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Lana Del Rey
Ultraviolence (January 1/June 13, 2014) [Limited Edition]

Lana Del Rey — Ultraviolence (January 1/June 13, 2014) [Limited Edition]

 Lana Del Rey — Ultraviolence (January 1/June 13, 2014) [Limited Edition]
••  Album získalo 7x GOLD a 3x PLATINUM s celkovým prodejem nejméně 972.500 alb všech nosičů. Vocalist who makes atmospheric orchestral pop showcasing her torchy image and sensuously husky singing style.                                                              Birth name: Elizabeth Woolridge Grant
Also known as: Lana Del Ray Lizzy Grant May Jailer
Born: June 21, 1985, New York City, New York, U.S.
Origin: Lake Placid, New York, U.S.
Genre: Baroque pop, dream pop, rock, trip hop, Adult Alternative Pop/Rock
Album release: January 1, 2014
Record Label: Polydor/Interscope/Universal
Duration:     70:42
Tracks:
CD1:
01. Cruel World      6:40
02. Ultraviolence      4:11
03. Shades of Cool      5:42
04. Brooklyn Baby      5:51
05. West Coast      4:16
06. Sad Girl      5:17
07. Pretty When You Cry      3:54
08. Money Power Glory      4:30
09. Fucked My Way Up to the Top      3:32
10. Old Money      4:31
11. The Other Woman      3:01
Bonus tracks:
12. Black Beauty      5:14
13. Guns and Roses      4:30
14. Florida Kilos      4:16
Bonus CD:
01. Flipside      5:11
℗ 2014 Lana Del Rey, under exclusive licence to Polydor Ltd. (UK). Under exclusive licence to Interscope Records in the USA
Written by:
♦  Lana Del Rey Blake Stranathan     1, 7 / Bonus CD
♦  Del Rey Daniel Heath     2, 9
♦  Del Rey Rick Nowels     3, 12, 13
♦  Del Rey Barrie O'Neill     4, 5
♦  Del Rey Greg Kurstin     8
♦  Del Rey Heath Robbie Fitzsimmons     10
♦  Jessie Mae Robinson     11
♦  Del Rey Auerbach Harmony Korine     14                                                                                    Description:
••  Ultraviolence is the third studio album and second major–label record by American singer–songwriter Lana Del Rey, released on June 13, 2014 by UMG Recordings. Ultraviolence received positive reviews from contemporary music critics, who commended its cohesion as a concept album, compared to her previous albums, and its overall production. It has also been noted as an improvement from Del Rey’s debut album Born to Die. It debuted at number one on the U.S. Billboard 200 with first–week sales of 182,000 copies, becoming Del Rey’s first number–one album on the chart and the best–selling debut week of her career.
••  Studio, Easy Eye Sound (Nashville) The Bridge (Glendale) Electric Lady Studios (New York City) Echo Studio (Los Angeles) The Church Studios (London) The Green Building (Santa Monica).                                                                                                                                                                AWARDS:
Billboard Albums
♦  2015 Ultraviolence The Billboard 200 #1
♦  2014 Ultraviolence The Billboard 200 #1
♦  2014 Ultraviolence Top Canadian Albums #1
♦  2014 Ultraviolence Top Digital Albums #2
Billboard Singles
♦  2014 Brooklyn Baby Canadian Hot 100 #60
♦  2014 Brooklyn Baby Hot Digital Songs #36
♦  2014 Shades Of Cool Canadian Hot 100 #52
♦  2014 Shades Of Cool Hot Digital Songs #28
♦  2014 Shades Of Cool The Billboard Hot 100 #79
♦  2014 Ultraviolence Canadian Hot 100 #38
♦  2014 Ultraviolence Hot Digital Songs #18
♦  2014 Ultraviolence The Billboard Hot 100 #70
♦  2014 West Coast Canadian Hot 100 #26
♦  2014 West Coast Hot Digital Songs #6
♦  2014 West Coast Hot Modern Rock Tracks #29
CERTIFICATIONS:
♦  Australia (ARIA) Gold      35,000^
♦  Austria (IFPI Austria) Gold      7,500x
♦  Brazil (ABPD) Platinum      40,000*
♦  Canada (Music Canada) Gold      40,000^
♦  France (SNEP) Platinum      100,000*
♦  Germany (BVMI) Gold      100,000^
♦  Mexico (AMPROFON) Gold      30,000^
♦  Poland (ZPAV) Platinum      20,000*
♦  United Kingdom (BPI) Gold      100,000^
♦  United States (RIAA) Gold      500,000^
CREDITS:
♦  Dan Auerbach Clapping, Guitars (12 String Ac.+El.), Mixing, Producer, Shaker, Synthesizer
♦  Julian Burg Engineer
♦  John Davis Mastering, Mastering Engineer
♦  Lana Del Rey Composer, Producer, Vocals, Vocals (Background)
♦  Collin Dupuis Drum Programming, Engineer, Mixing, Synthesizer
♦  Robbie Fitzsimmons Composer
♦  Brian Griffin Drums
♦  Milton Gutierrez Engineer
♦  Daniel Heath Arranger, Composer, Producer
♦  Phil Joly Engineer
♦  Seth Kaufman Clapping, Guitar (El.), Omnichord, Percussion, Synthesizer, Vocals (Background)
♦  Neil Krug Photography
♦  Greg Kurstin Composer, Drums, Guitar, Guitar (Bass), Keyboards, Mixing, Producer
♦  Lee Foster Producer
♦  Alfreda McCrary Lee Vocals (Background)
♦  Mat Maitland Design
♦  Ben Mawson Management
♦  Ann McCrary Vocals (Background)
♦  Regina McCrary Vocals (Background)
♦  Matthew McGaughey Orchestration
♦  Kieron Menzies Vocal Engineer
♦  Leon Michaels Clapping, Mellotron, Percussion, Piano, Sax (Tenor), Sax, Synth, Tambourine
♦  Ed Millett Management
♦  Nick Movshon Bass (Electric), Bass (Upright), Clapping, Drums
♦  Rick Nowels Composer, Vocal Producer
♦  Barrie O’Neill Composer
♦  Robert Orton Mixing
♦  Russ Pahl Guitar (Acoustic), Guitar (Electric), Pedal Steel
♦  Alex Pasco Engineer
♦  Jessie Mae Robinson Composer
♦  Myan Soffia Photography
♦  Blake Stranathan Composer, Guitar, Producer
♦  Kenny Vaughan Guitar (Acoustic), Guitar (Electric), Mellotron, Synthesizer
♦  Max Weissenfeldt Clapping, Drums
♦  Andy Zisakis Assistant Engineer                                                                                          AllMusic Review by Fred Thomas;  Score: ****
••  The maelstrom of hype surrounding self–modeled Hollywood pop star Lana Del Rey’s 2012 breakthrough album, Born to Die, found critics, listeners, and pop culture aficionados divided about her detached, hyper–stylized approach to every aspect of her music and public persona. What managed to get overlooked by many was that Born to Die made such a polarizing impression because it actually offered something that didn’t sound like anything else. Del Rey’s sultry, overstated orchestral pop recast her as some sort of vaguely imagined chanteuse for a generation raised on Adderall and the Internet, with heavy doses of Twin Peaks atmosphere adding a creepy sheen to intentionally vapid (and undeniably catchy) radio hits. Follow–up album Ultraviolence shifts gears considerably, building a thick, slow–moving atmosphere with its languid songs and opulent arrangements. Gone are the big beats and glossy production that resulted in tracks like “Summertime Sadness.” Instead, Ultraviolence begins with the protracted, rolling melancholia of “Cruel World,” nearly seven minutes of what feels like a sad, reverb–drenched daydream. The song sets the stage for the rest of the album, which simmers with a haunted, yearning feeling but never boils over. Even the most pop–friendly moments here are steeped in patient, jazz–inflected moodiness, as with the sad–eyed longing of “Shades of Cool” or the unexpected tempo changes that connect the slinky verses of single “West Coast” to their syrupy, swaying choruses. Production from the Black Keys’ Dan Auerbach might have something to do with the metered restraint that permeates the album, with songs like “Sad Girl" carrying some of the slow–burning touches of greasy blues–rock Auerbach is known for. A few puzzling moments break up the continuity of the album. The somewhat hooky elements of “Brooklyn Baby” can’t quite rise above its disjointed song structure and cringeable lyrics that could be taken either as mockery of the hipster lifestyle or self–parody. “Money Power Glory” steps briefly out of the overall dreamscape of the album, sounding like a tossed–off outtake from the Born to Die sessions. Despite these mild missteps, Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that’s consumptive, sexy, and as eerie as big–budget pop music gets. Del Rey’s loudest detractors criticized her music as a hollow, cliché–ridden product designed by the music industry and lacking the type of substance that makes real pop stars pop. Ultraviolence asserts that as a songwriter, she has complete control of her craft, deciding on songs far less flashy or immediate but still uniquely captivating. As these songs shift her sound into more mature and nuanced places, it becomes clear that every deadpan affectation, lispy lyric, and overblown allusion to desperate living has been a knowing move in the creation of the strange, beguiling character — and sonic experience — we know as Lana Del Rey.
Artist Biography by Stephen Thomas Erlewine
••  Lana Del Rey envisioned a Southern Californian dream world constructed out of sad girls and bad boys, manufactured melancholy and genuine glamour, and then she came to embody this fantasy. At first, her stylized noir–pop garnered skeptical sneers — the rise of her 2012 debut Born to Die was impeded by a tentative live debut on Saturday Night Live — but Lana Del Rey proved to be tougher than her soft exterior suggested. Following a hit remix of her single “Summertime Sadness,” she steadily gained not only popularity but respect, with her 2014 second album Ultraviolence receiving positive reviews to accompany her sales; her imitators, of which there were many, were merely an alluring accessory. By that point, Lana Del Rey had become the ideal she intended to be: a damaged torch singer designed as the tragic romantic icon for her age.
••  Lana Del Rey’s journey to this stardom was a long, steady climb. Born as Elizabeth Woolridge Grant in New York City to a pair of wealthy parents, she was raised in Lake Placid, not starting to pursue music until she was out of high school and living with her aunt and uncle on Long Island. Her uncle taught her how to play guitar and soon she was writing songs and playing New York clubs, sometimes under the name Lizzy Grant. While she attended Fordham University, she continued to play music and she started getting serious around 2005. In April of that year, a CD of originals was registered under her birth name with the U.S. Copyright Office and she recorded elsewhere, finishing up an unreleased folky album called Sirens under the name May Jailer. Reverting to the name Lizzy Grant, she signed with 5 Points Records in 2006, recording an EP called Kill Kill with producer David Kahne, who would prove to be her first pivotal collaborator. Kill Kill appeared digitally in 2008 and over the next two years Grant became Lana Del Rey, digitally releasing a full self–titled album under that name in 2010. Not long after its release, she teamed with managers Ben Mawson and Ed Millett, who helped her separate from 5 Points (rights to her recordings reverted back to her) and moved to England, where she began crafting the Lana Del Rey persona.
••  The first unveiling of Lana Del Rey arrived in 2011 via YouTube videos that quickly became a viral sensation, led by the moody, murky “Video Games” and followed by “Blue Jeans.” Much of her success was limited to the Internet but it soon started to spill over into the pop culture of the U.K. By the fall of that year, she released "Video Games” on Stranger Records, an independent division of Interscope/Polydor, in the U.K. and she won the Next Big Thing trophy at the Q Awards. Lana Del Rey’s full–fledged debut album, Born to Die, appeared to considerable anticipation in January 2012. Greeted to mixed reviews, Born to Die’s launch also suffered a setback after LDR’s halting appearance on Saturday Night Live on January 14, 2012 but that apparent stumble ultimately had the effect of raising Lana Del Rey’s profile and soon Born to Die became a steady seller. That November, LDR released the Paradise EP — at eight tracks and 33 minutes, it was essentially a mini–LP; some pressings bundled Paradise with Born to Die — which, supported by the single “Ride,” charted at ten in the U.S.
••  Throughout 2013, various singles and videos surfaced — these included a cover of Leonard Cohen’s “Chelsea Hotel #2,” as well as a cover of Lee Hazlewood’s “Summer Wine” performed with her then–boyfriend Barrie–James O’Neill — but her biggest release of the year was the new song “Young and Beautiful,” penned for Baz Luhrmann’s adaptation of The Great Gatsby. Ultimately, this single was overshadowed by Cedric Gervais’ remix of Born to Die’s “Summertime Sadness,” a remix that turned the song into her first Top Ten hit in the U.S. At the end of 2013, Lana Del Rey released a short film called Tropico, which was accompanied by an EP of the same name. All of these releases — including a cover of the Disney standard “Once Upon a Dream” for the Disney film Maleficent — kept LDR in the spotlight as she worked on her second album. Lana Del Rey hired Dan Auerbach, the leader of Ohio blues–rockers the Black Keys, to produce the majority of Ultraviolence, the sophomore set that appeared in June 2014, preceded by the singles “West Coast,” “Shades of Cool,” “Ultraviolence,” and “Brooklyn Baby.” Ultraviolence found a more receptive initial audience than Born to Die: not only were the reviews positive, so were the sales, with the album debuting at number one in both the U.S. and the U.K. Ultimately, Ultraviolence didn’t generate hits as big as Born to Die but it performed the crucial task of elevating Lana Del Rey’s critical reputation, illustrated by her selection to sing the title song for Tim Burton’s 2014 bid for an Oscar, Big Eyes.
••  Lana Del Rey wasted no time following Ultraviolence. During the first months of 2015, she worked on a third full–length album and announced a co–headlining summer 2015 tour with Courtney Love. As the summer wound to a close, Lana Del Rey announced the September release of Honeymoon, an album she said is “very different from the last one and similar to the first two, Born to Die and Paradise.” Her claim was borne out by the album’s first two singles, “High by the Beach” and “Terrence Loves You.” Honeymoon saw release on September 18, 2015.
••  http://www.allmusic.com/
Website: http://lanadelrey.com/
Discography:
••  Lana Del Ray (2010)
••  Born to Die (2012)
••  Ultraviolence (2014)
••  Honeymoon (2015)
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Lana Del Rey
Ultraviolence (January 1/June 13, 2014) [Limited Edition]

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