Norman Fucking Rockwell! (album) by Lana Del Rey
Release date: 2019-08-30
Overall rank: 4,279th
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Lana Del Rey bestography
The best album by Lana Del Rey is Born To Die which is ranked number 528 in the list of all-time albums with a total rank score of 5,152.
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The only song that really got me before was "Born to die". A couple of more tracks on that album was also good enough to stick to. Then, for me, it came nothing. A thick fog of sound. Static on TV. Sounds of something. Irritation. No inclination to stay with it. I cataloged her as a fling.
Now the air is back, the rhythm, variations, and I want to be with her music again, and enjoy her writings.
Without this site I wouldn't have put any efforts for Lana, ever again.
And compared to Weyes Blood... God, how I tried that album without feeling a thing.
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Key words: California, beach, sex, nostalgia, melancholia.
Lana Del Rey in a nutshell, right? Haven't listened to her much since the very decent Ultraviolence, but the step forward in songwriting since then is apparent. Starts off very strongly, although gets a bit tiring towards the end. I don't think it really justifies its length (and I'd say that about Venice Bitch too, which could be one of the stronger tracks).
The Greatest is Lana's finest hour however, lyrically and otherwise. A commenter below mentioned Lana's unrelatability, but I feel like here in particular, the emotions the lyrics convey are pretty universal.
And now, for a comment I never thought I'd write: Lana Del Rey has produced a genuine contender for album of the year. Mature and rich with feeling all the way through; working on the immaturity and self indulgence of her prior records. Beautiful stuff.
What a great year for music so far. Between this, Titanic Rising, Igor, Anima, Grey Area... (and so on) it's going be tough deciding what my AOTY is. Didn't listen to a lot of Lana Del Rey before this but I've always thought she had a really good voice. It was only her songwriting that held me back from diving into her albums. Most of the hits I heard from her before sounded kind of generic but man does she kill it on this album. Gonna have to take another look at her earlier work.
Best track: All
Guys, I know it's been a slow year for major label music but let's calm down a little. Yes it's very good and frankly a little surprising. Lana was already an artist who I think a lot of people anticipated had a ceiling . She definitely breaks through the ceiling - but best of the decade?? Maybe a few more listens and it could crack the top 10 for me but I'm not so hasty to herald it as the AOTY or AOTD. I read things like "It establishes her as one of America’s greatest living songwriters." thanks pitchfork.
Music is very good for the most part, Venice Bitch is awesome, a lot of really smooth songwriting on here. I've always liked her voice and it's good on here. Very well produced.
There's still a handful of duds. The sound is nothing new she is serving up what she serves up so if you didn't like her sound previously this isn't going to change that. The cover shortly after venice bitch immediately kills the immersion for me. She still can't write lyrics I care about. I still don't care about her (or her persona's) sex life.
It's good, it's got some really great moments. It's her best album and a great accomplishment. She was always an artist I liked and would defend but not really ardently. This can change that. But man review sites giving this a higher rating than In Rainbows calling it the album of the decade? I'm not there yet. Will listen some more.
This one really raises some strong feelings in me...on the one hand, there is so much compositional promise, especially in the first half of the album, that are even sometimes wonderfully executed, that really point to this as a larger than life and generation defining album. Yet, it does not live up to that promise. In particular, I find Jack Antonoff's choice of clean, spare, and club ready production to occasionally diminish the emotional impact of the songs, and at other times find the beats he is using to be very disconnected from the unique character of each song. In other words, (and I've found this across all the music he's produced) I find it hard to immerse myself in the artist's unique world when he is producing. The album slowly loses energy until literally the last three songs are just piano and vocals, not fulfilling the promise of inventiveness in early songs like "Venice Bitch". I also occasionally find Lana's worldview to be self-indulgent, certainly in a "woke" enough way (quite like Father John Misty) but enough to actually bug me quite often as I'm listening. To each their own; I will be returning for some of the lovely melodies in the first half of the album, but it's hard to envision this one is as much of a game changer as some state.
Almost certainly her best album. Upon first listen I thought this was somewhat patchy in terms of quality, with large chunks of filler packing out the gaps between the instantly great singles she dropped in the build up to the full release. The album cuts have grown on me since, although I do find it hard not to skip the meandering synth noodles of the latter half of Venice Bitch a well as the slightly grating choruses of Fuck it I Love you - a shame since this is essentially a near 10 minute stretch that I rarely have the patience for. The pacing for this album is curious too, but arguably a clever choice to front it with the chamber folk, before segwaying into trip-hop (via Sublime...) before retreating to soft rock/folk territory and of course ending on a high note with the final piano ballad. There's a lot to digest on this album in terms of both lyrics and arrangements, Lana is one of few artists who is able to transcend the distinction between sincerity and irony, sashaying between the two from line to line with the grace of batted eyelashes. This album has true depth, it sounds like the first album Lana was seriously invested in making, it sounds important to her. I'm sure I'll keep coming back to it.
I always found Lana interesting, but I was kind of let down by the last two records. Nevertheless I was expecting something big, since all the singles (especially Venice Bitch - what an amazing tune) were great. And damn, she delivered. I think the instrumentals are the best of her career, while her lyrics got sharper. There are maybe 1 or 2 tracks, that I did not enjoy that much, but the rest is pretty much amazing.
I read something the other day like: We live in a Lana Del Rey world now. And that is kind of true. The dystopian melancholy in her music has never felt so in tune with the zeitgeist, like it does now. Since the music on this is pretty great, this one could be an album, that defines the end of the 2010s. We'll see.
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