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The Unreleased Spotlight

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Day 39's song is a straight up pile of shit and I'm not even gonna try to defend it. The name of the song is Lift Your Eyes. It was recorded in 2010 with unknown production staff, though whoever they are, they should probably be subjected to some form of torture for working on this travesty of a song. This song has the most irritating little boop-ing noise in the background, which just makes everything about it seem like utter shit. The chorus is autotuned within an inch of life. Back when this song leaked in 2012, a number of people assumed that it was going to be the song given to Cheryl Cole for her third album, A Million Lights, back before we knew the title of the song she was getting. Ultimately, Cheryl was given the far superior song Ghetto Baby and turned it into a mess. It almost would've been better if she'd been given Lift Your Eyes, since it was already terrible. Anyway, it's also worth noting that Lift Your Eyes has apparently never leaked in full. What we have is just an extended snippet that has been edited a number of times to appear longer. Some think that the "full" version doesn't exist. I hope they're right.

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Day 40's song is one of my absolute favorite songs Lana's ever written, because it's full of adorable little adlibs and meaningless throwaway phrases that are just too cute too ignore. The song is Summer of Sam, a perfect little hip-hop midtempo about the infamous "Summer of Sam" in 1976, during which the Son of Sam Murders occurred. This song was recorded in 2010, once again with no known associated producers. During this song, Lana whips out references galore, many of which are dated incorrectly. She claims that the Summer of Sam and the Summer of Love were concurrent during the year 1969, despite the fact that the summers actually occurred in 1976 and 1967 respectively. It's probably for the sake of a double entendre that she makes this factual era, but it's something nice to know, nonetheless. Just give it a listen and you'll see that Lana actually does have the ability to rap, to a certain extent.

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For Day 41, we're covering a song that many people have trouble understanding or reconciling with the rest of Lana's discography. This song is Playground. Playground was first introduced to the wider fanbase last summer, when it was included on a poll of tracks that the Goldengangsta blog would potentially leak., under the name Another Lonely Day. Many people assumed that this title indicated a somewhat Last Girl On Earth-esque guitar track. When it leaked, several weeks later, many people were shocked to find that it was a pop track from 2010. This song suffers from the same unfortunate malady as the demo of Behind Closed Doors, in that it has blank spots in the instrumental, where presumably, the verses would go. It was revealed shortly after the leak that the original file from Lana's email account (where the song came from) was labeled "Playground (No Rap)". This has led to speculation that there's a final version, which features the vocals of a guest rapper. These reports, however, are completely unconfirmed. Highest probability rappers for the track are Starz Coleman (featured on Beautiful Player), Smiler (the rapper from Spender) and A$AP Rocky (who worked with Lana on Ridin' AKA My Bitch).

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Day 42 is one of the most overrated Lana songs of all time. You may think I'm kidding, but I'm totally not. This song is a histrionic, overwrought and meaningless little song with absolutely no emotion behind its creation. The song is Serial Killer (and yes, it was fully intentional to have this so close to Summer of Sam, the other song about serial killers). :creep: This song was recorded in 2011, apparently in the same session as the unreleased track known as Paradise, but unfortunately, we don't know anything about who produced either song. This song is a clichéd little mess that many people believe was good enough for Born To Die, for reasons I have never been able to fathom. This song was undoubtedly written with the album that became Born To Die in mind, but I think it's quite clear why it didn't make the cut. Even the worst songs on Born To Die are better than this shlocky mess.

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Day 42 is one of the most overrated Lana songs of all time. You may think I'm kidding, but I'm totally not. This song is a histrionic, overwrought and meaningless little song with absolutely no emotion behind its creation. The song is Serial Killer (and yes, it was fully intentional to have this so close to Summer of Sam, the other song about serial killers). :creep: This song was recorded in 2011, apparently in the same session as the unreleased track known as Paradise, but unfortunately, we don't know anything about who produced either song. This song is a clichéd little mess that many people believe was good enough for Born To Die, for reasons I have never been able to fathom. This song was undoubtedly written with the album that became Born To Die in mind, but I think it's quite clear why it didn't make the cut. Even the worst songs on Born To Die are better than this shlocky mess.

 

Serial Killer is overrated trash1

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Now for another supremely overrated track, which is seemingly everyone's favorite, regardless of their length of time stanning. The track is titled American Dream, though everyone and their mother seems to think the real title is Damn You. This is a complete falsehood, yet one that has perpetuated so deeply into the fanbase's psyche that it's inextricable. Regardless of what you think, this song's proper title is not Damn You and on nearly every registration website, Damn You is listed as merely an alternate title, rather than a full-fledged official title. This track was recorded in 2011, while Lana was working with the notorious producer Chris Braide. The pair also worked together on Million Dollar Man, Queen of Disaster, Hollywood's Dead and the famous unleaked track known merely as Roses. The best way I can describe this song is "simpering". Compared to other tracks from the Braide sessions, it seems like a major step downwards in quality. Bonus information: if you've never realized, the last ten or so seconds of the song are not completely silent. In the final five seconds, Lana whispers the phrase "Oh my god". It's unknown what context this was in or the emotion that was behind it, but some speculate that she was breaking down in tears over the song or that she was simply marveling at how "good" it was. I believe that she was actually breaking down, but rather because the song was so overwrought that she was brought to tears by the state of her career. Believe what you will. moo1

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