I translated the Inrockuptibles interview, it's quite interesting... (French and English native speakers, feel free to correct me)
1. Video Games
2. Blue Jeans
3. Born To Die
4. Diet Mountain Dew
5. Million Dollar Man
6. Radio
7. Summertime Sadness
8. Carmen
9. Off To The Races
10. This Is What Makes Us Girls
11. Lolita
12. National Anthem
Deluxe edition:
1. Video Games
2. Blue Jeans
3. Born To Die
4. Put The Radio On
5. Million Dollar Man
6. Diet Mountain Dew
7. Summertime Sadness
8. Carmen
9. Off To The Races
10. This Is What Makes Us Girls
11. Lolita
12. National Anthem
13. Without You
14. Dark Paradise
15. Hundred Dollar Bill
By the way, according to cede.ch, the complete tracklist of Born To Die is:What is your first memory of singing?
I remember myself next to my grandmother, we were singing Donnie Brasco, and for the first time I felt pleasure in singing. I’d also sing at the church, at school, everywhere… But it’s not something I work on. I have no discipline, no technique, I’ve never took any lessons. I just like to play with my voice, from the highest to the lowest pitch. When I listen to myself, the authority of my voice amazes me. It seems naïve to say that, but I love my songs, they move me to tears… When I find myself alone in the studio facing the microphone, I’m so free, capable of anything… I feel safer than anywhere else in these little “boxes” that are my songs. In life, I’m not good at many things: my only talent is to sing. In a song, I know how to express exactly what I feel, even more than in a conversation. It’s really relieving not to have to tell everything, to explain.
How do you explain to your producers the unique sound you want your songs to have?
I ask them, for example, that the chords sound like American Beauty meets Bruce Springsteen in Miami. Or I tell them “Think of a high school girl who escapes to get high."
So you are a director as much as a musician?
Director, yes, that suits me. Especially since the string arrangers that we use come all from the cinema. I’m very sensitive to the sound in a movie, I love, for example, the soundtrack of American Beauty by Thomas Newman, the soundtrack of The Godfather, of Scarcface… Movies are therapy for me. I watch them alone, always the same ones, waiting for their happy endings. They inspire me musically, in particular for the string instruments, but not for the lyrics, ‘cause these are autobiographical: I can’t borrow, can’t cheat.
Why did you create the character Lana Del Rey and abandon your real name, Elizabeth Grant?
There is no frontier, no character assigned. People call me both Lizzy and Lana. When I was younger, I was always writing. Lana was my artistic project, the band I never had. I’m progressing without a mask. Lana hasn’t given me any right, any license.
Do you work a lot?
Francis Ford Coppola once said: “If you sit at an office every day, your muse will know where to find you.” I tried, but that doesn’t work. She comes when she wants to, where she wants to. Sometimes, she abandons me for months. But I no longer fear her absence. I know she’ll come back, that a song will befall me, at once, when I don’t expect it. I don’t need a room or an office, ‘cause I have my secret route, after eight years. It starts on 59th Street, follows the docks up to Canal Street, crosses the Chinese and Italian neighborhoods, then returns by the East Side… I’ve realized that for my mind to wander I must be in movement. I’ve come across Lou Reed many times, apparently he uses the same technique! I’ve always done this, since my childhood in Lake Placid, in Upstate New York, close to the Canadian frontier. So I’d go into the forest, alone by choice… It was very isolated, mountainous, very dark, one side of it was a bit Twin Peaks. Not surprisingly I feel at home in Lynch’s movies! Since I started, my music has been described as “Lynchian”. It seems we both have dark hearts.
When did you start writing?
Very young. Poetry, then short stories, then finally songs, awful ones initially. I studied philosophy and metaphysics. This passion for words I own to my best friend Gene, my English teacher at the time. He showed me, when I was 15, the books by Jack Kerouac, Allan Ginsberg… Suddenly I no longer felt lonely, lost in my dreams. I finally knew that there were people like me, a bit weird, out of it. I really was saved by the beat poets. They opened a huge window for me, reassuring my mental health. In Lake Placid, there weren’t many people who shared my universe, so the books became my close friends. They’d tell me about New York, about people of whom I became close. I recovered this mood studying philosophy, surrounded by people who weren’t ashamed of questioning, of asking “why do we exist?” instead of “what will the weather be tomorrow?”
Why did you choose music?
When I arrived in New York, at 18, a small label offered me 10 000 dollars to make a first record. I spent one year in my bedroom on 42nd Street polishing it, producing it. It was like an outlet. I needed to purge myself of my dark ideas. The result was wonderful. But nobody listened to it, except for a few fans who have followed me ever since. It’s a very dark album, uncomfortable. I was nothing but an 18-year-old young girl, my music has matured since then, but for me there wasn’t a great change between that album and the next one: just a 6 year old black hole. But well, I won’t claim my authenticity, my credibility. Deep down I don’t even feel like a real stage singer… First of all, I’m a writer, then maybe a singer. Being on stage is against my nature, I wasn’t born an exhibitionist.
The stage, is it never a pleasure?
I’m too focused to let myself go, I’m afraid of mistakes, so I control everything. When I see images of Jeff Buckley, this extraordinary freedom, I tell myself that he really incarnates music. I don’t. I don’t let myself evade. Music was his life. I constantly think about him. Also about Elliott Smith. But I had to get rid of all of his albums, I felt a certain hostility [from them], an evil side…
Are you a dreamer?
I was when I was a child, until now, that I refuse to escape from reality, that I’ve accepted to see its beauty. I was awakened and I love this world. My music is very hazy, dreamy, so I compensate with raw lyrics rooted in everyday life. I don’t deceive. I was raised with traditional values, but since then my life hasn’t been very orthodox. I’ve always listened to my instinct, followed a complex but personal route. The only values that I keep and claim are honesty and integrity. At school, teachers quickly understood. I was free, they let me learn by myself, in my rhythm. I’ve always lived like this, in my head, asking me questions without answers. And I was afraid: of making music, of not achieving my goals.
Your life really started when you arrived in New York, at 18?
There was never a conflict with my parents. As children, even if we didn’t have many records at home, we sang all the time by ourselves. But my learning of music, on stage and on record, I’ve actually had when I arrived in New York. I discovered, at the same time, Sinatra, Dylan, Jeff Buckley, Nina Simone, Elvis, Nirvana… And I stayed there – I found happiness. Since then I’ve constantly listened to the same albums, obsessively. There’s rarely a novelty. The last one was the hip hop collective Odd Future.
Do you analyze a lot what you listen to?
I don’t analyze anything, my brain filters things in a natural way. That doesn’t serves me musically anyway. Other people’s music doesn’t inspire me for mine. Besides, I’m quite unable of describing my music, its influences. It’s just… too weird. I like it when me and my songs are one, I felt that when I wrote Video Games. Then I wrote Blue Jeans very quickly at the beach in Santa Monica, and there I knew that that would be the vibe of the album: summery and dark at the same time, the joy of the summer light and the sureness that it wouldn’t last. I immediately knew that Video Games would be an important song for me, it gave a sequel to Yayo, my first record’s last song that I loved. But I never imagined it would become so popular – it’s too long, too personal.
Like in all of your songs, this mixture of cerebral and animal…
(She interrupts)... Yeah it’s exactly that. Even though I’ve spent most of my life confined in my head, I’m haunted by physical pleasure. I love Born To Die because of this: in its arms, I feel the passion of my lover, a true neurological metamorphosis. It feels really good to escape from my mental reality. I like to juxtapose this feeling of ecstasy with this fixed idea that everything will end with death… I don’t know any combination better than animal and cerebral.
1. Video Games
2. Blue Jeans
3. Born To Die
4. Diet Mountain Dew
5. Million Dollar Man
6. Radio
7. Summertime Sadness
8. Carmen
9. Off To The Races
10. This Is What Makes Us Girls
11. Lolita
12. National Anthem
Deluxe edition:
1. Video Games
2. Blue Jeans
3. Born To Die
4. Put The Radio On
5. Million Dollar Man
6. Diet Mountain Dew
7. Summertime Sadness
8. Carmen
9. Off To The Races
10. This Is What Makes Us Girls
11. Lolita
12. National Anthem
13. Without You
14. Dark Paradise
15. Hundred Dollar Bill
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