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4.6 out of 5 stars
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4.6 out of 5 stars
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on 13 November 2012
Oh how I love LDR, These extra songs are just as wonderfully thematic and atmospheric as her previous offerings. I love the way that she displays, through her vocals, a beautifully complex duel personality. Person one has the deep and dark drawl, showing us a woman who is deeply cynical, tired and numbed by previous dissappoints in life. Person two has the higher,sweeter tones. She is childlike,open and wide eyed, wanting desperately to be loved and taken care of. I may be getting a bit carried away, but I really, really love the whole album! Other Lana fans will understand.
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on 15 March 2013
"Why would you listen to her, it's just more whiny drivel, why won't you listen to this song about bitches and ho's, WHY WON'T YOU JUST BE LIKE US." And you know what, I am so happy to have her music in my life. A song for every mood. A lyric for every moment. She might not be to everybody's tastes but I personally love her. Not to mention the pure catchyness of quite a few of her songs, lolita for example. Sugary sweet but still kinda wrong. What's not to like??
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on 14 November 2012
‘The Paradise Edition’ opens with the sultry and seductive ‘Ride’. Nostalgic lyrics and haunting vocals, teamed up with a rich melancholic piano melody. Listening to this song, I’m transported to a wide stretch of the American desert, where I’m free to bask in my own self-indulgent misery, if only for a moment. This is of course, until that heart-wrenching chorus kicks in, and I’m imaging myself there, on that rope, swinging in midair, just as we see in the video for the song. This song appeals to me in ways I cannot possibly explain, and because of that… I just ride. What I find most interesting about this song is Lana’s ability to highlight what it means to feel rejected, to be someone who is just drifting through life, maybe even feeling a little crazy at times.. and then to just let it go, accept it even. That is what the chorus delivers – an overwhelming sense of freedom and comfort.

After the emotional highs and lows of ‘Ride’, I find myself drifting away into a somewhat angelic, dreamy state, as I catch myself humming along to Lana’s smoky vocals on ‘American’, the second song from ‘The Paradise Edition’. It has all the key elements of a classic, sophisticated ballad, but with that key atmospheric twist that Lana brings to her music. As I listen to this song, I’m reminded of how I felt when I first heard ‘The Lucky Ones’ from the ‘Born to Die’ record. There is a certain similarity between them, in that, they both step away from the darker side of Lana. While I honestly prefer Lana’s darker, more mysterious and melancholic tracks, I have to admit that this song definitely finds its way into my top five.

Keep in mind though, that… if you thought that the tracks from ‘Born to Die’ highlighted the dark side of Lana, ‘Gods and Monsters’ will offer you her darkest side yet. With references to God and religion, conflicts between evil and good, messages of drug/alcohol addiction. Lana ties all elements together: “Fame, liquor, love, give it to me slowly”. Despite all these rough elements, Lana still holds onto the hope that “in the lands of Gods and Monsters”…. she was an angel and that no one is going to take away her soul. It’s dark, and it’s deep, and it might make you want to shy away at times, but there is something there that draws you back in.

Although, if you’re looking to take an escape from that darker side, you just might yet. Lana finds an opportunity to get a bit playful with the new record. This can be heard in ‘Cola’ and ‘The Body Electric’, both of which explore themes of popular American culture/cultural icons, as she claims “Elvis is my daddy, Marilyn’s my mother.”

‘Bel Air’ and ‘Yayo’, seem to have been branded by many as no more than fillers, used simply to fill the space at the end of the record. Honestly, I can only imagine that these comments come from those that haven’t listened to the record in its entirety. Both songs offer haunting vocals, with chilling lyrics. I welcome the piano introduction in ‘Bel Air’ – something I think we could use more of in Lana’s music.

I have to say though, that I find ‘Yayo’ quiet difficult to listen to. It’s a very personal song, that offers up a lot about Lana’s past. Her sincerity is striking, so much so that at times it can feel as if you’re an intruder listening in on the song… as if she were singing it to someone else: “Let me put on a show for you, daddy”.

As a huge Lana Del Rey fan, myself, I truly hope that the release of ‘The Paradise Edition’ will mark a new beginning for Lana, a chance to establish herself into an industry that never fully accepted her. Accusations regarding authenticity led to a difficult start for the singer, and a perhaps misunderstood debut album.

‘The Paradise Edition’ offers so much more than I even expected of Lana. It is a collection of the same hypnotic, orchestral, atmospheric and seductive Lana tracks that we have always loved and admired… Mixed with a completely new twist. A bolder, braver, more outspoken Lana. It’s personally what I love about her. She doesn’t shy away from difficult or controversial subjects… and while she might leave you haunted, she’ll comfort and console you in the process.

If you are new to Lana, or a lifelong fan, just wanting more, either way... this record is perfection.
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I'm so much a fan of Lana Del Rey that as well as Born To Die I have listened to her little known first album and even some unreleased demos. Listening to the new CD "Paradise" I instantly recognised a new version of Yayo and the recently released Blue Velvet, but the six other songs were completely new to me. Blue Velvet, a cover song, has much of the by now verging on overused production style and sounds of the Born To Die album, the special edition of which is of course also in this 2CD jewel case. However, the other tracks thankfully have a different (if less instantly distinctive) sound to them. That was a good choice musically, as Lana's voice is distinctive enough. The subject of these songs doesn't stray very far from Lana's in-character personality, and perhaps that shouldn't surprise anyone, but it makes the thoughtful and luscious Yayo really stand out as being something different and extra special.

A mixture of playful and serious, each one telling a different story, it's hard not to listen to Lana songs without images popping into your head, but I was caught off guard by one particular lyric. I found myself, perhaps not shocked but a mixture of amused and puzzled by the first line of the new song Cola. Lana has perhaps been listening to 212 by Azealia Banks. There are a couple of songs with, shall we say, a bit of strong language on - so if that bothers you stay away, or maybe keep listening and you may change your mind. In the music equivalent of the art/pornography argument, a.k.a. I know it when I hear it, there are some uses that stand out to me as being completely inoffensive due to context. For that debate, see also Star Me Kitten by R.E.M., and equally I have to say that on the song Radio, it's not only contextually appropriate; it's actually beautiful in the context of the song. After a few listens of the songs I'm referring to on Paradise, I'm starting to think the uses here are also appropriate in context. I've actually changed this review to say that, as after first writing it I listened again and found that my opinion had changed.

Back to the main point I'm trying to get across to you here - the songs are absolutely fantastic and will be much played by me - I can't imagine anyone not feeling happier for having listened to them.

To end this review, I must tell you that I really love Lana's music, but it's a pure and platonic love, so if tomorrow you see anyone drinking Pepsi cola with an odd look on his face, as if he's trying desperately not to think of a certain line from a song in a particular context, then stop and say "hi" as it might be me.
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on 16 June 2014
A sound which is as hauntingly enchanting as it is difficult to define. Lana Del Rey is an enigma, and her music stands out as refreshingly unique and different.

The title track is truly stunning, and my other favourites include 'Off To The Races', 'Summertime Sadness' and 'Ride'.

Having said that, there wasn't a track on either of the discs of this Paradise Edition that I didn't like. Although sometimes shockingly explicit, every song has a story to tell. There is a good balance of tempo and melancholy and more cheerful tracks.

Del Rey's voice is instantly recognisable despite its fantastic range from dulcet low tones to almost child-like high pitch vulnerability.

A stunning album from one of the most interesting artists I think I've ever come across.
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on 12 July 2014
Obviously loved Video Games from early days but then supposed she was a one hit wonder. Heard the Gods & Monsters extract on the TV advert for some Eastenders plot and it was so different and heavy with atmosphere and a fine piece of character singing from the lady/ femme fatale or whatever you want to call her. Now I've got into several tracks from this great 'offer' pack. Whilst she's of her time with modern background hip hop/ trip hop or 'whatever'effects she also has another foot in the era of golden film stars and gangsters of the US. That's the 'feel' but wow the variation, the story telling and the role acting is magnificent. Great hooks and sounds .... now I've just heard another stunning track on Radio 6 Music ... missed the title but was amazed to hear it was that woman again! And then she sings a wonderful slow version of 'Once upon a dream' on the closing credits of the film Maleficent!!! Just bought that one. She really is THE LADY of the moment.
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on 12 November 2012
This paradise edition of one of the best 2012 albums is really great. I love all songs, maybe just YAYO could be more upbeat or at least sth. like Million dollar man on her BTD album. But all new songs are fresh in her own style. This album and Born to die changer my life and my taste in music so i recommend this album to everyone. Lana is not just a product, for me she is the spokesperson for her songs.
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on 12 November 2012
Lana is seriously the best artist out there at the moment. She might have gained some of her fame for all the wrong reasons, but this album proves that people are very wrong about her and that she's very misunderstood artist - but artist nevertheless. Born To Die: The Paradise Edition includes all 15 songs from the deluxe edition of Born To Die, plus 8 brand news songs. With those eight songs, Lana proves her talent in making music that's fresh to the ear, and faithful to it's preceding album Born To Die. My favorite song is Body Electric, because I think that Lana describes exactly how she feels about herself in that song. The song is very beautiful and very dramatic and it talks about how many times we lie about out true feelings, the "put a smile on your face while you're bleeding within" thing. Gods And Monsters is also very powerful song, and I think it talks about Lana's relationship with God, and her living on the wild side of life. Bel Air is also a great one, and it's last on the album because I think it gives some kind of a "hope sound" (as I like to call it), and I think it's probably the song that people here while they go towards heaven's door (if there is heaven, that is), filling us with hope that we will be reunited one way or the other with the people who mean something to us. All on all, I give this album 5 of 5, and I praise Lana Del Rey's talent and creativity. I've read somewhere that she said that she wouldn't make anymore music, and I hope that that's not true, because if she stops making music, the world will lose one of the greatest artist that ever lived!
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on 6 March 2014
Metal is my music. Progressive metal, power metal, doom metal, melodic death metal, post-metal. That's where I'm at home.

I'm also open-minded. Good music is good music, regardless of the genre. And Lana Del Rey makes excellent music. She's the only modern pop star I listen to, and am proud to admit it. Though I'm not entirely convinced in her vocal skills, she uses her voice very craftily. Where she excels is the atmosphere. "Born to Die" is drenched with a romanticized feel of the 50s (of which I as child of the late 80s know nothing about except from films) - it's all about being wild and free-spirited during the summers of our youth. And it works, wonderfully. When I'm in a nostalgic sort of mood (but not of the variety requiring a dose of doom metal) and wish for a relaxing hour or two with music, I'll put on "Born to Die".

This edition comes bundled with the "Paradise" EP which is equally as good as the full-length album, therefore get both.
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on 17 December 2012
Lana remains the only interesting artist in popular music (popular music as opposed to other more interesting genres). She represents a peculiar but fascinating conundrum. Who is she? Why is she allowed to put out such fresh and original music in this stale and tired music industry? We may never know, but we can only be grateful. And the audience is obviously there for her, despite what head honchos in the industry think we need. A track like 'Gods and Monsters' shows why she is not that easy a proposition, as she neither lives up to the pop doll ideal or the inoffensive ballad singer. Her 'character' in the song is told God is dead, and is happy with that; she is also not exactly a feminist role model, since she will do anything that moves (the character, I hasten to add). Of course her lethal weapons are her chameleon-like vocals and compulsive melodies. Bel Air is probably the most beautiful melody heard since Cocteau Twins split up, and shows her visionary gift in all its glory. One of the compelling and frustrating aspects of her lyrics is whether or not we are take her proclamations as genuine or ironic or cynical or something indefinable. When she sings, 'be young be dope be proud, like an American' is she being scornful, or patriotic? The fact that you're unsure is part of what fascinates. Blue Velvet was an obvious move, but a successful one all the same. (Congratulations to those who actually saw Lana's advert in which it featured, as it was barely shown). Cola blew me away, mainly because of Lana's operatic backing vocals, which took me by surprise, and I can only hope she does more stuff like that in the future. Personally I've always been a Coke man, but if anyone change my mind, I guess it's Lana. There's no doubt she plays around with Americana in a very calculated fashion, but it's wholly seductive nevertheless. Perhaps the British are more susceptible to this kind of thing than Americans themselves. I get the impression that listeners here have been more sympathetic than in the States, but I could be mistaken. We can only hope that she gets as much opportunity as she needs to release her music in abundance, for as long she's breathing. Where would popular music be without her? Dead.
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