By the time I got around to Lana Del Rey’s music in 2019, the singer-songwriter had long existed as a figurehead in the industry. Throughout high school, Del Rey held surefire placements on almost all of my playlists. However, in recent years, I’ve drifted away from her work– both in an attempt to explore other artists and frankly, out of confusion regarding some of Del Rey’s personal views. Now, looking at her slew of impactful albums, I feel a sense of distance-induced clarity as to her best work. Therefore, I’ve taken it upon myself to rank her 10 studio albums, excluding the unreleased, 2006 demo “Sirens” in an effort to parse through Del Rey’s extensive portfolio.
- “Chemtrails Over The Country Club” (2021)
“Chemtrails Over The Country Club” was released at a time when Del Rey’s public standing was undergoing intense scrutiny by fans and the general public alike. The year before its release, Del Rey had posted a pronouncement on Instagram that she posed as a “question for the culture,” in which the singer haphazardly voiced her thoughts on other women performers in the industry. Del Rey also faced backlash in 2020 for wearing a mesh face mask at a book signing, which led her to respond, stating her mask had “plastic on the inside.”
On the heels of the aforementioned public spectacles, Del Rey released “Chemtrails Over The Country Club.” Despite being highly anticipated, “Chemtrails” doesn’t quite hit the mark of refinement and cohesion found in the singer’s previous work. The album’s latter half leans into a contemporary folk musicality seen in “Dance Till We Die,” while the first section delivers a mixed foray into alternative pop. While I appreciate the project’s deeply personal themes and the direction Del Rey was attempting to journey, the overall work feels somewhat lackluster throughout.
Favorite tracks: “Dark But Just A Game” and “Tulsa Jesus Freak”
Least favorite track: “Yosemite”
- “Lana Del Ray” (2010)
Despite having released prior music under a variety of stage names, such as May Jailer, Sparkle Jump Rope Queen and Lizzy Grant, this release was the singer’s focal studio debut, although her moniker was spelled slightly differently at the time. The album was released digitally, but was removed from iTunes three months later and never underwent physical circulation, as the singer’s label couldn’t fund its continued sale. Del Rey ended up securing the rights to the tracks and intended to re-release the project, but didn’t end up doing so.
While the album is often ignored due to its informal and brief existence, many fans look back fondly on “Lana Del Ray” as a quaint reminder of the singer’s emergence in the music industry as a young artist. To me, the work pales in comparison to her later, more mature records, but unapologetically explores melancholic sentiments and soft sounds that Del Rey has attempted to return to in recent years.
Favorite track: “Kill Kill”
Least favorite track: “Oh Say Can You See”
- “Blue Banisters” (2021)
Del Rey announced “Blue Banisters” shortly after the release of “Chemtrails Over The Country Club,” and the project came out that same year. The record sweetly spotlights her introspective lyrics; the musician’s musings seem to have blossomed and taken on new form compared to their exposure on “Chemtrails.” When I’ve been in the mood for a delicate and ruminative assemblage of tracks, “Blue Banisters” has been a frequent favorite.
Although certain songs like “Text Book” and “Beautiful” blend into the background for me, their actuality on the record serves to bolster the project’s more attention-provoking songs. “Dealer,” which features the Last Shadow Puppet’s co-frontman Miles Kane, is a raw and experimental track that leans on its drum beat to chug along. I also admire “Living Legend” for the distinct way in which Del Rey’s voice is used to mimic an emotive and stirring guitar solo.
Favorite tracks: “Dealer,” “Thunder” and “Living Legend”
Least favorite track: “Arcadia”
- “Born To Die” (2012)
Ah, where do I even start with “Born To Die.” Regarded as Del Rey’s first large-scale, commanding project, the record’s tracklist is home to many of the singer’s most popular and commercially successful songs, including “Summertime Sadness.” As a testament to its favor, “Born To Die” became the second album by a woman to spend more than 500 weeks on the U.S. Billboard 200.
While the assertive and resounding “Radio” and “Off To The Races” make me nostalgic for the first time I heard them, “Born To Die” as a whole is steeped in rudimentary arrangements and naive sentiments. Regardless, I still hold dear Del Rey’s ascent to fame– in all of its cinematic glory and blend of sonorous beats.
Favorite tracks: “Diet Mountain Dew,” “Dark Paradise” and “Without You”
Least favorite track: “Carmen”
- “Lust For Life” (2017)
There was a time when I would’ve wholeheartedly claimed “Lust For Life” as my favorite album by Del Rey. The record navigates between bohemian, soft rock inspired by the late 1960s and inversely, hip-hop and trap influences. “Lust For Life” also gives prominence to the artists featured on its tracklist– Stevie Nicks, A$AP Rocky, Sean Ono Lennon and Playboi Carti.
As a highschooler that used to revere vintage popular culture, I adored the album’s second half, especially “When The World Was At War We Kept Dancing.” Now, I’m irrevocably drawn toward the project’s first few striking and theatrical tracks that are unmistakably Lana. Looking at the album with the clarity of a seasoned listener, I can’t help but feel that while incredibly solid melodies dwell on “Lust For Life,” its overall lack of cohesion hinders any inclination to rank it higher.
Favorite tracks: “Love,” “Groupie Love” and “Tomorrow Never Came”
Least favorite tracks: “Summer Bummer” and “In My Feelings”
- “Paradise” (2012)
“Paradise” is technically categorized as an EP continuation of Del Rey’s “Born To Die” musical era and cinematic persona. While “Paradise” focuses on many of the same themes as its sister project, to me, what sets it apart is its attention to darker lyricism and mature cultural references.
Where “Born To Die” comes across as an unrepentant jaunt through youthful idealism and harrowing ordeals, this record takes a more brooding and pensive approach while maintaining its palpitating rhythms and layered production. This stylistic route is heard in the track “Gods & Monsters,” when Del Rey proclaims, “innocence lost.” I’d also like to point out that the haunting “Yayo” was previously released as part of “Lana Del Ray,” and was re-recorded for inclusion on this album.
Favorite tracks: “Cola” and “Body Electric”
Least favorite track: “Bel Air”
- “Honeymoon” (2015)
Emerging in the form of a beautiful orchestral arrangement, “Honeymoon” takes listeners on a stroll across an Italian beach, with the moon providing the jet-black night’s only lumination. The project’s tracks effortlessly transition into one another, whether their soundwaves lap the shoreline in dramatic, resounding tones or soft lullabies.
“Art Deco” is an alluring example of Del Rey’s sonorous and electrifying ambient sound, and embraces jazz influences at parts. Conversely, “Salvatore” is the singer’s venture into a rich and romantic composition that’s sung partly in Italian. Put together, the album’s distinct, yet cohesive sounds formulate an atmospheric project that I would gladly plunge myself into any day.
Favorite tracks: “Music To Watch Boys To,” “Freak” and “The Blackest Day”
Least favorite track: “Terrence Loves You”
- “Did you know that there’s a tunnel under Ocean Blvd” (2023)
Often the brunt of the joke for its comically long title, “Did you know that there’s a tunnel under Ocean Blvd” is Del Rey’s most recent album release. Following the receptions of “Chemtrails” and “Blue Banisters” in close proximity, the singer’s newest project originally faced a vast amount of suspense and scrutiny. However, I recall loving the project when it came out, and buying the “Ocean Blvd” CD from Barnes and Noble the weekend of its release.
A perfect mix of nostalgic themes from Del Rey’s earlier work and the experimentation of an industry giant, the singer surrenders a raw authenticity and classy elegance– even when fashioning autotune effects on “Fishtail.” The album is special to me because it embraces different stages of Del Rey’s past, from her Lizzy Grant days to a refreshed adaptation of “Venice B*tch,” an acclaimed song she released in 2019. The sole reason “Ocean Blvd” hasn’t garnered a higher spot on this list is because the project can feel a little all over the place at times since it navigates between so many sounds and ideals.
Favorite tracks: “Candy Necklace,” “Let The Light In” and “Taco Truck x VB”
Least favorite track: “Peppers”
- “Ultraviolence” (2013)
While I wouldn’t classify “Ultraviolence” as Del Rey’s foremost project (we’ll get to that one shortly), it’s hands down my favorite. The singer hones in on her alternative rock sensibilities throughout the album, combining bewitching vocals with sensual guitar solos and instrumentals. Despite the fact that I first listened to its tracklist six years ago already, I will always revere “Ultraviolence” for its bold musical decisions and assortment of melancholic melodies.
Del Rey’s singing on “Shades Of Cool” articulates a resigned desire and emotive lamentations. The track ascends into a spiral that consists of a guitar solo layered atop the musician’s yearning. “F*cked My Way Up To The Top” is also notable for its reverberated production and crushing, yet lovely wall of sound.
Favorite tracks: “Brooklyn Baby,” “West Coast” and “Pretty When You Cry”
Least favorite track: “Old Money”
- “Norman F*cking Rockwell!” (2019)
“Norman F*cking Rockwell!” was snubbed at the 62nd Annual Grammy Awards. The wholly cohesive project spans some of Del Rey’s most mature and poignant songs both lyrically and in composition. The tracklist is perfectly refined, and while subdued compared to other records on this list, “NFR” is a window into the nuances of Del Rey.
Somehow, the musician’s cover of Sublime’s “Doin’ Time” was my introduction to her discography. There’s a bit of everything woven throughout “NFR,” from delicate love songs to the laborious, guitar-driven “Venice B*tch,” which tallies in at almost 10 minutes. Although I may stray from time to time into the depths of Del Rey’s avant-garde portfolio, I’ll always come back to the singer’s intricate piano tracks backed by wistful production on this album.
Favorite tracks: “Venice B*tch,” “Cinnamon Girl” and “Happiness is a butterfly”
Least favorite track: “Bartender”
