Lana Del Rey burst onto the music scene in 2011 with her haunting single “Video Games,” quickly followed by her seminal 2012 album, Born to Die. Her self-described “gangster Nancy Sinatra” persona and unique musical blend – a fusion of torch songs, trip-hop rhythms, and classic 60s pop – immediately set her apart from the prevailing glossy pop trends of the early 2010s. Throughout her evolving career, Lana Del Rey has solidified her position as a true visionary artist. Her albums, increasingly ambitious and rich in sonic texture, are packed with exceptional songs. These tracks delve into her distinctive vision of Americana, bravely exploring the darker, more obscure corners of human relationships that many artists shy away from.
For her devoted fanbase, Lana Del Rey is more than just a musician; she’s an icon, a voice for the misunderstood. Beyond this deep personal connection, Del Rey’s signature baroque, retro-pop aesthetic, intense lyrical intimacy, and unflinchingly honest songwriting have profoundly impacted the landscape of pop music over the last decade.
In celebration of her ninth studio album, Did You Know That There’s a Tunnel Under Ocean Blvd, we present a definitive ranking of her 50 best songs. This list spans her modern classics, hidden gems, and even an unreleased track that continues to captivate listeners.
Hear this playlist on Spotify.
50. ‘Heroin’
Lana Del Rey performing live, bathed in stage lights, highlighting her melancholic stage presence.
“Heroin,” Lana Del Rey’s personal favorite from Lust for Life, is perhaps her most heart-wrenching recording. Layered with references to Charles Manson and Mötley Crüe, the song features a haunting chorus and is widely speculated to be about Del Rey’s former boyfriend, Rob Dubuss, who tragically passed away from a heroin overdose in 2011. “I’m flyin’ to the moon again, dreamin’ about heroin/How it gave you everything and took your life away,” she sings in the opening chorus. In the song’s subsequent refrain, she shifts the focus inward, expressing a longing for personal transformation: “I hope that I come back one day/To tell you that I really changed, baby.” —T.M.
49. ‘Chemtrails Over the Country Club’
Lana Del Rey in a vintage-inspired car, embodying Americana aesthetic, from the Chemtrails Over the Country Club music video.
“Chemtrails Over the Country Club” immerses listeners in Lana Del Rey’s stylized vision of contemporary American life. The lyrics depict scenes of swimming pools, sports cars, coffee breaks, laundry days, hair washing, and astrological inquiries. “It’s beautiful how this deep normality settles down over me,” she observes, highlighting a desire for comforting routine. This yearning for normalcy, coupled with cherished moments spent with friends and family, inspired her to choose “Chemtrails” as the title track of her seventh album. As she explained in a 2020 interview, the song “mentions wanting so much to be normal, and realizing that when you have an overactive, eccentric mind, a record like Chemtrails is just what you’re going to get.” —A.M.
48. ‘Get Free’
Lana Del Rey performing live in a flowing white dress, radiating freedom and optimism on stage.
“Get Free” embodies the optimistic and transformative spirit of Lana Del Rey’s 2017 album, Lust for Life. It reflects her commitment to personal evolution, embracing a positive outlook, and moving “out of the black and into the blue.” In live performances, Del Rey has mentioned that she envisioned Amy Winehouse and Whitney Houston while writing “Get Free.” She described the song to NPR as being “about people who don’t get to reach their full potential because they let controlling people stop them from being free.” The song concludes with a tranquil outro featuring the sounds of ocean waves and seagulls, offering a hopeful resolution to the album. —T.M.
47. ‘Terrence Loves You’
Close-up of Lana Del Rey with retro makeup, evoking classic Hollywood glamour and a sense of longing.
“Terrence Loves You” stands out as Lana Del Rey’s personal favorite from her album Honeymoon. She describes it simply as “jazzy,” highlighting its stylistic departure. The song is steeped in Hollywood mythology, particularly drawing inspiration from David Bowie’s 1970s Los Angeles era – a period of Diamond Dogs and Station to Station, when Bowie embodied the quintessential cracked Hollywood icon. Del Rey mourns a distant lover, echoing Bowie’s “Space Oddity” with the line, “Ground control to Major Tom!” (Terrence was Bowie’s elder brother, who significantly influenced him and passed away the year Lana was born). The song resonates as a deeply personal creation. As she sings, “I lost myself when I lost you/And I still get trashed, darling, when I hear your tunes,” the depth of her emotional connection is palpable. —R.S.
46. ‘Dark Paradise’
Lana Del Rey in a pensive pose, embodying the melancholic and cinematic atmosphere of "Dark Paradise".
In 2012, the pop music landscape was dominated by upbeat and vibrant sounds, a stark contrast to the dark and introspective mood Lana Del Rey brought with Born to Die. This album defied genre conventions and became a defining influence on pop music for the decade to follow. While “Dark Paradise” was arguably the album’s least commercially successful single, it became an anthem for the Tumblr generation. Its unique blend of heavy drums and dramatic violins created a dissonant yet captivating sound. For teenagers navigating the complexities of sadness and isolation on platforms like Tumblr, Lana Del Rey’s voice, crooning “I wish I was dead,” resonated deeply, establishing her as a queen of melancholic pop. —M.G.
45. ‘Blue Banisters’
Lana Del Rey in a natural setting, reflecting the themes of female friendship and resilience in "Blue Banisters".
“Blue Banisters” is among Lana Del Rey’s most emotionally resonant songs, celebrating the enduring power of female friendship as a constant in her life amidst fleeting romantic relationships. When a lover fails to “come back every May/Just to help me paint my banisters blue,” it’s the women in Del Rey’s life – Nikki Lane, her close friend Jenny, and her sister Chuck – who step in to repaint her blues with shades of green and gray. While Del Rey had already established herself as a compelling lyricist, “Blue Banisters” showcases her exceptional talent as a storyteller, weaving personal experiences into universal themes of support and resilience. —C.S.
44. ‘Peppers’
Lana Del Rey in a concert setting, capturing her modern Americana persona and musical style.
Lana Del Rey’s “Peppers,” an homage to fellow Americana mythologists the Red Hot Chili Peppers, is a hazy portrayal of romantic hedonism, drawing inspiration from Canadian MC Tommy Genesis’s 2015 track “Angelina.” Images of late-night truck rides and positive COVID tests drift over a minimalist backdrop reminiscent of G-funk submerged in a motel swimming pool. The song’s eventual shift into a surfer rave-up feels almost inevitable, with Del Rey using the faded glamour of America’s golden age to illuminate its worn, yet romantically enduring, present. –M.J.
43. ‘Body Electric’
Lana Del Rey in an ethereal pose, embodying the mythical and Eden-like imagery of "Body Electric".
“Elvis is my daddy/Marilyn is my lover/Jesus is my bestest friend” might seem like a self-parody of early Lana Del Rey lyrics, especially juxtaposed with a Walt Whitman poem title and the phrase “drop it like it’s hot.” Yet, this very boldness is what made “Body Electric” a standout track on the Paradise EP and a long-standing fan favorite in Del Rey’s catalog. It also provides the soundtrack for one of the most iconic scenes in her Tropico short film, where she portrays Eve alongside Shaun Ross’s Adam in a technicolor rendition of Eden. —C.S.
42. ‘Black Beauty’
Lana Del Rey in a classic black and white portrait, reflecting the vintage and melancholic themes of "Black Beauty".
Lana Del Rey is known for portraying the melancholic lover in her music, but “Black Beauty” subverts this expectation. It’s an ode to a partner whose inner darkness prevents him from appreciating the beauty in the world around him. “Oh, what can I do?/Life is beautiful, but you don’t have a clue,” she laments in the chorus. Despite the song’s somber themes and Hitchcockian imagery of Del Rey altering her appearance to match her partner’s mood, a subtle undercurrent of optimism persists. Del Rey attempts, perhaps futilely, to share her own “lust for life” with another. —C.S.
41. ‘Did you know that there’s a tunnel under Ocean Blvd’
Lana Del Rey in a reflective pose, hinting at the themes of memory and California in "Did you know that there’s a tunnel under Ocean Blvd".
Lana Del Rey’s deep connection to California often overshadows her New York roots. However, outsiders often possess a unique ability to distill the beauty and brutality of the Golden State into something deeply personal and authentic. The titular tunnel under Ocean Boulevard, closed since 1967 and left to decay, serves as a potent symbol. It could easily feel cliché, yet Del Rey’s interpretation elevates it. In her hands, the tunnel becomes the anchor for a mesmerizing ballad about the profound human desire to be seen and remembered. —J.B.
40. ‘Serial Killer’
Lana Del Rey in a glamorous, vintage style, suggestive of the dark romance in "Serial Killer".
The vast collection of leaked, unreleased Lana Del Rey songs online could easily fill five albums. “Serial Killer,” originally intended for her debut Born to Die, stands out as one of the strongest and is among the few she has performed live. It reaches a peak with an unforgettable mid-song moan. While “Serial Killer” is the only unreleased track on this list, many others are worth exploring, including the dreamy TikTok favorite “Queen of Disaster,” the A$AP Rocky collaboration “Ridin’,” and the upbeat, 80s-inspired “BBM Baby.” —T.M.
39. ‘Grandfather please stand on the shoulders of my father while he’s deep‐sea fishing’
Lana Del Rey in an introspective moment, reflecting the personal and vulnerable nature of "Grandfather…".
Throughout Did you know that there’s a tunnel under Ocean Blvd, Lana Del Rey explores the interplay between her lived experiences and her constructed mythology. “Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” directly addresses critics who have scrutinized her perceived dualities and contradictions. Del Rey defends her “good intentions” and portrays herself as a “fallible deity” against a ghostly piano sample from modern classical composer RIOPY’s 2019 track “Flo.” The combination of the music-box-like instrumental and Del Rey’s upper vocal register creates an intimate, late-night atmosphere, capturing the singer-songwriter at her most vulnerable and introspective. –M.J.
38. ‘Chelsea Hotel No. 2’
Lana Del Rey performing a Leonard Cohen cover, paying homage to his influence on her music.
Lana Del Rey is a devoted Leonard Cohen admirer. “I’d be lying if I said it didn’t kind of break my heart that I never got to tell you how much you changed me,” she wrote after the legendary singer-songwriter’s passing in 2016. In 2013, she delivered a haunting rendition of Cohen’s classic 1974 song “Chelsea Hotel No. 2.” In the accompanying video, she embodies the spirit of Andy Warhol’s Chelsea girls. Since Cohen’s death, Del Rey has continued to honor his legacy by performing “Chelsea Hotel No. 2” alongside Cohen’s son, Adam Cohen. —M.G.
37. ‘Fuck It I Love You’
Lana Del Rey in a desert landscape, evoking the raw emotion and desperation in "Fuck It I Love You".
The palpable desperation in Lana Del Rey’s voice on “Fuck It I Love You” makes it a standout track on Norman Fucking Rockwell!. Throughout the song, her intense need to express profound love is evident. She rap-sings the pre-chorus over a subtle drumbeat, confessing, “Wish that you would hold me or just say that you were mine.” She’s willing to engage in self-deception to achieve fleeting moments of satisfaction, referencing California pop classics like the Mamas and the Papas’ “Dream a Little Dream of Me” and “California Dreamin’.” —T.M.
36. ‘Beautiful People Beautiful Problems’ feat. Stevie Nicks
Lana Del Rey and Stevie Nicks performing together, highlighting their rock collaboration on "Beautiful People…".
The collaboration between Lana Del Rey and Stevie Nicks on “Beautiful People Beautiful Problems” is a match made in rock and roll heaven. This duet celebrates the complexities of love in a way only these two artists can. Del Rey references her own “Video Games” in the opening verse, lamenting simpler times while embracing a love that feels genuine. Nicks joins in, portraying a romance with a working-class man. “My heart is soft, my past is rough,” Nicks sings, a line that could fit seamlessly into her solo work. Together, they question if their love is “wasted love” before resolving to persevere. The song also includes references to blue and green, potentially a deliberate nod to the “blue-green colors flashing” in Nicks’ Fleetwood Mac classic “Silver Springs.” —B.S.
35. ‘The Blackest Day’
Lana Del Rey in a state of desolation, capturing the heartbreak and sorrow in "The Blackest Day".
“The Blackest Day,” nestled towards the end of Honeymoon, captures Lana Del Rey in profound despair after a breakup. The song opens with a scene-setting verse before she confesses, “ever since my baby went away, it’s been the blackest day.” Over an orchestral backdrop, she attempts to create a fantasy where, momentarily, things are alright. The bridge reveals Del Rey’s anger, showing a willingness to play mind games with her former lover. By the song’s conclusion, she reaches the final stage of grief: acceptance. “I’m on my own again,” she repeats, submerged in sorrow. —T.M.
34. ‘Pretty When You Cry’
Lana Del Rey in a raw, emotional performance, reflecting the improvisational nature of "Pretty When You Cry".
“Pretty When You Cry” is one of Lana Del Rey’s most unfiltered moments on Ultraviolence. The lyrics were improvised spontaneously while guitarist Blake Stranathan played. “The way you heard it recorded is the way I freestyled it,” she told NPR. Her voice cracks with raw emotion as she sings, “All those special times I spent with you, my love/They don’t mean shit compared to all your drugs.” This imperfect, shaky vocal delivery enhances the song’s authenticity. As she explained, “The fact that I didn’t go back and try to sing it better is really the story of that song.” —R.S.
33. ‘Love’
Lana Del Rey in a dreamy, nostalgic setting, embodying the youthful romance in "Love".
A cinematic overture and a strong sense of nostalgia immediately signal that “Love” is a standout Lana Del Rey track. In this dreamy ballad, she delivers a straightforward message about the sacred innocence of young love. Unlike some of her darker works, “Love” abandons the victim narrative, focusing instead on the boundless possibilities that emerge from dramatic romance. —I.K.
32. ‘Cinnamon Girl’
Lana Del Rey in a contemplative pose, reflecting the themes of toxic relationships and tenderness in "Cinnamon Girl".
Lana Del Rey’s discography is replete with songs exploring the push and pull of toxic relationships, and “Cinnamon Girl” from Norman Fucking Rockwell! zeroes in on the crushing devastation that accompanies such dynamics. Despite the chaos of her relationship with a drug-addicted lover, a profound tenderness emerges. Even with the barrier of addiction between them, a lingering hope persists that her lover will truly see her: “Hold me, love me, touch me, honey/Be the first who ever did.” —I.K.
31. ‘Salvatore’
Lana Del Rey in a vintage Italian setting, evoking the old-world romance of "Salvatore".
“Salvatore” tells the timeless love story between a woman and her ice cream man. She rides in limousines with an Italian signore who fulfills her desires: sex, death, and “soft ice creams.” “It has a little bit of an old-world Italian feel,” Del Rey explained to the BBC. “It’s filmic.” This Neapolitan-style ballad features Lana sighing, “Ciao, amore,” to her Salvatore, interspersed with moments of enjoying soft-serve ice cream. “Catch me if you can, working on my tan,” Lana croons. “Dying by the hand of a foreign man happily.” —R.S.
30. ‘This Is What Makes Us Girls’
Lana Del Rey with a group of girls, capturing the themes of girlhood and youthful struggles in "This Is What Makes Us Girls".
“This Is What Makes Us Girls” is a prime example of Lana Del Rey’s storytelling prowess. The song unpacks her experiences with teenage addiction in New York, using vivid imagery like Pabst Blue Ribbon beers on ice and her friend’s “Bambi eyes” to critique American girlhood. The symphonic quality of the track enhances the narrative, creating a cinematic reel of the former Lizzy Grant’s troubled past, punctuated by crashing cymbals and tantalizing strings in each verse. —M.G.
29. ‘Shades of Cool’
Lana Del Rey in a dimly lit, smoky setting, embodying the bluesy and mysterious atmosphere of "Shades of Cool".
Some Lana Del Rey songs feel like they were written by a ghost, but “Shades Of Cool” sounds like it was composed by someone ascending to heaven. A bluesy, candlelit vigil for an uncertain lover, the track achieves transcendence in its chorus, where Del Rey’s angelic soprano soars. Eventually, resignation replaces reunion, and Lana cries out with a sense of sovereignty: “But you/Are unfixable.” The song’s passionate bridge suggests that, for one more night, nothing needs to be fixed. —C.P.
28. ‘Gods & Monsters’
Lana Del Rey in a gothic, cinematic scene, reflecting the themes of innocence and corruption in "Gods & Monsters".
“Gods and Monsters” is Lana Del Rey’s commentary on entering the “garden of evil” of Los Angeles after the release and success of her debut album, Born to Die. Featured in her visually stunning short film Tropico, the song shares the orchestral-pop backing of much of BTD, with lyrics referencing her lost innocence: “I was an angel looking to get fucked hard.” Jessica Lange also gave the song a new dimension with a haunting cover in American Horror Story: Freak Show in 2014. —T.M.
27. ‘Honeymoon’
Lana Del Rey in a vintage car, embodying the cinematic and Lynchian qualities of "Honeymoon".
The title track and opener of Lana Del Rey’s underrated third album, Honeymoon, is one of her most cinematic songs. It utilizes sweeping strings and layered vocals across nearly six minutes. This is Del Rey at her most Lynchian – dreamy and seductive, yet simultaneously tortured and eerie. “Our honeymoon, our honeymoon/Say you want me, too,” she repeats, like a ghost haunting the Chateau Marmont. She even adds jazzy scatting at the end, a film-noir cherry on top. —C.S.
26. ‘Radio’
Lana Del Rey performing with vintage microphones, capturing the retro sound of "Radio".
“Radio” is a rare, joyful gem amidst the melancholy of Del Rey’s debut. Reflecting on her journey to success, she showcases her vocal range, conveying the warmth of the “paradise” she has found. Her syrupy voice and confident swagger deliver clever lines like “Lick me up and take me like a vitamin/’Cause my body’s sweet like sugar venom” over the crackling static of an old radio. This song perfectly channels her self-proclaimed “gangsta Nancy Sinatra” persona. —M.G.
25. ‘Fucked My Way Up to the Top’
Album art for Ultraviolence, symbolizing the defiant and provocative nature of "Fucked My Way Up to the Top".
For women in the arts, accusations of trading sexual favors for success are unfortunately common. Early in her career, Lana Del Rey faced accusations of being an industry plant. In “Fucked My Way Up to the Top” from Ultraviolence, she directly addresses these detractors, giving them exactly what they wanted to hear, but with her signature tongue-in-cheek irony. She isn’t confessing to anything; she’s sneering at the naysayers while showcasing her exceptional musical talent. Lazy and languorous, Del Rey’s vocals are a pillow-whisper that builds to a crashing crescendo, proving that this is indeed her show. —B.E.
24. ‘Freak’
Lana Del Rey in a 70s-inspired West Coast scene, embodying the "Endless Summer" fantasy of "Freak".
Lana Del Rey described “Freak” from Honeymoon as “very sexy,” fully embracing her 1970s West Coast Endless Summer fantasy. In the song, she invites her “easy rider” to California, where they can be “freaks” together by the ocean. She promises, “We could slow dance to rock music/Kiss while we do it/Talk till we both turn blue.” Her spaced-out vocals make kissing sound like a taboo, almost kinky act reserved for the “freakiest of freaks.” She also directed the trippy music video, joining a sex cult to worship at the feet of guru Father John Misty. —R.S.
23. ‘Cruel World’
Lana Del Rey in a chaotic, yet beautiful setting, reflecting the lyrical juxtaposition in "Cruel World".
The lyrical chaos of “Cruel World” sets the stage for the dark beauty of Ultraviolence. The song begins softly with Del Rey admitting, “it’s all over now,” before transitioning into a bass-heavy chorus featuring one of her most unforgettable lines: “Because you’re young, you’re wild, you’re free … you’re fucking crazy.” Del Rey’s sadness permeates this Ultraviolence standout. “The juxtaposition of those two worlds, the peaceful beginning and the chaotic chorus, it summed up my personal circumstances of everything going easily and then everything being fucked up,” Del Rey told Clash magazine. “It felt like me.” —T.M.
22. ‘Happiness Is a Butterfly’
Lana Del Rey in a serene, butterfly-themed setting, visualizing the delicate search for happiness in "Happiness Is a Butterfly".
Lana Del Rey’s song title originates from an 1848 quote in the New Orleans Daily Crescent: “Happiness is a butterfly, which when pursued, is always just beyond your grasp, but which, if you will sit down quietly, may alight upon you.” Despite internet rumors attributing the quote to Nathaniel Hawthorne or Henry David Thoreau, they did not write it. Lana seeks her “butterfly” in the eyes of a charming Hollywood bartender, accompanied by Jack Antonoff’s piano. Though unfamiliar with him, she questions, “If he’s a serial killer, then what’s the worst that can happen/To a girl who’s already hurt?” —R.S.
21. ‘Cola’
Lana Del Rey holding a vintage soda bottle, hinting at the provocative lyrics of "Cola".
What more can be said about a song that opens with the lyric, “My pussy tastes like Pepsi Cola?” It’s a lyric that’s hard to surpass in terms of shock value. Del Rey sings from the perspective of a delicate, alluring starlet seducing an older man whose “wife wouldn’t mind.” Due to pre-chorus references to Harvey Weinstein — “Harvey’s in the sky with diamonds and he’s making me crazy” — she stopped performing the song after sexual abuse allegations against the film producer became public. “Obviously, I don’t feel comfortable with it now,” she told MTV in 2017. —T.M.
20. ‘Music to Watch Boys To’
Lana Del Rey in a black and white, noir-inspired scene, embodying the siren-like persona in "Music to Watch Boys To".
In “Music to Watch Boys To,” Lana Del Rey embodies a mythical siren with languid vocals and an eerie flute melody. The song could easily soundtrack a noir film, which Del Rey essentially recreates in the accompanying black-and-white music video. However, the song’s strength lies in its lyrics, which can be seen as a mature evolution of “This Is What Makes Us Girls.” The older, wiser Lana asserts her power with striking lines like “Play ’em like guitars, only one of my toys” and reminds listeners of her siren identity: “I was sent to destroy.” —M.G.
19. ‘Summertime Sadness’
Lana Del Rey in a vintage summer setting, evoking the wistful nostalgia of "Summertime Sadness".
“Summertime Sadness” is undeniably one of Lana Del Rey’s most iconic songs. It evokes a poignant longing for the fleeting invincibility of an intensely passionate yet doomed romance. The track features the cinematic Americana overtones that are hallmarks of her work – picturing Del Rey and her lover driving carefree down the Pacific Coast Highway, wind in their hair. This song encapsulates the essence of Del Rey’s captivating artistry. Its popularity led to a club remix that became inescapable, further cementing its iconic status. —I.K.
18. ‘Cherry’
Lana Del Rey with cherries, symbolizing the moody, sexy, and dangerous relationship in "Cherry".
The melody of “Cherry” mirrors the tumultuous relationship it describes: moody, sexy, and dangerous. “A touch from your real love is like heaven taking the place of something evil and letting it burn off from the rush,” Del Rey sings over rich strings and haunting trap drums. Ultimately, melancholy prevails, and the relationship is destined to fail. Yet, the song remains a standout from her 2017 album, Lust for Life. —I.K.
17. ‘Blue Jeans’
Lana Del Rey in a pool, embodying the tragic romance and Americana themes of "Blue Jeans".
With the 2012 trip-hop ballad “Blue Jeans,” Lana Del Rey suggests that a romance ending in tragedy can be more glamorous than a happy ending. The song’s subject, a James Dean-esque figure with a cowboy’s restless energy, embodies American ideals. His larger-than-life presence is conveyed through languid surf-rock guitar. Bringing these classic archetypes into the rap-dominated 2010s, she positions herself as a hip-hop lover who romanticizes this “gangster” figure, calling him “so fresh to death.” Her pledge of fidelity to this absent lover demonstrates how intense heartache can fuel even more intense devotion. —M.H.K.
16. ‘Ultraviolence’
Lana Del Rey in a wedding dress, symbolizing the dark and abusive themes in "Ultraviolence".
Like much of her sophomore album, “Ultraviolence” delves into the depths of a physically abusive relationship. Del Rey sings, “He hit me, but it felt like a kiss,” then adds, “He hurt me, but it felt like true love.” Accompanied by sorrowful violins, the track portrays Del Rey’s willingness to follow her “cult leader” partner to the end. While criticized for seemingly “glorifying” domestic violence, Del Rey clarified in a 2020 letter that she is “just a glamorous person singing about the realities of what we are all now seeing are very prevalent emotionally abusive relationships all around the world.” The song stands as one of her most harrowing depictions of this reality. —T.M.
15. ‘A&W’
Album art for Did you know that there's a tunnel under Ocean Blvd, representing the expansive and journey-like nature of "A&W".
“A&W,” the second single from Ocean Blvd, is a seven-minute epic that encapsulates Lana Del Rey’s musical and life journey in a Lynchian style. The first half is a folk saga, recounting her life’s struggles, from her complex relationship with her mother to criticisms of her image and romantic entanglements that leave her feeling like “a sidepiece at 33.” Her “experience of being an American whore” escalates into a sexy, psychedelic trap outro where she sings about a character named Jimmy who treats her like a drug. She delivers a uniquely Lana Del Rey threat: “Your mom called/I told her/You’re fuckin’ up big time.” —B.S.
14. ‘National Anthem’
Lana Del Rey as Marilyn Monroe and A$AP Rocky as JFK in the "National Anthem" music video, symbolizing forbidden love and power dynamics.
In “National Anthem,” Lana Del Rey takes on the persona of the “other woman” triumphing in a love triangle, reveling in her power as the victor. “Boy, put your hands up/Give me a standing ovation,” she demands, celebrating her luxurious lifestyle. The song’s music video depicts a fan-fiction romance between John F. Kennedy (played by A$AP Rocky) and Marilyn Monroe (played by Del Rey). “It’s a love story for the new age/For the sixth page/We’re on a quick, sick rampage,” Del Rey sings. Marilyn becomes the new Jackie, but JFK’s fate remains unchanged. —T.M.
13. ‘Young and Beautiful’
Lana Del Rey from the "Young and Beautiful" music video, evoking the tragic heroine and Gatsby-era glamour.
As the standout track from Baz Luhrmann’s 2013 film The Great Gatsby, “Young and Beautiful” is a lush string ballad that casts Lana Del Rey as a tragic heroine mirroring Daisy Buchanan in the opulent setting of East Egg. She questions whether her romance is based on youth, power, and wealth, or if it’s destined by fate. “Will you still love me when I’m young and beautiful?” she wonders with a dreamy lilt. Despite her hushed declaration “I know you will,” she already seems to know the answer, clinging to false hope. —I.K.
12. ‘Mariners Apartment Complex’
Lana Del Rey in a pensive, self-reflective pose, representing the self-portrait nature of "Mariners Apartment Complex".
Misconceptions and projections have always been central to Lana Del Rey’s public image, and “Mariners Apartment Complex” dismantles these. She twists Elton John’s iconic line, declaring, “I ain’t no candle in the wind.” Withering and ruthless, Lana then opens herself up, flaws and all, extending a hand and singing, “Baby, baby, baby, I’m your man.” Set against production that traverses sunny, gritty, psychedelic California landscapes, “Mariners” feels like a pristine self-portrait: vivid and vulnerable, graceful with a hint of bite, and adorned with Anthony Kiedis’s best line in years, “Catch a wave and take in the sweetness.” —J.B.
11. ‘hope is a dangerous thing for a woman like me to have– but I have it’
Lana Del Rey in a minimalist, black and white setting, reflecting the stripped-back vulnerability of "hope is a dangerous thing…".
While Lana Del Rey often uses personas in her music to create larger-than-life figures, “hope is a dangerous thing for a woman like me to have– but I have it” invokes Sylvia Plath as a muse. This stripped-back ballad paints a raw portrait of her depression and struggles with fame. Accompanied by sparse, muted piano, Lana is somber as she laments the confusion of being “a modern-day woman,” her voice wavering as she sings of being a “goddamn sociopath” in the chorus. Her voice softens when she admits she still has hope – for herself and for the world – in what is her most vulnerable confession. —M.H.K.
10. ‘Born to Die’
Lana Del Rey in a regal, melancholic pose from the "Born to Die" music video, defining her early aesthetic.
The title track of Lana Del Rey’s major-label debut, “Born to Die,” is a bold declaration that encapsulates much of her early music. It’s a melodramatic tribute to self-proclaimed “insane” girls and the potentially toxic men who love them. A theatrical, trip-hop infused track with flourishes of strings and a staggering beat, it’s as dour as her love songs, bracing for tragedy amidst passion: “Oh, my heart it breaks/Every step that I take/But I’m hoping at the gates/They’ll tell me that you’re mine.” The music video set her visual aesthetic for years: a flower-crown-wearing Del Rey on a French palace throne, interspersed with shots of her and a tattooed lover embracing before their relationship descends into a fiery, bloody mess. —B.S.
9. ‘Venice Bitch’
Lana Del Rey in a hazy, psychedelic setting, embodying the experimental and dreamy nature of "Venice Bitch".
“Venice Bitch” is Lana Del Rey’s most experimental work, a 10-minute odyssey into her hazy consciousness where she longs for love while revisiting her Born to Die-era Americana (“You’re beautiful and I’m insane/We’re American made”). Alongside Jack Antonoff, she experiments with strings, distortion, and “Crimson and Clover” influences. The psychedelic pop outro could be an outtake from a 60s compilation like Nuggets, but only Del Rey could deliver a mystical line like “If you weren’t mine, I’d be jealous of your love.” If “All Too Well” is for autumn, “Venice Bitch” is for summer, especially on those late nights when you’re fresh out of fucks forever. —A.M.
8. ‘Brooklyn Baby’
Lana Del Rey with a guitar, representing the hipster Brooklyn satire in "Brooklyn Baby".
Lana Del Rey satirizes hipster Brooklyn in “Brooklyn Baby” from Ultraviolence. The dreamy, guitar-driven track features a protagonist bragging about her ultra-cool life, jazz collection, 70s nostalgia, and musician boyfriend. The lyrics are some of Del Rey’s most humorous, bordering on satire. The final section is a highlight, with her delicate vocals perfectly paired with Seth Kauffman’s gravelly delivery. Kauffman capably replaced Lou Reed, the original intended male vocalist, who sadly passed away the day Del Rey arrived in NYC to record with him. With an early nod to Reed in the lyrics, “Brooklyn Baby” becomes a poignant tribute. —B.S.
7. ‘High by the Beach’
Lana Del Rey by the beach, embodying the escapism and bitter kiss-offs in "High by the Beach".
Given Lana Del Rey’s affinity for gauzy sounds and West Coast aesthetics, it’s unsurprising that seaside marijuana use is her go-to escape. But instead of fully descending into psychedelic dreamland as in other Honeymoon tracks, “High by the Beach” is driven by a trap-inspired beat. This anxious edginess underscores Lana’s bitter farewells to an ex-lover. Detachedly singing about financial independence and finding a fresh start through revenge, Lana commits to blowing away her past like a puff of smoke. —M.H.K.
6. ‘Ride’
Lana Del Rey riding a motorcycle, embodying the Americana escape and Lolita story in "Ride".
No one embraces small-town Americana escape-meets-Lolita narratives more than Lana Del Rey, and “Ride” is a swelling ballad reminiscent of the quiet brilliance of “Video Games.” While it’s easy to focus on the noirish Paradise single’s leaning into Del Rey’s oversexed persona and penchant for calling lovers “daddy,” the most affecting moment is perhaps the most direct lyric: “I’m tired of feeling like I’m fucking crazy,” she confesses with a high-pitched lilt. This stifling sentiment drives the catharsis of her escape. —I.K.
5. ‘Off to the Races’
Lana Del Rey in a Lolita-esque pose, representing the literary and provocative themes of "Off to the Races".
Lana Del Rey’s love for literature, though often understated, is evident throughout her discography. It’s on full display in “Off to the Races,” which casts Del Rey as a world-weary Lolita and her “old man” as a less-than-gentle Humbert Humbert, complete with gold chains and cigars. While initially, Del Rey seems to enthusiastically embrace the role of a hyper-sexualized Dolores Haze — with bikinis, red dresses, and leather — we soon realize she’s playing a character. This is a more tragic version of Humbert’s nymphet, fully and willingly embracing his depravity. “Off to the Races” deftly and hauntingly strips Lolita of misplaced eroticism, while also being incredibly catchy, with a sugared rap cadence and underlying menace in the basslines. —B.E.
4. ‘Norman Fucking Rockwell’
Lana Del Rey at a piano, representing the confessional and poetic nature of "Norman Fucking Rockwell".
Lana Del Rey opens her 2019 album of the same name with the stinging lyrics “Goddamn, man-child/You fucked me so good that I almost said ‘I love you,'” sung softly over piano. Written and produced with Jack Antonoff, the song includes Joni Mitchell references and cutting lyrics about a flawed boyfriend Del Rey can’t let go of. Ultimately, she settles for her “man-child” — “Why wait for the best when I could have you?” — knowing she deserves better. This song and the entire Norman Fucking Rockwell! album solidified Lana Del Rey as one of pop’s best lyricists, adding her unique voice to the confessional California poetry tradition perfected by Mitchell on Blue. —A.W.
3. ‘West Coast’
Lana Del Rey in a vintage convertible on the West Coast, embodying the ambition and romance conflict in "West Coast".
Ambition and romance are conflicting forces in “West Coast,” one of Lana Del Rey’s most psychedelic and unconventionally structured songs. In the “A” section of this rock ballad, the surf guitar is driving and tense as Lana whispers broodingly about leaving her lover for her career, lured by the West Coast’s glamorous allure. Then the song shifts to a dreamier, languid “B” section where she adopts a breathy vocal style to sing about her “baby swinging” in a stoned fever dream. These distinct styles alternate, creating a hypnotic dance of tension and release. —M.H.K.
2. ‘The Greatest’
Lana Del Rey in a live performance, embodying the cultural reflection and lament in "The Greatest".
“The Greatest” is the climax of Norman Fucking Rockwell!, a brilliant bicoastal reflection of pop culture akin to Bob Dylan’s “Murder Most Foul,” Billy Joel’s “We Didn’t Start the Fire,” and Don McLean’s “American Pie.” For Del Rey, however, the music never died. She reflects on L.A. and New York, missing “doing nothing” most of all. She conveys her lament through sweeping melodies, referencing Dennis Wilson, “Life on Mars,” and Kanye West. Every line is quotable, especially when she describes contemporary culture as “lit” – perhaps the only time in history someone has sounded cool using that word. —A.M.
1. ‘Video Games’
Lana Del Rey in the "Video Games" music video, the song that launched her career and defined her aesthetic.
The song that started it all. Lana Del Rey’s debut single under her new name, “Video Games,” launched an aesthetic movement, redefined pop music’s boundaries, and transformed the singer into a viral phenomenon. Released in 2011, “Video Games” was a stark contrast to the prevailing EDM pop. The “gangsta Nancy Sinatra,” as she called herself, offered a moody, sparse palate cleanser. Previewing Del Rey’s unique songwriting talent, “Video Games” blends a vintage sound (layers of strings, harps, and haunting synths create a romanticized funeral march) with contemporary lyrical references. Del Rey sings of longing for the mundane aspects of a relationship, like watching her partner drink beer and play video games. The lush yet somber track was accompanied by a self-made video that propelled the song to the top. Del Rey sings into a webcam amidst spliced footage of skateboarders, Hollywood, and paparazzi shots of a seemingly intoxicated Paz de la Huerta. —B.S.
