazz and attitude.\u201d In the chorus, her voice soars instead, but her words mourn his unfixable, \u201cunbreakable\u201d heart. His cool, stoic nature draws her to him, yet it keeps them distant, trapped in an illusion of love, without intimacy.\u00a0Lana\u2019s voice flutters and weaves around Dan Auerbach\u2019s guitars; she\u2019s never given a more expressive vocal performance about a more unknowable man. Art, like love, is supposed to illuminate human nature, but some things are impossible to define. As she vamps over the outro, she ends the song with a drawn-out moan -- a wordless sigh, resigned to her fate.<\/p>\n9.\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=yJuV8PDwvC8\" target=\"_blank\" rel=\"noopener\">\u201cWhite Dress\u201d<\/b><\/a> (<\/b>Chemtrails over the Country Club<\/i><\/b>, 2021)<\/b><\/strong><\/p>\nLana Del Rey opens her sixth LP by walking us through her formative memories. Over an ambiguous piano melody, she sings, quiet and airy, \u201cThinking of a simpler time\u2026\u201d<\/span> In each chorus, her voice jumps into a loud, breathy whisper, recalling, \u201cI was a waitress working the night shift...\/ Down at the men in music business conference\/ Down in Orlando, I was only nineteen!\u201d She sounds awed, as if even now, she can\u2019t believe how she felt at the time: \u201cI only mention it \u2019cause it was such a scene\/ And I felt seen...\/ Look how I got this!\u201d<\/span> <\/strong><\/p>\n\u201cWhite Dress\u201d feels like a stream of air, a current pulling you back into the past. Jack Antonoff plays every instrument -- piano, guitar, brushes on drums -- with a flowing, impressionistic touch, as if channeling Miles Davis\u2019 band on <\/span>Kind of Blue<\/span><\/i>. It\u2019s jazz -- it\u2019s open-ended.\u00a0<\/span><\/strong><\/p>\nAs the song builds to a climax, Lana confesses, \u201cIt made me feel, made me feel like a god\/ It kinda makes me feel, like maybe I was better off\u2026\u201d She can\u2019t exactly explain that spark of inspiration -- only that there was magic in the ordinary that night. She doesn\u2019t even tell us the complete story; like a dream, the song barely begins or ends.<\/span><\/strong><\/p>\n\u201cWhite Dress\u201d is the forever quandary of Lana Del Rey, the eternal contrarian. When she was Lizzy Grant, she dreamed of being famous. As soon as she became Lana Del Rey, she dreamed of losing it and becoming an underdog again. Like a <\/span><a href=\"https:\/\/en.wikipedia.org\/wiki\/M%C3%B6bius_strip\" target=\"_blank\" rel=\"noopener\">Mobius strip<\/span><\/a>, she\u2019ll never stop questioning that core impulse -- yet every version she\u2019s written of this narrative is the same. She never changes her mind.<\/span><\/strong><\/p>\n8. \u201cMariners Apartment Complex\u201d (Norman Fucking Rockwell<\/em>, 2018)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/1uFv9Ts7Sdw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\u201cYou took my sadness out of context\/ At the Mariners Apartment Complex\/ I ain\u2019t no candle in the wind\u2026\u201d Her voice quavers as she looks back on her life, who she\u2019s become, and what she stands for. Co-written and produced by Jack Antonoff, our first glimpse of Norman Fucking Rockwell<\/em> has a sonic palette unlike either of their past work: dry, intimate Laurel Canyon folk, almost completely free of reverb.<\/p>\nBut the chorus blossoms, stacking strings on mellotrons on piano: \u201cYou\u2019re lost at sea, then I\u2019ll command your boat to me again\u2026\u201d Until the instruments suddenly subside, like a retreating wave: \u201cRight where you are, that\u2019s where I am\/ I\u2019m your man.\u201d Invoking the great <a href=\"https:\/\/www.youtube.com\/watch?v=-MlR6tFh8Gs\" target=\"_blank\" rel=\"noopener\">Leonard Cohen<\/a>, Lana Del Rey reboots her image once again -- this time as a generational balladeer; a beacon of strength in any weather. Weep on her shoulder, and her embrace will be gentle.<\/p>\n7. \u201cBorn to Die\u201d (Born to Die<\/em>, 2011)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/Bag1gUxuU0g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\nWhen \u201cVideo Games\u201d went viral, Lana Del Rey was pegged as the next big female indie singer-songwriter, someone who wrote poetic character studies about women and love. But no, Lana wanted to be a new kind of pop star, one who wrote songs for swaying American flags, chapel ceilings, queens on their throne. \u201cVideo Games\u201d made her, but \u201cBorn to Die\u201d declared her ambitions. The song is a morbid, anthemic death pact, the kind that could only be written by a 26-year-old with a self-proclaimed old soul.\u00a0Over Emile Haynie\u2019s grandest production lies Lana\u2019s vocal -- unusually intimate, as if she\u2019s singing directly to you.<\/p>\n\u201cCome and take a walk on the wild side\/ Let me kiss you hard in the pouring rain,\u201d she sang, inviting her true believers into a new world; a music video where Lana plays both conquering queen and biker girlfriend. As she suffers through a car wreck, flames, and a bloody, beautiful death, she creates a new persona: Lana Del Rey the martyr, an icon of feminine suffering, who would endure the most controversy-ridden press cycle of any new artist this decade, and emerge with her artistic reputation intact.<\/p>\nWhen it was released at the very end of 2011, the year we celebrated Born This Way<\/em> and <a href=\"https:\/\/www.theverge.com\/2014\/12\/30\/7468767\/hozier-take-me-to-church-remix-apocalypse-pop-new-years-eve\" target=\"_blank\" rel=\"noopener\">\u201capocalypse pop,\u201d<\/a> \u201cBorn\u201d seemed jarringly depressive. <a href=\"https:\/\/pitchfork.com\/reviews\/albums\/16223-lana-del-rey\/\" target=\"_blank\" rel=\"noopener\">To many<\/a>, Lana Del Rey was edgy sad-girl provocation without substance. But \u201cBorn to Die\u201d has endured because Lana dared to swing for the fences. She was years ahead of the game, giving voice to a sense of romantic fatalism we didn\u2019t even know we had. The influence of both song and album can still be felt; now, in August 2019, the\u00a0latter has spent <a href=\"\/articles\/columns\/chart-beat\/8094772\/lana-del-rey-born-to-die-300-weeks-billboard-200-albums-chart\" target=\"_blank\" rel=\"noopener\">over 300 weeks on the Billboard 200<\/a>. But back when it first came out, the expectations seemed impossibly high. When you call your debut album Born to Die<\/em>, where can you possibly go from there?<\/p>\n6. \u201cThe greatest\u201d (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Ndo8r_Hg_lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\u201cThe greatest\u201d opens with a piano and guitar chord progression that\u2019s distinctly <a href=\"https:\/\/www.youtube.com\/watch?v=DtVBCG6ThDk\" target=\"_blank\" rel=\"noopener\">Elton John<\/a>, as if it\u2019s a comforting song you\u2019ve heard a million times before. And yet, its lyrics are anything but -- referencing political anxieties, climate change, even nuclear war. What comfort can any artist offer in the face of such existential threats? \u201cAnd I\u2019m wasted...\/ I\u2019m facing the greatest\/ The greatest loss of them all.\u201d Lana can\u2019t even seek refuge in her memories: \u201cI miss New York and I miss the music\/ Me and my friends, we miss rock \u2018n\u2019 roll\/ I want shit to feel just like it used to.\u201d<\/p>\nEven while singing some of the most delicate melodies she or Jack Antonoff have ever written, you can hear her voice fighting the urge to sink back into her old fatalism.\u00a0\u201cThe greatest\u201d name-checks two fallen American icons -- Dennis Wilson and Kanye West, an inspiration and a peer -- but more than that, the song\u2019s about the fall of the concept of America the Beautiful itself. Was it always an illusion? Lana can offer no consolation, only a prolonged goodbye, concluding the song on a nearly two-minute outro, until she finally runs out of words to say.<\/p>\nNear the end of the video, where she sings and frolicks in docks and <a href=\"https:\/\/www.reddit.com\/r\/lanadelrey\/comments\/cuaxng\/video_games_2011_singing_in_the_old_bars_swinging\/\" target=\"_blank\" rel=\"noopener\">old bars<\/a>, she symbolically puts her microphone back on its stand. \u201cIf this is it, I\u2019m signing off...\u201d Lana sings with such grace, like the musicians on the sinking Titanic, that you can\u2019t help but feel grateful you were around to witness the end, if this is indeed it.<\/p>\n5. \u201cVenice Bitch\u201d (Norman Fucking Rockwell<\/em>, 2018)<\/strong><\/p>\n<div class=\"oembed\" ><iframe width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/Qg3DxELVPj4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\u201cVenice Bitch\u201d feels like a lifetime in nine and a half minutes. It begins like many of Lana\u2019s documents of a relationship, over soft guitar chords: \u201cYou write, I tour, we make it work\/ You\u2019re beautiful and I\u2019m insane\/ We\u2019re American made\u2026\u201d<\/p>\nBut after two choruses and a bridge, the point where most pop songs begin to look to the end, the song begins to unspool in time, as if it\u2019s lost its own thread.\u00a0Lana\u2019s voice disappears for long stretches, as Jack Antonoff\u2019s soundscapes grow more and more psychedelic, with analog synth noodling, \u201cMaggot Brain\u201d guitar feedback\u2026 \u201cVenice Bitch\u201d is like watching a garden grow in fast-forward, blooming and shedding its leaves with the seasons.<\/p>\nLana\u2019s once-idyllic relationship ebbs and flows forever, never settling, subject only to the sands of time. You expect a different outcome each time, but the song always plays out the same way. \u201cIf you weren\u2019t mine, I\u2019d be jealous of your love,\u201d repeats Lana, concluding a song that might last nine minutes, or nine hours -- the more you listen to it, the more the moment slips through your fingers.<\/p>\n4. \u201cRide\u201d (Paradise<\/em>, 2012)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Py_-3di1yx0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nFar sooner than anyone expected, just eight months after Born to Die<\/em>, Lana Del Rey returned with an entirely new single. Her only song produced by Rick Rubin, \u201cRide\u201d was a mission statement, and an expansion on the themes of her still-fresh debut. Over even grander strings than usual, she sings in a warbling Roy Orbison vibrato: \u201cI\u2019ve been out on that open road...\/ Singing blues has been getting old...\u201d<\/p>\n\u201cRide\u201d was a different kind of melodrama than she\u2019d given us before -- it\u2019s earthier, backed by live instruments, with a country-music soul. The song builds to a bridge where her voice -- nervy, desperate -- jumps up an octave: \u201cI\u2019m tired of feeling like I\u2019m fucking crazy\/ I\u2019m tired of driving \u2019til I see stars in my eyes\/ All I\u2019ve got to keep myself sane, baby\/ So I just ride, I just ride\u2026\u201d She has no choice but to accept her fate. The song\u2019s five minutes feel like they could go on forever.<\/p>\nIn the 10-minute video, directed by Anthony Mandler, Lana casts herself in her own Easy Rider<\/em> fantasy. She plays a sex worker who moonlights as a singer, living a mundane existence, until she hooks up with a nomadic biker gang -- the only people in her world who seem truly free. Whether she\u2019s seducing older men or pointing a gun to her head, her performance is so committed that it removes all doubt as to who Lana Del Rey truly is. She\u2019s always blurred the lines between art and real life, but \u201cRide\u201d obliterates them. This was her raison d\u2019etre -- to make art, to be herself forever, whatever the cost.<\/p>\nIn the epilogue, she speaks her truth: \u201cWho are you? Are you in touch with all of your darkest fantasies? Have you created a life for yourself where you can experience them?... I have. I am fucking crazy... But I am free.\u201d<\/p>\n3. \u201cBrooklyn Baby\u201d (Ultraviolence<\/em>, 2014)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/T5xcnjAG8pE\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\u201cBrooklyn Baby\u201d has long been <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/lana-del-rey-pokes-fun-at-new-york-hipsters-in-brooklyn-baby-63897\/\" target=\"_blank\" rel=\"noopener\">pegged as a satire<\/a> of New York hipsters, but it\u2019s always been so much more. Over gentle guitar strums and a booming, circular drum pattern, Lana paints a picture of her ideal partnership, one that\u2019s founded upon art and romance alike: \u201cWell, my boyfriend\u2019s in a band\/ He plays guitar while I sing Lou Reed\/ I\u2019ve got feathers in my hair\/ I get down to Beat poetry\u2026\u201d<\/p>\nBy 2014, Lana was already emerging as an artist in the countercultural tradition of Reed, Dylan, Joni Mitchell -- one who could sing faintly ridiculous lines like \u201cI\u2019m talkin\u2019 \u2019bout my generation,\u201d and \u201cI\u2019m churning out novels like\/ Beat poetry on amphetamines,\u201d and really mean them. If \u201cBrooklyn Baby\u201d is self-deprecating -- and with Lana, it\u2019s often hard to tell -- it\u2019s only done so with love. In a twist of cosmic irony, Lou Reed himself was supposed to contribute backing vocals on the song, but <a href=\"https:\/\/www.theguardian.com\/music\/2014\/jun\/12\/lana-del-rey-ultraviolence-album\" target=\"_blank\" rel=\"noopener\">died the same day<\/a> he was scheduled to record. As powerful as it would have been, the song loses nothing for it.<\/p>\nIn the heart-stoppingly beautiful bridge, the drums drop out, and Lana pairs a divine melody with her most cutting lyrics: \u201cYou never liked the way I said it\/ If you don\u2019t get it, then forget it\/ \u2019Cause I don\u2019t have to fucking explain it.\u201d It marks the first time that Lana liberated herself from her fraught public image. \u201cBrooklyn Baby\u201d is a shining light in the murky darkness of Ultraviolence<\/em>; the first of her many devotionals to a life spent pursuing art and beauty.<\/p>\n2. \u201cVideo Games\u201d (Born to Die<\/em>, 2011)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/cE6wxDqdOV0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\u201cVideo Games\u201d is like being overwhelmed with feeling, and bored sick at the same time. It\u2019s emotionally terrifying, yet irresistible -- and as improbable a breakthrough single as there\u2019s ever been. On paper, Lana\u2019s words make her relationship sound perfect, but her voice says otherwise.<\/p>\n\u201cVideo Games\u201d builds slowly, with a disorienting mix of piano, synthetic strings and harps, and a snare drum that beats with the oncoming dread of a horror film. \u201cIt\u2019s you, it\u2019s you, it\u2019s all for you\/ Everything I do\/ I tell you all the time\/ Heaven is a place on earth with you,\u201d she sings, pledging her devotion, with a barely detectable hint of knowing irony. Few have ever made domestic bliss sound so strange, yet uncomfortably familiar; trapped by the kind of love that we\u2019re told should be \u201ctill death do us part.\u201d<\/p>\nLana\u2019s self-directed video, first uploaded in July 2011, looked like the inside of her mind: a collage of idyllic home video footage, voyeuristic paparazzi shots, and Los Angeles landmarks, ending on a faded, distant shot of the Hollywood sign. It was as if Lana\u2019s nostalgia for America past had been corrupted into a harsh, digital-camera reality, made all the more sinister by its soundtrack. \"Video Games\u201d was the product of a post-millennial pop culture that had recently lost its innocence all over again, after witnessing Britney Spears\u2019 and Kanye West\u2019s personal troubles, in the immediate wake of Amy Winehouse\u2019s death\u2026 and yet, the video could only have been produced by someone who still wanted a slice of that Hollywood myth for herself. Lana cast herself as both auteur and lead actress, playing the part so well that many viewers couldn\u2019t tell if she was self-aware. Either way, her fascinatingly blank expressions suggested she knew more than she was letting on.<\/p>\nWhen Lana Del Rey was a nobody, \u201cVideo Games\u201d was so potent that its viral success felt like an act of fate. As it reached cultural consciousness, we tried to dissect, demystify, deny its hold upon us... yet an entire year of frenzied online debates, <a href=\"https:\/\/www.vulture.com\/2012\/01\/anatomy-of-a-backlash-lana-del-rey.html\" target=\"_blank\" rel=\"noopener\">intense media scrutiny<\/a>, and a <a href=\"https:\/\/uproxx.com\/hitfix\/was-lana-del-reys-saturday-night-live-performance-a-career-killer\/\" target=\"_blank\" rel=\"noopener\">contentious<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=9zrvD-o8cII\" target=\"_blank\" rel=\"noopener\">Saturday Night Live<\/em> performance<\/a> couldn\u2019t dull the song\u2019s power. Listening to it now, it\u2019s become even more moving, ever since it\u2019s been <a href=\"https:\/\/www.npr.org\/2018\/07\/30\/627400055\/turning-the-tables-the-200-greatest-songs-by-21st-century-women-part-10\" target=\"_blank\" rel=\"noopener\">widely<\/a> <a href=\"https:\/\/pitchfork.com\/features\/lists-and-guides\/9466-the-200-best-tracks-of-the-decade-so-far-2010-2014\/?page=7\" target=\"_blank\" rel=\"noopener\">acknowledged<\/a> as one of the best songs of the decade. \u201cVideo Games\u201d feels lost in time, like a beautiful nightmare from which you might never want to wake.<\/p>\n1. \u201chope is a dangerous thing for a woman like me to have -\u00a0but i have it\u201d (Norman Fucking Rockwell<\/em>, 2019)<\/strong><\/p>\n<iframe width=\"560\" height=\"315\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/rY2LUmLw_DQ\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\nHow does it feel to be Lana Del Rey in 2019? To have lived your whole life under a different name, playing music to no one, then the next eight years in the public eye? She\u2019s spent reinvention after reinvention clawing her way towards artistic and personal contentment --\u00a0so why is the closing track of Norman Fucking Rockwell<\/em> so emotionally devastating?<\/p>\nIn a room so empty you can hear the silence, she sits, almost alone, with her thoughts. As Jack Antonoff plays a muted piano waltz, echoing her every gesture, Lana looks back on her art: \u201cI had fifteen-year dances\/ Church basement romances, yeah I\u2019ve cried\/ Spilling my guts with the Bowery Bums is the only love I\u2019ve ever known\/ Except for the stage, which I also call home, when I\u2019m not.\u201d Even in this calm after the storm, the past still weighs on her, leaving her shaken in the present. She\u2019s <a href=\"https:\/\/twitter.com\/meaghan_garvey\/status\/1166050917432680449\" target=\"_blank\" rel=\"noopener\">seen things in Hollywood<\/a>, that maker of dreams, that silenced her from speaking up: \u201cHope is a dangerous<\/em> thing for a woman with my past\u2026\u201d The future is uncertain, and her mind and body might still fail her: \u201cThere\u2019s a new revolution, a loud evolution that I saw...\/ A modern-day woman with a weak constitution, \u2019cause I\u2019ve got\/ Monsters still under my bed that I could never fight off.\u201d<\/p>\n\u201cI\u2019ve been tearing around in my fucking nightgown\/ 24\/7 Sylvia Plath,\u201d sings Lana, invoking the poet who wrote and died young by her self-destructive impulses. When trauma provides a well of inspiration, artists are forced to constantly relive their most intimate moments, commodifying themselves to make a living. \u201cShaking my ass is the only thing that\u2019s got this black narcissist off my back\u2026\u201d<\/p>\n\u201cVideo Games\u201d was so powerful that nearly a decade later, it still<\/em> defines the way we see Lana Del Rey. For years, she was viewed as the queen of misery, both in song and public persona, even long after she thought she\u2019d moved on from those early fixations: \u201cWriting in blood on the walls\/ \u2019Cause the ink in my pen don\u2019t work in my notepad.\u201d Perhaps in response, she gave combative, <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/lana-del-rey-vamp-of-constant-sorrow-74230\/\" target=\"_blank\" rel=\"noopener\">elusive interviews<\/a> about <a href=\"https:\/\/www.theguardian.com\/music\/2014\/jun\/12\/lana-del-rey-ultraviolence-album\" target=\"_blank\" rel=\"noopener\">wanting to throw it all away<\/a>.<\/p>\nMany of her greatest works felt like her final proclamation, songs so dramatic and fatalistic she might never be able to top them: \u201cBorn to Die,\u201d \u201cRide,\u201d \u201cCruel World,\u201d \u201cThe Other Woman,\u201d \u201cGod Knows I Tried,\u201d the \u201cHigh by the Beach\u201d video, \u201cSwan Song.\" It was a form of control, the tantalizing prospect that Lana could culminate her career in a tragedy of her own making; the musical equivalent of the \u201cBorn to Die\u201d video\u2019s fiery car wreck. She even recorded an entire album, Ultraviolence<\/em>, that probably should have killed her commercial prospects, but backfired miraculously. Like no other pop star this decade, Lana Del Rey wanted to define herself on her own terms, or not at all.<\/p>\nThe truth is, sadness was never the purpose of her music. It was that beauty without suffering used to feel cheap, dishonest: \u201cAll of these debutantes\/ Smiling for miles in pink dresses and high heels on white yachts\/ But I\u2019m not, baby I\u2019m not...\u201d Through Honeymoon<\/em>, Lust For Life<\/em>, and now Norman Fucking Rockwell<\/em>, Lana Del Rey learned to write from a place of compassion for herself; to be a role model for her listeners, while allowing her past to amplify her newfound optimism. It was never about nostalgia, lovers, or breakups; she\u2019s proven that she was her own muse all along. But still, the process of grieving, learning, and growing never ends, in life or art.<\/p>\n\u201cDon\u2019t ask if I\u2019m happy, you know that I\u2019m not\/ But at best, I can say I\u2019m not sad...\u201d After eight years, for five and a half minutes, Lana drags you through heartbreak and back, all to earn one final stanza. Her voice quavers as she jumps up an octave -- whispering, gasping: \u201cHope is a dangerous thing for a woman like me to have \u2013 but I have it\/ Yeah, I have it\/ Yeah, I have it\/ I have...\u201d It\u2019s the quietest, most vulnerable moment in Lana Del Rey\u2019s discography, and the most truthful. Her future is unwritten, but she\u2019ll write it with hope.<\/p>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/0.gravatar.com\/avatar\/33557978454000e4f79bbd32b7926960?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Richard S. He","email":"[email protected]","twitter":null,"facebook":"","path":"\/author\/richard-s-he","slug":"richard-s-he","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"List","attributes":[]},"categories":[{"text":"List","attributes":[]},{"text":"Pop","attributes":[]},{"text":"Rock","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"longform"},{"id":9547921,"path":"\/articles\/news\/9547921\/lana-del-rey-chemtrails-over-the-country-club-top-album-sales-chart","publishDate":1617052607,"modifiedDate":null,"title":"Lana Del Rey's 'Chemtrails Over the Country Club' Debuts at No. 1 on Billboard's Top Album Sales Chart","mainMedia":{"nid":null,"type":"image","isPlaceholder":false,"sizes":{"original":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-compressed.jpg","width":"1548","height":"1024","mimeType":"image\/jpeg","cropped":false},"thumbnail":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-150x150.jpg","width":"150","height":"150","mimeType":"image\/jpeg","cropped":true},"medium":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-300x198.jpg","width":"300","height":"198","mimeType":"image\/jpeg","cropped":false},"medium_large":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-768x508.jpg","width":"768","height":"508","mimeType":"image\/jpeg","cropped":false},"large":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-1024x677.jpg","width":"1024","height":"677","mimeType":"image\/jpeg","cropped":false},"sponsor\/logo":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-60x40.jpg","width":"60","height":"40","mimeType":"image\/jpeg","cropped":false},"article_main_image":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-636x421.jpg","width":"636","height":"421","mimeType":"image\/jpeg","cropped":true},"left_rail_110x110":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-110x110.jpg","width":"110","height":"110","mimeType":"image\/jpeg","cropped":true},"review_main_image":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-406x406.jpg","width":"406","height":"406","mimeType":"image\/jpeg","cropped":true},"pushdown_327x216":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-327x216.jpg","width":"327","height":"216","mimeType":"image\/jpeg","cropped":true},"1092x722":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-1092x722.jpg","width":"1092","height":"722","mimeType":"image\/jpeg","cropped":true},"719x476":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-719x476.jpg","width":"719","height":"476","mimeType":"image\/jpeg","cropped":true},"528x349":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-528x349.jpg","width":"528","height":"349","mimeType":"image\/jpeg","cropped":true},"404x267":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-404x267.jpg","width":"404","height":"267","mimeType":"image\/jpeg","cropped":true},"300x114":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-300x114.jpg","width":"300","height":"114","mimeType":"image\/jpeg","cropped":true},"350x232":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-350x232.jpg","width":"350","height":"232","mimeType":"image\/jpeg","cropped":true},"224x148":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-224x148.jpg","width":"224","height":"148","mimeType":"image\/jpeg","cropped":true},"768x433":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-768x433.jpg","width":"768","height":"433","mimeType":"image\/jpeg","cropped":true},"1024x577":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-1024x577.jpg","width":"1024","height":"577","mimeType":"image\/jpeg","cropped":true},"1500x845":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-1500x845.jpg","width":"1500","height":"845","mimeType":"image\/jpeg","cropped":true},"320x416_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-2019-Portrait-Session-billboard-1548-1617042253-320x416.jpg","width":"320","height":"416","mimeType":"image\/jpeg","cropped":true},"768x998_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\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Del Rey poses for a portrait during a visit to 107.7 The End on Oct. 2, 2019 in Seattle, Washington.<\/p>\n","caption_raw":"Lana Del Rey poses for a portrait during a visit to 107.7 The End on Oct. 2, 2019 in Seattle, Washington.\n","credit":"Mat Hayward\/Getty 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Justin Bieber, Loretta Lynn, Jon Batiste, Paul Stanley and Benny the Butcher & Harry Fraud bow in top 10. ","body":"<a href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> rules Billboard<\/em>\u2019s <a href=\"https:\/\/www.billboard.com\/charts\/top-album-sales\" target=\"_blank\" rel=\"noopener\">Top Album Sales<\/a> chart, as her new studio album, Chemtrails Over the Country Club<\/em>, debuts at No. 1 on the list dated April 3. It\u2019s her third chart-topper on the list, following 2017\u2019s Lust for Life<\/em> and 2014\u2019s Ultraviolence<\/em>.<\/p>\nChemtrails<\/em> was released March 19 via Polydor\/Interscope and starts with 58,000 copies sold in the U.S. in the week ending March 25, according to MRC Data. With Chemtrails<\/em>\u2019 arrival, Lana Del Rey scores the third-largest sales week for an album released in 2021, and the largest sales week for an album released by a female artist this year. Only the debut frames of <a href=\"https:\/\/www.billboard.com\/music\/morgan-wallen\" target=\"_blank\" rel=\"noopener\">Morgan Wallen<\/a>\u2019s Dangerous: The Double Album <\/em>(74,000) and <a href=\"https:\/\/www.billboard.com\/music\/foo-fighters\" target=\"_blank\" rel=\"noopener\">Foo Fighters<\/a>\u2019 Medicine at Midnight<\/em> (64,000) were larger.<\/p>\nBillboard<\/em>\u2019s <a href=\"https:\/\/www.billboard.com\/charts\/top-album-sales\" target=\"_blank\" rel=\"noopener\">Top Album Sales<\/a> chart ranks the top-selling albums of the week based only on traditional album sales. The chart\u2019s history dates back to May 25, 1991, the first week Billboard<\/em> began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the measurement solely utilized by the <a href=\"https:\/\/www.billboard.com\/charts\/billboard-200\" target=\"_blank\" rel=\"noopener\">Billboard 200<\/a> albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new April 3-dated Top Album Sales chart (where Chemtrails<\/em> debuts to No. 1) will be posted in full on\u00a0Billboard<\/em>'s website on March 30. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9543552\",\"type\":\"post\",\"title\":\"Lana Del Rey Roller-Dances in the Desert With Her 'White Dress' in New Video: Watch\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/9543552\\\/lana-del-rey-white-dress-video\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9543571\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nOf Chemtrails<\/em>\u2019 debut sales of 58,000, physical album sales comprise 48,600 of that figure (CDs: 16,200; vinyl LPs: nearly 31,600 and cassettes: 800) while digital album sales comprise 9,700.<\/p>\nChemtrails<\/em> was a spectacular seller on vinyl LP, with nearly 32,000 copies sold \u2013 or, 54% of the album\u2019s total first-week sales. Its vinyl fortunes were bolstered by the set\u2019s availability across an array of different LP variants including multiple colored vinyl editions, picture discs and a standard black vinyl LP.<\/p>\nChemtrails<\/em> also scores the fourth-largest sales week for a vinyl album since MRC Data began tracking sales in 1991. Ahead of Chemtrails<\/em> are the debut weeks of <a href=\"https:\/\/www.billboard.com\/music\/jack-white\" target=\"_blank\" rel=\"noopener\">Jack White<\/a>\u2019s Lazaretto<\/em> (40,000; June 28, 2014-dated chart), <a href=\"https:\/\/www.billboard.com\/music\/pearl-jam\" target=\"_blank\" rel=\"noopener\">Pearl Jam<\/a>\u2019s Vitalogy<\/em> (nearly 34,000; Dec. 10, 1994) and <a href=\"https:\/\/www.billboard.com\/music\/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney<\/a>\u2019s McCartney III<\/em> (32,000; Jan. 2, 2021).<\/p>\nChemtrails<\/em> naturally also debuts at No. 1 on the weekly Vinyl Albums chart.<\/p>\nChemtrails<\/em> additionally starts at No. 1 on <a href=\"https:\/\/www.billboard.com\/charts\/tastemaker-albums\" target=\"_blank\" rel=\"noopener\">Tastemaker Albums<\/a>, which ranks the top-selling albums of the week at independent and small chain record stores. The set sold 6,000 copies through those retailers across all formats (CD, vinyl LP, etc.).<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9547671\",\"type\":\"post\",\"title\":\"Lana Del Rey Earns Fifth U.K. No. 1 With \\u2018Chemtrails Over The Country Club\\u2019\",\"relative_path\":\"\\\/articles\\\/news\\\/9547671\\\/lana-del-rey-chemtrails-over-the-country-club-uk-chart\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9547147\",\"caption\":null,\"credit\":null}}<\/script><\/div>\n<a href=\"https:\/\/www.billboard.com\/music\/justin-bieber\" target=\"_blank\" rel=\"noopener\">Justin Bieber<\/a>\u2019s Justice<\/em> opens at No. 2 on Top Album Sales, selling 30,000 copies in its first week. The set concurrently <a href=\"https:\/\/www.billboard.com\/articles\/news\/9547575\/justin-bieber-justice-tops-billboard-200\/\" target=\"_blank\" rel=\"noopener\">bows atop<\/a> the Billboard 200, where it marks his eighth leader.<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/fleet-foxes\" target=\"_blank\" rel=\"noopener\">Fleet Foxes<\/a>\u2019 Shore<\/em> re-enters Top Album Sales at No. 3 with 18,000 sold (up 8,866%) after its release on physical formats on March 19. The album was released on digital retail and streaming services last year and previously spent two weeks on the tally, debuting and peaking at No. 32 on the Oct. 3, 2020-dated chart from download sales only (3,000 sold in its first week).<\/p>\nLike Shore<\/em>, <a href=\"https:\/\/www.billboard.com\/music\/chris-cornell\" target=\"_blank\" rel=\"noopener\">Chris Cornell<\/a>\u2019s No One Sings Like You Anymore, Volume One<\/em> re-enters Top Album Sales (No. 4; 11,000 \u2013 up 5,897%) after its physical release. The covers set by the late artist initially debuted and peaked at No. 71 on the Dec. 26, 2020, chart (5,000 sold) after its digital release.<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/loretta-lynn\" target=\"_blank\" rel=\"noopener\">Loretta Lynn<\/a>\u2019s 50th studio album Still Woman Enough<\/em> starts at No. 5 \u2013 the country legend\u2019s highest-charting effort in the 29-year history of the Top Album Sales chart. The set, which features <a href=\"https:\/\/www.billboard.com\/music\/reba-mcentire\" target=\"_blank\" rel=\"noopener\">Reba McEntire<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/margo-price\" target=\"_blank\" rel=\"noopener\">Margo Price<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/tanya-tucker\" target=\"_blank\" rel=\"noopener\">Tanya Tucker<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/carrie-underwood\" target=\"_blank\" rel=\"noopener\">Carrie Underwood<\/a>, launches with 10,000 copies sold.\u00a0<a href=\"https:\/\/www.billboard.com\/music\/taylor-swift\" target=\"_blank\" rel=\"noopener\">Taylor Swift<\/a>\u2019s former No. 1 Folklore<\/em> falls 4-6 with 9,800 sold (down 6%).<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9528710\",\"type\":\"post\",\"title\":\"First Country: New Music From Carly Pearce, Lauren Alaina, Jon Pardi and Loretta Lynn\",\"relative_path\":\"\\\/articles\\\/columns\\\/country\\\/9528710\\\/first-country-new-music-carly-pearce\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/01\\\/Loretta-Lynn-2015-nashville-billboard-1548-1609799471-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/01\\\/Loretta-Lynn-2015-nashville-billboard-1548-1609799471-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/01\\\/Loretta-Lynn-2015-nashville-billboard-1548-1609799471-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9506793\",\"caption\":null,\"credit\":null}}<\/script><\/div>\n<a href=\"https:\/\/www.billboard.com\/music\/jon-batiste\" target=\"_blank\" rel=\"noopener\">Jon Batiste<\/a> earns his best sales week ever and first top 10 on Top Album Sales, as We Are<\/em> debuts at No. 7 with 9,500 sold. The album includes contributions from <a href=\"https:\/\/www.billboard.com\/music\/pj-morton\" target=\"_blank\" rel=\"noopener\">PJ Morton<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/trombone-shorty\" target=\"_blank\" rel=\"noopener\">Trombone Shorty<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/mavis-staples\" target=\"_blank\" rel=\"noopener\">Mavis Staples<\/a>. Batiste\u2019s previous sales high came in the week ending Dec. 22, 2016, when his Christmas With Jon Batiste<\/em> album sold 5,700.<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/paul-stanley\" target=\"_blank\" rel=\"noopener\">Paul Stanley<\/a>\u2019s Soul Station bows at No. 8 with Now and Then<\/em>, selling 8,000 copies. The covers collection from the <a href=\"https:\/\/www.billboard.com\/music\/kiss\" target=\"_blank\" rel=\"noopener\">Kiss<\/a> co-founder and his ensemble band Soul Station includes classics such as \u201cLet\u2019s Stay Together,\u201d \u201cThe Tracks of My Tears\u201d and \u201cJust My Imagination (Running Away With Me).\u201d Now and Then <\/em>marks the first top 10 for Stanley outside of Kiss on Top Album Sales.<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/billie-eilish\" target=\"_blank\" rel=\"noopener\">Billie Eilish<\/a>\u2019s former No. 1 When We All Fall Asleep, Where Do We Go?<\/em> falls 6-9 with 7,600 sold (down 10%).<\/p>\nClosing out the new top 10 is <a href=\"https:\/\/www.billboard.com\/music\/benny-the-butcher\" target=\"_blank\" rel=\"noopener\">Benny the Butcher<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/harry-fraud\" target=\"_blank\" rel=\"noopener\">Harry Fraud<\/a>\u2019s new The Plugs I Met 2<\/em>, bowing with 7,300 copies sold. The hip-hop set boasts guest turns from <a href=\"https:\/\/www.billboard.com\/music\/2-chainz\" target=\"_blank\" rel=\"noopener\">2 Chainz<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/fat-joe\" target=\"_blank\" rel=\"noopener\">Fat Joe<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/french-montana\" target=\"_blank\" rel=\"noopener\">French Montana<\/a>, among others.<\/p>\n<div class=\"embedded-content\" data-nid=\"9547921\" data-nodetype=\"article\" data-template=\"video\">\n<script type=\"application\/json\">{\"account_id\":\"1125911414\",\"id\":\"QlKeelaq\",\"title\":\"24kGoldn Reflects on His Road to Success and Major Influences on 'Growing Up: Golden'\",\"featured_media\":\"9548005\"}<\/script><\/div>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/878726a04f588d94bc2881c0b0bc6597?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Keith Caulfield","email":"[email protected]","twitter":"","facebook":"","path":"\/author\/keith-caulfield-2","slug":"keith-caulfield-2","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"Chart Beat","attributes":[]},{"text":"News","attributes":[]},{"text":"Pop","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9547671,"path":"\/articles\/news\/9547671\/lana-del-rey-chemtrails-over-the-country-club-uk-chart","publishDate":1616990153,"modifiedDate":null,"title":"Lana Del Rey Earns Fifth U.K. No. 1 With \u2018Chemtrails Over The Country 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href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> flies high on the <a href=\"https:\/\/www.officialcharts.com\/charts\/albums-chart\/\" target=\"_blank\" rel=\"noopener\">U.K. albums chart<\/a> with Chemtrails Over The Country Club<\/em> (Polydor), which gives the U.S. singer her fifth No. 1.<\/p>\nChemtrails<\/em> bows at the summit with 40,000 chart sales, according to the OCC, a sum that includes a whopping 16,700 sales on vinyl. That\u2019s enough to give Del Rey the fastest-selling vinyl of the century for a female act, and No. 3 <a href=\"https:\/\/www.officialcharts.com\/chart-news\/the-uks-official-top-40-fastest-selling-vinyl-albums-of-the-century__32768\/\" target=\"_blank\">among all artists<\/a>.<\/p>\nWith her latest No. 1 on the Official U.K. Albums Chart, Del Rey ties <a href=\"https:\/\/www.billboard.com\/music\/celine-dion\" target=\"_blank\" rel=\"noopener\">Celine Dion<\/a> for the fifth most No. 1 albums by a female solo artist in the U.K. Only <a href=\"https:\/\/www.billboard.com\/music\/madonna\" target=\"_blank\" rel=\"noopener\">Madonna<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/kylie-minogue\" target=\"_blank\" rel=\"noopener\">Kylie Minogue<\/a>, <a href=\"https:\/\/www.billboard.com\/music\/barbra-streisand\" target=\"_blank\" rel=\"noopener\">Barbra Streisand<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/taylor-swift\" target=\"_blank\" rel=\"noopener\">Taylor Swift<\/a> have landed more.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9547575\",\"type\":\"post\",\"title\":\"Justin Bieber Scores Eighth No. 1 Album on Billboard 200 Chart With 'Justice'\",\"relative_path\":\"\\\/articles\\\/news\\\/9547575\\\/justin-bieber-justice-tops-billboard-200\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9537722\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nWith Chemtrails<\/em> crowned this week, <a href=\"https:\/\/www.billboard.com\/music\/justin-bieber\" target=\"_blank\" rel=\"noopener\">Justin Bieber\u2019s<\/a> sixth studio album Justice<\/em> (Def Jam) starts at No. 2. Justice<\/em> begins its chart journey at No. 1 in the U.S. and Australia and is the most-streamed album of the week in the U.K.<\/p>\nAlso new to the albums survey this week is Black Honey\u2019s Written and Directed<\/em> (Foxfive), at No. 7. It\u2019s the indie rockers\u2019 first Top 10 appearance.<\/p>\nVeteran singer-songwriters <a href=\"https:\/\/www.billboard.com\/music\/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/sting\" target=\"_blank\" rel=\"noopener\">Sting<\/a> claim Top 20 berths on the latest U.K. chart. Dylan\u2019s commemorative boxset 1970<\/em> (Sony Music CG) opens at No. 13, for his 64th Top 40 LP as a solo artist; while Sting debuts at No. 17 with Duets<\/em> (Polydor\/UMC) for the former <a href=\"https:\/\/www.billboard.com\/music\/the-police\" target=\"_blank\" rel=\"noopener\">The Police<\/a> frontman's 20th Top 40 album as a solo artist.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9546852\",\"type\":\"post\",\"title\":\"Justin Bieber Earns Fourth No. 1 In Australia With 'Justice'\",\"relative_path\":\"\\\/articles\\\/news\\\/9546852\\\/justin-bieber-no-1-australia-justice\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-2021-Justice-cr-Rory-Kramer-3-billboard-1548-1616082921-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-2021-Justice-cr-Rory-Kramer-3-billboard-1548-1616082921-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-2021-Justice-cr-Rory-Kramer-3-billboard-1548-1616082921-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9542791\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nMeanwhile, Nathan Evans' sea shanty \u201cWellerman\u201d (Polydor) with 220 Kid and Billen Ted enters a second week atop the Official U.K. Singles Chart.<\/p>\n\u201cWellerman\u201d holds a comfortable lead of 10,000 chart sales over its nearest competitor, A1 & J1\u2019s \u201cLatest Trends\u201d (EMI), holding at No. 2. \u201cLatest Trends\u201d is the most-streamed song of the week.<\/p>\nThanks to the release of his new album, Justin Bieber scores the highest new entry of the week with \u201cPeaches\u201d featuring Daniel Caesar and Giveon, at No. 3. Bieber sees two additional songs impact the Top 40, including \u201cHold On,\u201d which lifts 31-10. The Canadian pop singer can now boast 26th Top 10 singles to his name.<\/p>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/bac18a342d18ec18e87fffa5535a3e5e?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Lars Brandle","email":"[email protected]","twitter":"larsbrandle","facebook":"","path":"\/author\/lars-brandle","slug":"lars-brandle","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"Business","attributes":[]},{"text":"Chart Beat","attributes":[]},{"text":"International","attributes":{"href":"https:\/\/www.billboard.com\/hub\/international"}},{"text":"News","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9547575,"path":"\/articles\/news\/9547575\/justin-bieber-justice-tops-billboard-200","publishDate":1616958027,"modifiedDate":null,"title":"Justin Bieber Scores Eighth No. 1 Album on Billboard 200 Chart With 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Bieber photographed on Feb. 20, 2021 at the Houdini Estate in Los Angeles. Styling by Karla Welch. Grooming by Brittany Sullivan at Mane Addicts. X karla t-shirt, JW Anderson pants.<\/p>\n","caption_raw":"Justin Bieber photographed on Feb. 20, 2021 at the Houdini Estate in Los Angeles. Styling by Karla Welch. Grooming by Brittany Sullivan at Mane Addicts. X karla t-shirt, JW Anderson pants.\n","credit":"Sami Drasin","crop":{"original":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-compressed.jpg","thumbnail":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-150x150.jpg","medium":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-300x198.jpg","medium_large":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-768x508.jpg","large":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1024x677.jpg","sponsor\/logo":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-60x40.jpg","article_main_image":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-636x421.jpg","left_rail_110x110":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-110x110.jpg","review_main_image":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-406x406.jpg","pushdown_327x216":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-327x216.jpg","1092x722":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1092x722.jpg","719x476":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-719x476.jpg","528x349":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-528x349.jpg","404x267":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-404x267.jpg","300x114":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-300x114.jpg","350x232":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-350x232.jpg","224x148":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-224x148.jpg","768x433":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-768x433.jpg","1024x577":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1024x577.jpg","1500x845":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1500x845.jpg","320x416_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-320x416.jpg","768x998_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-768x998.jpg","900x1170_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-900x1024.jpg","1024x1331_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1024x1024.jpg","768x508_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-768x508.jpg","1024x677_gallery":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1024x677.jpg","320x320":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-320x320.jpg","768x768":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-768x768.jpg","1024x1024":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-1024x1024.jpg","60x60":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-60x60.jpg","210x118":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-210x118.jpg","300x169":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-300x169.jpg","394x221":"https:\/\/static.billboard.com\/files\/2021\/03\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1548-1615390814-394x221.jpg","470x264":"https:\/\/static.billboard.com\/files\/2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Lana Del Rey\u2019s 'Chemtrails Over the Country Club' bows at No. 2. ","body":"<a href=\"https:\/\/www.billboard.com\/music\/justin-bieber\" target=\"_blank\" rel=\"noopener\">Justin Bieber<\/a> achieves his eighth No. 1 album on the <a href=\"https:\/\/www.billboard.com\/charts\/billboard-200\" target=\"_blank\" rel=\"noopener\">Billboard 200<\/a> chart, as Justice<\/em> debuts atop the tally with 154,000 equivalent album units earned in the U.S. in the week ending March 25, according to MRC Data. The album was released via Raymond Braun\/Def Jam on March 18.<\/p>\nJustice<\/em> halts the chart-topping domination of <a href=\"https:\/\/www.billboard.com\/music\/morgan-wallen\" target=\"_blank\" rel=\"noopener\">Morgan Wallen<\/a>\u2019s Dangerous: The Double Album<\/em>, which spent 10 consecutive weeks in a row, all from its debut, at No. 1. It falls to No. 3 on the new chart.\u00a0<\/strong><\/p>\nThe Billboard 200 chart ranks the most popular albums of the week in the U.S. based on\u00a0multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid\/subscription on-demand official audio and video streams generated by songs from an album. The new April 3, 2021-dated chart (where Justice<\/em> opens at No. 1) will be posted in full on\u00a0Billboard<\/em>'s website on March 30. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9547163\",\"type\":\"post\",\"title\":\"Justin Bieber Lights Up a Forest With 'Anyone' & 'Hold On' Vevo Live Performances\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/9547163\\\/justin-bieber-anyone-hold-on-vevo-live-performances\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-Anyone-2021-Official-Live-Performance-Video-Still-billboard-1548-1616781793-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-Anyone-2021-Official-Live-Performance-Video-Still-billboard-1548-1616781793-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/Justin-Bieber-Anyone-2021-Official-Live-Performance-Video-Still-billboard-1548-1616781793-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9547192\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nOf Justice<\/em>\u2019s 154,000 equivalent album units earned in the tracking week ending March 25, SEA units comprise 119,000 (equaling 157.02 million on-demand streams of the album\u2019s songs), album sales comprise just over 30,000 and TEA units comprise a little more than 4,000.\u00a0<\/strong><\/p>\nJustice<\/em>\u2019s start of 154,000 represents the second-biggest debut week for an album in 2021, following Dangerous<\/em>\u2019 start of 265,000 (Jan. 23-dated chart).<\/p>\nThe new album was previewed by a quartet of top 40-charting hits on the <a href=\"https:\/\/www.billboard.com\/charts\/hot-100\" target=\"_blank\" rel=\"noopener\">Billboard Hot 100<\/a> songs chart: \u201cHoly,\u201d featuring <a href=\"https:\/\/www.billboard.com\/music\/chance-the-rapper\" target=\"_blank\" rel=\"noopener\">Chance the Rapper<\/a> (No. 3; Oct. 3, 2020-dated chart); \u201cLonely,\u201d with <a href=\"https:\/\/www.billboard.com\/music\/benny-blanco\" target=\"_blank\" rel=\"noopener\">Benny Blanco<\/a> (No. 12; Jan. 23); \u201cAnyone\u201d (No. 6; Jan. 16) and \u201cHold On\u201d (No. 26; March 20).\u00a0 The album's newest single is \"Peaches,\" featuring <a href=\"https:\/\/www.billboard.com\/music\/giveon\" target=\"_blank\" rel=\"noopener\">Giveon<\/a> and <a href=\"https:\/\/www.billboard.com\/music\/daniel-caesar\" target=\"_blank\" rel=\"noopener\">Daniel\u00a0Caesar<\/a>.\u00a0<\/strong>The track was released alongside the album, and it's likely to bow on an array of Billboard charts dated April 3.<\/p>\nAll 10 of Bieber\u2019s charting albums have reached the top 10. He\u2019s only missed the top slot twice. Here\u2019s a recap of all 10 of his charting sets: Justice<\/em> (No. 1), Changes<\/em> (No. 1; Feb. 20, 2020), Purpose<\/em> (No. 1; Dec. 5, 2015), Believe: Acoustic<\/em> (No. 1; Feb. 16, 2013), Believe<\/em> (No. 1; July 7, 2012), Under the Mistletoe<\/em> (No. 1; Nov. 19, 2011), Never Say Never: The Remixes<\/em> EP (No. 1; March 5, 2011), My Worlds Acoustic<\/em> (No. 7; Dec. 11, 2010), My World 2.0<\/em> (No. 1 for four weeks; April 10, 2010) and My World<\/em> EP (No. 5; April 10, 2010).<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9537735\",\"type\":\"post\",\"title\":\"Inside Justin Bieber's New World: Therapy, Date Nights and Delivering 'Justice'\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/9537735\\\/justin-bieber-justice-new-album-billboard-cover-story-2021\\\/\",\"media\":{\"width\":1500,\"height\":845,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1500-1615390790-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1500-1615390790-compressed.jpg\",\"width\":1500,\"height\":845},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/feature-justin-bieber-1-billboard-2021-sami-drasin-347aa-1500-1615390790-compressed.jpg\",\"width\":1500,\"height\":845}],\"orientation\":\"landscape\",\"id\":\"9537721\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nAs Bieber is a youthful 27 years and one month old (he turned 27 on March 1), he also happens to be the youngest soloist with eight No. 1 albums. He was already the youngest to notch seven. <a href=\"https:\/\/www.billboard.com\/music\/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley<\/a> was previously the youngest soloist with either seven or eight leaders, until Bieber\u2019s latest No. 1s came long. Presley was 26 years and 11 months, and then 29 years and 11 months, respectively, when the soundtracks to Blue Hawaii<\/em> and Roustabout<\/em> topped the chart in 1961 and 1965, respectively. If one also counted groups in these calculations, all four members of <a href=\"https:\/\/www.billboard.com\/music\/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles<\/a> were younger than 26 at the time of the band\u2019s eighth No. 1, 1965\u2019s Yesterday and Today<\/em>.<\/p>\nFor the first time in nearly three months, the Nos. 1 and 2 albums on the Billboard 200 are both debuts, as <a href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a>\u2019s Chemtrails Over the Country Club<\/em> bows at No. 2. The set starts with 75,000 equivalent album units earned. Of that sum, 58,000 comprise album sales (making it the top-selling album of the week), 16,000 comprise SEA units (equaling 21.19 million on-demand streams of the album\u2019s songs) and less than 1,000 comprise TEA units.<\/p>\nChemtrails Over the Country Club<\/em> is Lana Del Rey\u2019s seventh top 10 album, of eight total charting sets, following Norman Fucking Rockwell!<\/em> (No. 3; Sept. 14, 2019), Lust for Life<\/em> (No. 1; Aug. 12, 2017), Honeymoon<\/em> (No. 2; Oct. 10, 2015), Ultraviolence<\/em> (No. 1; July 5, 2014), Paradise<\/em> (No. 10; Dec. 1, 2012) and Born to Die<\/em> (No. 2; Feb. 18, 2012). Her only album to miss the top 10 was her self-titled release, which peaked at No. 20 on Jan 28, 2012.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9543914\",\"type\":\"post\",\"title\":\"Lana Del Rey Teases 'Rock Candy Sweet,' Her 'Next Record'\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/9543914\\\/lana-del-rey-rock-candy-sweet\\\/\",\"media\":{\"width\":\"1548\",\"height\":\"1024\",\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fcfspijng-1548-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fcfspijng-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/media\\\/Lana-Del-Rey-bb20-2019-feat-billboard-fcfspijng-1548-compressed.jpg\",\"width\":\"1548\",\"height\":\"1024\"}],\"orientation\":\"landscape\",\"id\":\"9300839\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nThe last time both the Nos. 1 and 2 albums on the Billboard were debuts was on the Dec. 26, 2020-dated list, when <a href=\"https:\/\/www.billboard.com\/music\/taylor-swift\" target=\"_blank\" rel=\"noopener\">Taylor Swift<\/a>\u2019s Evermore<\/em> and <a href=\"https:\/\/www.billboard.com\/music\/kid-cudi\" target=\"_blank\" rel=\"noopener\">Kid Cudi<\/a>\u2019s Man on the Moon III: The Chosen<\/em> debuted in the top two slots, respectively.<\/p>\nBack on the new chart, Wallen\u2019s Dangerous<\/em> falls 1-3 in its 11th week on the list, with 66,000 equivalent album units earned (down 4%).<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/pop-smoke\" target=\"_blank\" rel=\"noopener\">Pop Smoke<\/a>\u2019s former leader Shoot for the Stars Aim for the Moon<\/em> is pushed down two spots to No. 4 with 40,000 equivalent album units earned (up less than 1%).<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/dua-lipa\" target=\"_blank\" rel=\"noopener\">Dua Lipa<\/a>\u2019s Future Nostalgia<\/em> descends 3-5 with 36,000 equivalent album units earned (down 5%), <a href=\"https:\/\/www.billboard.com\/music\/pooh-shiesty\" target=\"_blank\" rel=\"noopener\">Pooh Shiesty<\/a>\u2019s Shiesty Season<\/em> is a non-mover at No. 6 with 31,000 units (up 3%) and <a href=\"https:\/\/www.billboard.com\/music\/the-weeknd\" target=\"_blank\" rel=\"noopener\">The Weeknd<\/a>\u2019s former No. 1 After Hours<\/em> dips 4-7 with nearly 31,000 units (down 5%).<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/lil-baby\" target=\"_blank\" rel=\"noopener\">Lil Baby<\/a>\u2019s previous leader My Turn<\/em> falls 7-8 with 30,000 equivalent album units earned (down less than 1%), <a href=\"https:\/\/www.billboard.com\/music\/lil-durk\" target=\"_blank\" rel=\"noopener\">Lil Durk<\/a>\u2019s The Voice<\/em> lowers 8-9 with 28,000 units (down 3%) and <a href=\"https:\/\/www.billboard.com\/music\/luke-combs\" target=\"_blank\" rel=\"noopener\">Luke Combs<\/a>\u2019 former No. 1 What You See Is What You Get <\/em>rises 11-10 with 27,000 units (up 2%).<\/p>\n<div class=\"embedded-content\" data-nid=\"9547575\" data-nodetype=\"article\" data-template=\"video\">\n<script type=\"application\/json\">{\"account_id\":\"1125911414\",\"id\":\"JG24Gcj4\",\"title\":\"Behind-the-Scenes of Justin Bieber's Billboard Cover Shoot | Billboard News\",\"featured_media\":\"9538334\"}<\/script><\/div>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/878726a04f588d94bc2881c0b0bc6597?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Keith Caulfield","email":"[email protected]","twitter":"","facebook":"","path":"\/author\/keith-caulfield-2","slug":"keith-caulfield-2","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"Chart Beat","attributes":[]},{"text":"News","attributes":[]},{"text":"Pop","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9546852,"path":"\/articles\/news\/9546852\/justin-bieber-no-1-australia-justice","publishDate":1616746878,"modifiedDate":null,"title":"Justin Bieber Earns Fourth No. 1 In Australia With 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href=\"https:\/\/www.billboard.com\/music\/justin-bieber\" target=\"_blank\" rel=\"noopener\">Justin Bieber<\/a> is on top in the land Down Under.<\/p>\nThe Canadian pop singer debuts at No. 1 on the <a href=\"https:\/\/www.aria.com.au\/charts\/albums-chart\/2021-03-22\" target=\"_blank\">ARIA Albums Chart<\/a> with Justice<\/em>, for his fourth leader there.<\/p>\nBieber\u2019s sixth and latest studio LP also causes an avalanche on the national singles chart, as his tune \u201cPeaches\u201d (featuring Daniel Caesar and Giveon) starts at No. 2, one of his nine tracks in this week\u2019s Top 50, including five debuts.<\/p>\nHe also starts at No. 22 with \u201cUnstable\u201d featuring Sydney singer and rapper <a href=\"https:\/\/www.billboard.com\/music\/juice-wrld\/chart-history\/TFC\/song\/1208449\" target=\"_blank\" rel=\"noopener\">The Kid Laroi<\/a>; at No. 23 with \u201cAs I Am\u201d; at No. 40 with \u201c2 Much\u201d; and No. 42 with \u201cOff My Face\u201d.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9544584\",\"type\":\"post\",\"title\":\"On Eve of Michael Gudinski's State Memorial, ARIA Unveils Award In His Honor\",\"relative_path\":\"\\\/articles\\\/news\\\/9544584\\\/michael-gudinski-aria-award\\\/\",\"media\":{\"width\":3840,\"height\":2538,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/michael-gudinski-credit-brian-purnell-1548-1615197002-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/michael-gudinski-credit-brian-purnell-1548-1615197002-compressed.jpg\",\"width\":3840,\"height\":2538},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/michael-gudinski-credit-brian-purnell-1548-1615197002-compressed.jpg\",\"width\":3840,\"height\":2538}],\"orientation\":\"landscape\",\"id\":\"9536385\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nBieber previously hit the summit with the albums My Worlds<\/em> (May 2010), Believe<\/em> (June 2012) and Purpose<\/em> (November 2015).<\/p>\nClose behind is\u00a0<a href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey\u2019s<\/a> Chemtrails Over The Country Club<\/em>, new at No. 2 on the ARIA Albums Chart. Chemtrails<\/em> is the best-seller on this week\u2019s ARIA Vinyl Chart, and it\u2019s the U.S. singer\u2019s sixth Top 10 on the all-format ARIA Albums Chart.<\/p>\nHomegrown country hero <a href=\"https:\/\/www.billboard.com\/music\/troy-cassar-daley\" target=\"_blank\" rel=\"noopener\">Troy Cassar-Daley<\/a> enjoys his highest-charting album to-date with The World Today<\/em>, which opens at No. 3.\u00a0The World Today i<\/em>s Cassar-Daley\u2019s sixth Top Ten on the Albums Chart and sixth No. 1 on the ARIA Country Album Chart.<\/p>\n<a href=\"https:\/\/www.billboard.com\/music\/dua-lipa\" target=\"_blank\" rel=\"noopener\">Dua Lipa\u2019s<\/a> Future Nostalgia<\/em> dips 1-4, while Sydney indie trio Middle Kids complete the Top 5 with their sophomore album Today We\u2019re The Greatest<\/em>, new at No. 5. It\u2019s the followup to their debut album Lost Friends<\/em> from 2018, which won the prestigious J Award for <a href=\"https:\/\/www.billboard.com\/articles\/news\/8486319\/middle-kids-win-triple-j-australian-album-of-the-year\" target=\"_blank\" rel=\"noopener\">Australian album of the year<\/a>.<\/p>\nMeanwhile, <a href=\"https:\/\/www.billboard.com\/music\/glass-animals\" target=\"_blank\" rel=\"noopener\">Glass Animals<\/a> enter a fifth consecutive week at No. 1 on the <a href=\"https:\/\/www.aria.com.au\/charts\/singles-chart\/2021-03-29\" target=\"_blank\">ARIA Singles Chart<\/a> with \u201cHeat Waves\u201d.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9543309\",\"type\":\"post\",\"title\":\"Dua Lipa, Glass Animals Rule Historic ARIA Charts\",\"relative_path\":\"\\\/articles\\\/business\\\/chart-beat\\\/9543309\\\/dua-lipa-glass-animals-aria-charts\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2020\\\/12\\\/feature-women-in-music-dua-lipa-03-nicole-nodland-1548-1607535657-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2020\\\/12\\\/feature-women-in-music-dua-lipa-03-nicole-nodland-1548-1607535657-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2020\\\/12\\\/feature-women-in-music-dua-lipa-03-nicole-nodland-1548-1607535657-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9496725\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nThe chilled track won the <a href=\"https:\/\/www.billboard.com\/articles\/columns\/pop\/9528408\/glass-animals-heat-waves-hot-100-interview\/\" target=\"_blank\" rel=\"noopener\">Triple J Hottest 100 countdown<\/a> in January, and should enjoy a boost following the release this week of a new remix featuring U.S. rapper <a href=\"https:\/\/www.billboard.com\/music\/iann-dior\" target=\"_blank\" rel=\"noopener\">Iann Dior<\/a>.<\/p>\nFinally, Sydney rapper Masked Wolf pounces for a new chart high as \u201cAstronaut In The Ocean\u201d lifts 8-7. The rising hip-hop artist last week topped <a href=\"https:\/\/www.billboard.com\/index.php\/articles\/business\/chart-beat\/9543093\/masked-wolf-top-emerging-artists-chart\" target=\"_blank\" rel=\"noopener\">Billboard\u2019s Emerging Artists chart<\/a>.<\/p>\n<div class=\"embedded-content\" data-nid=\"9546852\" data-nodetype=\"article\" data-template=\"video\">\n<script type=\"application\/json\">{\"account_id\":\"1125911414\",\"id\":\"JG24Gcj4\",\"title\":\"Behind-the-Scenes of Justin Bieber's Billboard Cover Shoot | Billboard News\",\"featured_media\":\"9538334\"}<\/script><\/div>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/bac18a342d18ec18e87fffa5535a3e5e?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Lars Brandle","email":"[email protected]","twitter":"larsbrandle","facebook":"","path":"\/author\/lars-brandle","slug":"lars-brandle","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"Business","attributes":[]},{"text":"Chart Beat","attributes":[]},{"text":"International","attributes":{"href":"https:\/\/www.billboard.com\/hub\/international"}},{"text":"News","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9544598,"path":"\/articles\/news\/9544598\/lana-del-rey-chemtrails-midweek-uk-chart","publishDate":1616486040,"modifiedDate":null,"title":"Lana Del Rey\u2019s \u2018Chemtrails\u2019 Is Flying to No. 1 In U.K.","mainMedia":{"nid":null,"type":"image","isPlaceholder":false,"sizes":{"original":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-compressed.jpg","width":"1548","height":"1024","mimeType":"image\/jpeg","cropped":false},"thumbnail":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-150x150.jpg","width":"150","height":"150","mimeType":"image\/jpeg","cropped":true},"medium":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-300x198.jpg","width":"300","height":"198","mimeType":"image\/jpeg","cropped":false},"medium_large":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-768x508.jpg","width":"768","height":"508","mimeType":"image\/jpeg","cropped":false},"large":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-1024x677.jpg","width":"1024","height":"677","mimeType":"image\/jpeg","cropped":false},"sponsor\/logo":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-60x40.jpg","width":"60","height":"40","mimeType":"image\/jpeg","cropped":false},"article_main_image":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-636x421.jpg","width":"636","height":"421","mimeType":"image\/jpeg","cropped":true},"left_rail_110x110":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-110x110.jpg","width":"110","height":"110","mimeType":"image\/jpeg","cropped":true},"review_main_image":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-406x406.jpg","width":"406","height":"406","mimeType":"image\/jpeg","cropped":true},"pushdown_327x216":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-327x216.jpg","width":"327","height":"216","mimeType":"image\/jpeg","cropped":true},"1092x722":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-1092x722.jpg","width":"1092","height":"722","mimeType":"image\/jpeg","cropped":true},"719x476":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-719x476.jpg","width":"719","height":"476","mimeType":"image\/jpeg","cropped":true},"528x349":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-528x349.jpg","width":"528","height":"349","mimeType":"image\/jpeg","cropped":true},"404x267":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-404x267.jpg","width":"404","height":"267","mimeType":"image\/jpeg","cropped":true},"300x114":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-300x114.jpg","width":"300","height":"114","mimeType":"image\/jpeg","cropped":true},"350x232":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-350x232.jpg","width":"350","height":"232","mimeType":"image\/jpeg","cropped":true},"224x148":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-224x148.jpg","width":"224","height":"148","mimeType":"image\/jpeg","cropped":true},"768x433":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-768x433.jpg","width":"768","height":"433","mimeType":"image\/jpeg","cropped":true},"1024x577":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-1024x577.jpg","width":"1024","height":"577","mimeType":"image\/jpeg","cropped":true},"1500x845":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-1500x845.jpg","width":"1500","height":"845","mimeType":"image\/jpeg","cropped":true},"320x416_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-320x416.jpg","width":"320","height":"416","mimeType":"image\/jpeg","cropped":true},"768x998_gallery":{"type":"image","path":"https:\/\/static.billboard.com\/files\/2021\/03\/Lana-Del-Rey-grammy-2020-party-billboard-1548-1616778500-768x998.jpg","wid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Del Rey at Clive Davis' 2020 Pre-Grammy Gala, Arrivals in Los Angeles on Jan 25, 2020. <\/p>\n","caption_raw":"Lana Del Rey at Clive Davis' 2020 Pre-Grammy Gala, Arrivals in Los Angeles on Jan 25, 2020. \n","credit":"Chelsea Lauren\/Shutterstock 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href=\"https:\/\/www.billboard.com\/music\/lana-del-rey\" target=\"_blank\" rel=\"noopener\">Lana Del Rey<\/a> is cruising to a fifth No. 1 on the U.K. Albums Chart with Chemtrails Over The Country Club<\/em> (Polydor).<\/p>\nAt the <a href=\"https:\/\/www.officialcharts.com\/charts\/albums-chart-update\/\" target=\"_blank\" rel=\"noopener\">halfway point<\/a> in the chart week, the U.S. singer and songwriter\u2019s latest LP is outselling the rest of the Top 10 combined, the OCC reports.<\/p>\nChemtrails<\/em> is the best-seller in physical and digital formats so far this cycle. Its midweek tally of 34,000 combined sales eclipses the entire first-week effort of her previous three albums, and the collection is on track for Del Rey\u2019s best release week since 2014\u2019s Ultraviolence<\/em>.<\/p>\nPreviously, Del Rey topped the Official U.K. Albums Chart with Born To Die<\/em> (2012); Ultraviolence;<\/em>\u00a0Lust For Life<\/em> (2017); and Norman F**king Rockwell<\/em> (2019).<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9544080\",\"type\":\"post\",\"title\":\"Nathan Evans' 'Wellerman' Sailing to Another Week at No. 1 In U.K. Chart\",\"relative_path\":\"\\\/articles\\\/business\\\/chart-beat\\\/9544080\\\/nathan-evans-wellerman-uk-chart-blast\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/02\\\/Nathan-Evans-cr-Universal-Music-2021-billboard-1548-1612977286-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/02\\\/Nathan-Evans-cr-Universal-Music-2021-billboard-1548-1612977286-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/02\\\/Nathan-Evans-cr-Universal-Music-2021-billboard-1548-1612977286-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9524369\",\"caption\":null,\"credit\":null}}<\/script><\/div>\nComing in at a distance second on the Official Chart Update is <a href=\"https:\/\/www.billboard.com\/music\/justin-bieber\" target=\"_blank\" rel=\"noopener\">Justin Bieber\u2019s<\/a> latest Justice<\/em> (Def Jam), while <a href=\"https:\/\/www.billboard.com\/music\/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u2019s<\/a> boxed set 1970<\/em> (Sony Music CG) is at No. 3. If it holds its position when the chart is published this Friday, Dylan will snag his 41st U.K. Top 10.<\/p>\nAlso new to the midweek chart is <a href=\"https:\/\/www.billboard.com\/music\/sting\" target=\"_blank\" rel=\"noopener\">Sting\u2019s<\/a> collaborative effort Duets<\/em> (Polydor\/UMC), which could give the former <a href=\"https:\/\/www.billboard.com\/music\/the-police\" target=\"_blank\" rel=\"noopener\">Police<\/a> frontman his highest-charting release since 2003\u2019s Sacred Love<\/em>.<\/p>\nLondon rapper Central Cee completes the Top 5 with his debut mixtape, Wild West<\/em> (Central Cee), down 3-5.<\/p>\nAlso new to the chart blast is Brighton alternative rockers Black Honey with Written & Directed<\/em> (Foxfive), new at No. 7, while homegrown heavy metal veterans Saxon are hovering just outside the Top 10 with Inspirations<\/em> (Transistors). It\u2019s new at No. 11 and could land the band their highest chart position in 40 years.<\/p>\nOver in the <a href=\"https:\/\/www.officialcharts.com\/charts\/singles-chart-update\/\" target=\"_blank\" rel=\"noopener\">singles chart race<\/a>, Nathan Evans is on target for a second week at No. 1 with his sea shanty \u201cWellerman\u201d (Polydor), featuring 220Kid and Billen Ted.<\/p>\n","authors":[{"id":null,"avatar":{"height":null,"width":null,"found":null,"url":"http:\/\/2.gravatar.com\/avatar\/bac18a342d18ec18e87fffa5535a3e5e?s=96&d=mm&r=g","className":"PGM\\FE\\Model\\Media\\Avatar"},"description":null,"name":"Lars Brandle","email":"[email protected]","twitter":"larsbrandle","facebook":"","path":"\/author\/lars-brandle","slug":"lars-brandle","image":null,"className":"PGM\\FE\\Model\\Content\\Author"}],"list":null,"listOrder":null,"primaryCategory":{"text":"News","attributes":[]},"categories":[{"text":"Business","attributes":[]},{"text":"Chart Beat","attributes":[]},{"text":"International","attributes":{"href":"https:\/\/www.billboard.com\/hub\/international"}},{"text":"News","attributes":[]}],"tags":null,"listData":null,"videoPlayer":null,"template":"default"},{"id":9543914,"path":"\/articles\/columns\/pop\/9543914\/lana-del-rey-rock-candy-sweet","publishDate":1616282580,"modifiedDate":null,"title":"Lana Del Rey Teases 'Rock Candy Sweet,' Her 'Next 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Del Rey's new album <a href=\"https:\/\/www.billboard.com\/articles\/columns\/pop\/9543216\/lana-del-rey-chemtrails-over-the-country-club-album-listen\" target=\"_blank\" rel=\"noopener\">just arrived<\/a>, but she's already looking ahead to what appears to be another project, Rock Candy Sweet<\/em>.<\/p>\nThe day after Chemtrails Over the Country Club<\/em> made its debut, she got on Instagram and dropped the title of what she says will be her \"next record.\"<\/p>\nOn her Instagram Stories on Saturday (March 20), Lana Del Rey shared a screenshot of an article from\u00a0Harper's Bazaar<\/em>\u00a0that had criticized her.<\/p>\n<div class=\"embedded-content\" data-template=\"readmore\" data-amp-enabled=\"1\"><script type=\"application\/json\">{\"nid\":\"9543552\",\"type\":\"post\",\"title\":\"Lana Del Rey Roller-Dances in the Desert With Her 'White Dress' in New Video: Watch\",\"relative_path\":\"\\\/articles\\\/columns\\\/pop\\\/9543552\\\/lana-del-rey-white-dress-video\\\/\",\"media\":{\"width\":1548,\"height\":1024,\"extension\":\"jpg\",\"mime_type\":\"image\\\/jpeg\",\"type\":\"image\",\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"sizes\":[{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"width\":1548,\"height\":1024},{\"path\":\"https:\\\/\\\/static.billboard.com\\\/files\\\/2021\\\/03\\\/lana-del-rey-white-dress-mv-still-2021-billboard-1548-1616175384-compressed.jpg\",\"width\":1548,\"height\":1024}],\"orientation\":\"landscape\",\"id\":\"9543571\",\"caption\":null,\"credit\":null}}<\/script><\/div>\n\"Just want to say thank you again for the kind articles like this one and for reminding me that my career was built on cultural appropriation and glamorizing domestic abuse,\" she quipped via sideways text overlaying the article. \"I will continue to challenge those thoughts on my next record on June 1 titled Rock Candy Sweet.\"<\/p>\nIn her latest Instagram post, she repeated that album announcement: \"ROCK CANDY SWEET,\" she captioned a photo of herself. \"June 1.\"<\/p>\nBillboard<\/em> has reached out to a representative for Lana Del Rey for comment about Rock Candy Sweet<\/em>.<\/p>\nHer new album Chemtrails Over the Country Club<\/em>, featuring singles \"Let Me Love You Like a Woman,\" \"Chemtrails Over the Country Club\" and \"White Dress,\" is available now.<\/p>\nSee her latest post on Instagram <a href=\"https:\/\/www.instagram.com\/p\/CMqBcHah785\/\" target=\"_blank\" rel=\"noopener\">here<\/a>, and watch her Instagram Stories <a href=\"https:\/\/www.instagram.com\/stories\/lanadelrey\/2533836972255101433\/\" target=\"_blank\" 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Apr	MAY	Jul
	16
2020	2021	2022