>>127125732 (OP)A+ ("an organically conceived masterpiece that repays prolonged listening with new excitement and insight")
>Ultraviolence>Did You Know That There's a Tunnel Under Ocean BlvdA ("a great record [...] whose sides offer enduring pleasure and surprise")
>Born to Die>Norman Fucking Rockwell!A- ("a very good record")
>ParadiseB+ ("a good record")
>Honeymoon>Blue BanistersB ("an admirable effort")
>Lana Del Ray A.K.A. Lizzy GrantB- ("a competent or mildly interesting record")
>Chemtrails Over the Country ClubC+ ("a not disreputable performance, most likely a failed experiment")
>Lust for LifeC- ("a basically honest but quite incompetent stab at something more")
>Violet Bent Backwards Over the GrassHer non-album tracks vary in merit. While a few essential cuts are scattered across soundtracks and singles ("Young and Beautiful", "I Can Fly", "Say Yes to Heaven") and she occasionally turns in an inspired cover ("Buddy's Rendezvous", "Blue Skies"), they're barely enough to fill a single LP. Of her many collaborations, only Emile Haynie's "Wait for Life" (on which she--not coincidentally--is the sole vocalist) and the two versions of Bobby Womack's "Dayglo Reflection" truly warrant mention; the latter song suggests an alternate, slightly more adventurous path one wishes the artist had pursued instead of the perfunctory or slapdash guest spots with unremarkable singer-songwriters and fellow pop stars that now litter her otherwise fine catalog.
Over the course of her triumphant stride across the popular music landscape, Lana has left a massive, twenty-year trail of outtakes, demos, and discarded versions in her wake. Any diligent prospector will turn up gems here as well, but this shadow repertoire is simply too vast and disorganized to interrogate in any meaningful way (at least in this post, which is rapidly approaching the character limit).