shut it down lyrics

harry het fans were all salivating over the potential lyrics of this album and harry shut that down so quick two ghosts is not about haylor kiwi was a joke carolina has a thousand different origin stories and only angel is inspired by a movie 

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i’ve been doing this for a while now, and thought it may be nice to share with you guys. i never really had trouble verbalising thoughts during discussions, but seldom have been a person able to express my emotions without shutting down completely. music, and especially the lyrics of songs, have always been my outlet, like the words spoken were either my own or the ones i wished i would get to say one day; the rhythm and beat a whole new dimension. my fear of the temporary (and fear of losing these songs) was the final push to start this journal. i began collecting lyrics from songs that either held meaning personally or conveyed emotions that fit a story, and have found that not only is this solidifying a memory but it has been therapeutic too. not sure if it would matter to any of you, but if you ever face similar difficulties then this may help.

Lust For Life - so far

Cherry - (live / more)
White Mustang (snippets)
Summer Bummer - Ft A$AP Rocky (snippets)
Groupie Love Ft A$AP Rocky (snippet)
Change - (snippets) 

 “I wrote a song called, 13 Beaches which talks about how I do it, last summer, I had to go to 13 different beaches before I could find one without paparazzi, where I laid down with a book. But we can get used to anything. And then maybe it’s worth it. What I can’t get used to, is systematically finding my songs on the internet before they’re supposed to come out. It takes so much time to make a record… a year and a half! When leaving the studio, I always have to hope that they’re secure.”

I have a song that’s quite aware about the collective worry, about whether this is the end of an era. It’s called “When the World Was at War We Kept Dancing.” But I actually went back and forth about keeping it on the record, because I didn’t want it there if it would make people feel worse instead of better. It’s not apathetic. The tone of the production is very dark, and doesn’t lead to a fucking happy feeling. And the question it poses: Is this the end of America, of an era? Are we running out of time with this person at the helm of a ship? Will it crash? In my mind, the lyrics were a reminder not to shut down or shut off, or just don’t talk about things. It was more like stay vigilant and keep dancing. Stay awake. “God Bless America,” and another song called, “When the World Was at War We Just Kept Dancing,” which is about what we’ve been talking about: trying to stay positive, and just believing that things are going to be okay. And if it feels like they’re not going to be okay, we’ll try and make them okay individually and then together.”

Tomorrow Never Came - ft. Sean Lennon
Beyond the meta-awareness of the lyrics and rich instrumentation [Lennon added “acoustic six- and 12-string guitar, electric guitar, lap steel, upright bass, vibraphone, harpsichord, orchestra bells, drums, and Mellotron strings, and shaker”], a particularly resonant lyric repeats itself a handful of times: “You weren’t in the spot you said to wait.”  I ask Del Rey if there are running themes of stasis or waiting elsewhere on the record. “I think that’s why I felt that of anything on the record, that wasn’t my song,” she considers. “I didn’t feel like I was waiting for anything. It’s really not about anything personally, except that I love the sonics of it; the filters. I try to be as careful as I can that I’ll want to sing stuff on stage that I write. And that song will be an easy one to do because it doesn’t pull at any heartstrings or anything. And I know it’s special to Sean as well, because he’s his dad’s biggest fan. And so I like that, in a small way, they had a moment, in whatever surreal way that could happen. Notably, there is a track on Lust for Life, recorded with Sean Lennon, a layered and playful number that explores, among other things, John Lennon and Yoko Ono – a canonical deity of lust and artistry if ever there was – that sees Del Rey refreshingly step outside her own paradigm. “I felt like it belonged to someone else,” she says of the single, “Tomorrow Never Came.” “And I never feel that, because I like to keep everything for myself. I thought it might be strange for Sean to sing a song about John and Yoko as well. But I think the fact that I sing, ‘Isn’t life crazy now that I’m singing with Sean.’ It points to the fact that we’re both aware. I didn’t want it to come out exploitative in any fashion. Not that it would. Still, I wanted to be as careful as possible. I wanted it to come across layered with this sort of meta narrative mixed in. In a way it’s a song about a song.”  Sean Lennon - “I felt like it was my job to simply highlight and accentuate what was already there in her voice and melody, and in her lyrics.

Beautiful People, Beautiful Problems - where she trades verses and coalesces on the chorus with the one and only Stevie Nicks, “I didn’t know what to except or that I could even ask her, Del Rey remarks. “When I went through ideas of women that could really add something to the record, she was the one we kept coming back to.” - Lana   “That’s where “Beautiful People, Beautiful Problems” comes from, because we are trying to ride above all the problems and have hope in everything else, but it’s still a world filled with problems no matter how hard we try to change it.”  - Stevie Nicks  

God Bless America,” an unbridled spanker of a song that’s title refrain is followed by, “And all the beautiful women in it.” “Yeah, I went there. It has some strong messaging. Some iconography, with Lady Liberty, fire escapes and the streets, and I do get a little New York feel when I listen back to it.” I tell her the song feels grandiose in production, anthemic in verse… very New York in fact. And while New York (and its banks) have churned out the free world leader and a boys club not so concerned about everyone therein being blessed, moreover the “beautiful women in it”—reminding us that grandiosity has its pitfalls—“God Bless America” could easily ascend the ladder as a 2017 rally cry. “Well, it’s the God word, but the phrase has wider meaning. It’s more of a sentiment. When I wrote it I didn’t feel like it was confined to a traditional portrait of the Lord, as some sects might see it. It was more like, ‘Fucking God bless us all and let’s hope we make it through this. When all the Women’s Marches were happening, I had already written this song, because I had been hearing a lot of things online. And I have a sister, and a lot of girlfriends, who had a lot of concerns about things that were being said in the media by some of our leaders. And I saw an instant reaction from women, and I was like, ‘Wow. There is no confusing how women are feeling about the state of the nation.’ And so without really trying to, I felt compelled to just write a song and say we are all concerned. And it really made me think about my relationship with women. And I felt proud of myself, because I do love the women in my life. And I take care of them, and I ask them what they think about music, and guys, and problems, and I thought it was so cool that I’m really right there in the same boat with them. And sometimes I’m not. Sometimes I feel like I’ve got my finger right on the pulse of what’s going on, and then some of my music comes out and it’s like, ‘Fuck, that was a miss. Fuck, that’s not what people feel, at all. But with this, I was right there with everyone.” In “God Bless America”… ‘Take me as I am, don’t see me for what I’m not… Only you can save me tonight.’ It’s about seeing people: what they’re actually doing. Who they actually are.”

Love - The last 16 months, things were kind of crazy in the US, and in London when I was there. I was just feeling like I wanted a song that made me feel a little more positive when I sang it. “ I knew that the first song I wanted to put out was “Love” because of everything you and I have been talking about so far. It’s just the age-old thing: love is all there is. And I really was feeling that way. I made a lot of records for myself, chronicling my own stories, and I’ve played so many shows now, I’ve seen all the same kind of kids and grown-ups coming to the shows, and I really wanted to make a record for them.” (x)

Lust For Life -  “I’ve been friends with Abel [Tesfaye] from The Weeknd for a long time, and I knew I wanted to put the title track, “Lust for Life,” out second because we have so many mutual fans and I knew they would love it.”I love the new song, too. I’m glad it’s the first thing out. It doesn’t sound that retro, but I was listening to a lot of Shangri-Las and wanted to go back to a bigger, more mid-tempo, single-y sound.” “I have let myself go a little with the song ‘Lust For Life’… I have worked on it on multiple days a week for one and a half years. It has passed every stage, it started with a futuristic and dark vein like Blade Runner. Also, I decided to return to a radiant Shangri-La like style… After working for some months, Abel (The Weeknd) joined to add his part. This song became my baby, an unmanageable and maleficent baby which made me crazy. I quickly understood that this album would sound like a trip, a mix.” (x)

“I kinda want to dig into a little bit more of the acoustic side of the record. I have a track called ‘Yosemite’ which i really like, which is just a little bit more laid back, it’s kind of a love song that I did all in one take in the room.” The co-existence of different songs on the same album, like the very complex ‘Lust For Life’ with the desert-like ‘Yosemite’, it is not very reasonable. One tries to put me off, one tells me the contrast is too extreme, but I love the two songs too much to exclude one because of the other one. These are the songs which make me life, and more than that, as well: they have some experience.” “Songs like ‘Tomorrow Never Came’ and ‘Yosemite’ pick up the sounds of 70s folk, and if I would have to create an album concept in a day, it would surround the legendary Laurel Canyon particularly.” “ It just goes back to my favorite song on the record, “Yosemite,” and doing it for the right reasons.” “I think one of my favorite tracks on the record is called “Yosemite.” The chorus is [begins to sing] “We did it for fun, we did it for free, I did it for you, you did it for me, we did it for the right reasons.” -  possibly changed to Get Free

Coachella - Woodstock in My Mind - “I wrote on my way home from Coachella when things were getting hostile between North Korea and the U.S., and all those failed missile launches, which happened the day after the first night of the festival. I feel lucky to be able to speak my mind through music right in the present moment.”

Roses Bloom For You (Snippet)
Architecture

I have a song that’s quite aware about the collective worry, about whether this is the end of an era. It’s called “When the world was at war we kept dancing.” But I actually went back and forth about keeping it on the record, because I didn’t want it there if it would make people feel worse instead of better. It’s not apathetic. The tone of the production is very dark, and doesn’t lead to a fucking happy feeling. And the question it poses: Is this the end of America, of an era? Are we running out of time with this person at the helm of a ship? Will it crash? In my mind, the lyrics were a reminder not to shut down or shut off, or just don’t talk about things. It was more like stay vigilant and keep dancing. Stay awake.
—  Lana talking about the track “When the world was at war we kept dancing” (Flaunt Magazine 2017)

A Day To Remember - Forgive and Forget Lyrics (Bad Vibrations, Sep 2)

I feel like a runaway,
Seeing the light of day.
For the first time,
I’m drawing the line.

It’s hard to care when you know it all,
In slow motion I watch you fall,
Like you’re blind, thoughts poison the mind.
I always bend when it comes to you.
I think you’ll change but you never do.
You never do, I enable you.

Let me down, let me down like only you know how.
Shut me out, shut me out, forgive and forget.

Wish that I could say this to your face,
Something different, something brave.
Wish I would but i never could.
I feel you slowly pulling me in.
I try to help but it’s sink or swim.
And you’re a weight, there’s comfort in pain.

Let me down, let me down like only you know how.
Shut me out, shut me out, forgive and forget.

You’ve drained all the love I had, all i had for you.

Let me down, let me down like only you know how.
Shut me out, shut me out, forgive and forget.