Continuing my track-by-track appreciation of Lana Del Rey’s newest album, Did you know that there’s a tunnel under Ocean Blvd…
Track 14: ‘Fishtail’
After two rather earnest love songs, ‘Fishtail’ describes a souring relationship, one in which Del Rey’s eyes have been opened to the fact that her partner doesn’t have her best interests in mind.
This song has the trippiest production on the album, and the first digital beats since fourth track ‘A&W.’ I love the modern sound of this one in contrast to the classicism of most of the album.
The fishtail braid lyric is a reference to a story by one of Del Rey’s friends about a boyfriend who promised to braid her hair but never did. It’s a nice metaphor for a disappointing partner, though her repeated line “you wanted me sadder” probably get to the heart of the problem with this particular beau.
That line could also refer to fans who prefer Del Rey’s older material, written during bouts of depression, to recent albums that found her in a happier place personally.
Don’t you dare say that you’ll braid my hair, babe
If you don’t really care
You wanted me sadder, you wanted me sadder
Fishtail, what’s the matter with that?
[Verse 1]
Skippin’ rope in the bayou, bayou
Slip softly in terrain
Not that smart, but I’ve got things to say
Palm trees in black and white
I like to watch them sway
You’re so funny, I wish I could skinny-dip inside your mind
[Pre-Chorus]
Lately, I’ve been thinkin’ about how things used to be
Swingin’ in a nightgown underneath the old oak tree
Almost Victorian with you, you can talk to me
But, lately, I can see
[Chorus]
You wanted me sadder (Baby)
You wanted me sadder
Can’t you see it?
For me, you are the one
And if I’m not the one for you, don’t just say it
I was on the stairs, Ella Fitzgerald in the air
Feelin’ hella rare
Baby, if you care
Baby, don’t you dare say
You’ll braid my hair, babe
Don’t you dare say that you’ll braid my hair, babe
If you don’t really care
You wanted me sadder
[Verse 2]
Dancin’ there in the hot, hot sun
I know that we’ve got problems
I plan to address them another day
Palm trees in black and white
I see in technicolor
Maybe I’ll take my glasses off so I stop painting red flags green
[Pre-Chorus]
Lately, I’ve been sunnin’ in the L.A. riverbed
Wearin’ nothin’ but the summer bruises on my knees
I like how you talk, how you speak, how you look at me
But, lately, I can see
[Chorus]
You wanted me sadder (Baby)
You wanted me sadder
You wanted me sadder
Can’t you see it?
For me, you are the one and if I’m not the one for you
Don’t just say it
I was on the stairs, Ella Fitzgerald in the air
Feelin’ hella rare
Baby, if you care
Baby, don’t you dare say
You’ll braid my hair, see
Baby, if you care, then
Baby, don’t you dare say
That you really care
Don’t you dare say that you’ll braid my hair
When you get home tonight
If you don’t really care
Yeah, don’t you dare say that you’ll braid my hair, babe
If you don’t really care, see
Don’t you braid my hair
If you’re not coming home to me
Ah-ah
[Outro]
You want someone sadder
Skippin’ rope in the bayou, bayou
Slip softly in terrain
I’m not that smart
But I’ve got things to say
Meet Me In Montauk 
I don’t hear this as being all that trippy or sonically distinct from the rest of the album.
I have made it no secret in my private and public life that this song absolutely slaps. I’m someone who would consider themselves relatively new to the world of production and what decisions made in the studio bring that extra “it” factor to a record. That’s why it’s so exciting when there’s an undeniable moment in a record where you can’t help but be drawn in by a particular drop. I’m not always a fan of digital drums entering the pop landscape as sometimes it can make songs sound pastiche and uninspired without the extemporaneous benefit that comes with having a live drummer in the studio.
However, when you have a creative partnership as intimate as Antonoff’s and Del Rey you’re able to discover that same kind of excitement through technology as they have on this track. The drop at 1:04 gets me every time and demonstrates the benefit of an artist continually evolving and expanding their soundscape while incorporating those elements that are signature to their sound. Lana always has been effective in having trap production underneath more classic melancholy pop chord progressions, but on this album she’s carrying it with an auteur’s swagger.