I must admit that my first exposure to Regina Spektor was in Regina Spektor’s Boundless Talent on CBS Sunday Morning this AM. I must also admit that my first reaction was visual and visceral: Regina Spektor is a monumentally beautiful and compelling young woman. Although I lost the first five minutes of the segment to Regina Spektor’s beauty, I lost the remaining minutes to Regina Spektor’s story of being a Russian immigrant, her talent as a classically-trained pianist, her experience as an anti-folk singer-songwriter, her modestly as just a tough girl from the Bronx, her whimsy as just a girl, and her playfulness as a wordsmith. I am mesmerized and besotted. Give Regina Spektor a look and listen and I guarantee that you, too, will be besotted, compelled, and mesmerized, be you man or woman, gay or straight.
Regina Spektor entry on Wikipedia
Regina Spektor (born February 18, 1980) is a Soviet-born American singer-songwriter and pianist. Her music is associated with the anti-folk scene centered on New York City’s East Village.
Early life
Spektor was born in Moscow, Russia, Soviet Union to a musical family. Her father, a photographer, was also an amateur violinist, and her mother was a music professor in a Russian conservatoire; she now teaches at a public elementary school in Mount Vernon, New York.
Spektor studied classical piano from the age of six, and was also exposed to the music of rock and roll bands such as The Beatles, Queen, and The Moody Blues by her father, who obtained such recordings in Eastern Europe and traded cassettes with friends in the Soviet Union. The family left the Soviet Union in 1989, when Regina was nine, during the period of Perestroika when Jewish citizens were permitted to emigrate. The seriousness of her piano studies led her parents to consider not leaving Russia, but they finally decided to emigrate, for religious and political reasons.
Travelling first to Austria and then Italy, the family settled in the Bronx, New York, and eventually moved to Fair Lawn, New Jersey, where she finished the last three years of her high school career. Spektor has stated that she was originally interested only in classical music, but later became interested in hip hop, rock, and punk.
Beginnings as a songwriter
In New York, Spektor gained a firm grounding in classical music from her piano teacher, Sonia Vargas, a professor at the Manhattan School of Music. Spektor studied with Vargas—whom Spektor’s father had met through violinist Samuel Marder, Vargas’s husband—until she was 17.
Although she had always made up songs around the house, Spektor first became interested in songwriting during a visit to Israel with the Nesiya Institute in her teenage years. Attracting attention from the other children on the trip for the songs she made up while hiking, she realized she had an aptitude for songwriting. Following this trip, she was first exposed to the work of Joni Mitchell, Ani DiFranco, and other singer-songwriters, which gave her the idea that she could create her own songs. She began writing her first a cappella songs around age 16, and wrote her first songs for voice and piano when she was nearly 18.
Spektor completed the four-year studio composition program of the Conservatory of Music at Purchase College in Purchase, New York within three years, graduating with honors in 2001. She worked briefly at a butterfly farm in Luck, Wisconsin. She gradually achieved recognition through performances in the anti-folk scene in downtown New York City, most importantly at the East Village’s Sidewalk Cafe. During this period, she sold her self-produced CDs 11:11 (2001) and Songs
Style
Spektor’s songs rely on a mixture of styles and techniques, often starting with a piano riff but ending with moans, nonsense words, warblings, and other noises. Spektor has said that she has created 700 songs, but that she rarely writes any of them down. Spektor’s songs are not usually autobiographical, but rather are based on scenarios and characters drawn from her imagination. Her songs show influences from folk, Jewish, Russian, hip hop, jazz, and classical music. Spektor has said that she works hard to ensure that each of her songs has its own musical style, rather than trying to develop a distinctive style for her music as a whole.
Spektor possesses a broad vocal range and uses the full extent of it. She also explores a variety of different and somewhat unorthodox vocal techniques, such as verses composed entirely of buzzing noises made with the lips, beatbox-style flourishes in the middle of ballads, or the use of a drum stick to tap rhythms on the body of the piano or chair. Part of her style also results from the exaggeration of certain aspects of vocalization, most notably the glottal stop, which is prominent the single “Fidelity”. She also uses a strong New York accent on some words, which she has said is due to her love of New York and its culture.
Her lyrics are equally eclectic, often taking the form of abstract narratives or first-person character studies, similar to short stories or vignettes put to song. Spektor usually sings in English, though she sometimes includes a few words or verses of Latin, Russian, French, and other languages in her songs. Spektor’s music is further set apart from mainstream folk music by its frequent literary references, such as to F. Scott Fitzgerald and Ernest Hemingway in “Poor Little Rich Boy”, The Little Prince in “Baobabs”, Virginia Woolf and Margaret Atwood in “Paris”, Ezra Pound and William Shakespeare in “Pound of Flesh”, Boris Pasternak in “Après Moi”, and Oedipus the King in “Oedipus”. Recurring themes and topics in Spektor’s lyrics include love, death, religion (particularly Biblical and Christian references), city life (particularly New York references), and certain key phrases have been known to recur in different songs by Spektor, such as references to gravediggers, the Tree of Knowledge of Good and Evil, and the name “Mary Ann.”
In Spektor’s early albums, many of her tracks had a very dry vocal production, with very little reverb or delay added. However, Spektor’s more recent albums, particularly Begin to Hope
Performances
Since roughly January 2005, Spektor has performed on a bright red Baldwin baby grand piano. She opened for The Strokes in 2003, on her first North American tour. Subsequently, she appeared on Late Night with Conan O’Brien twice, The Tonight Show with Jay Leno twice, Jimmy Kimmel Live, and Last Call with Carson Daly twice. She has toured the United States and Europe. Although she generally only performs original material, she performed her first covers in 2005, of songs by Leonard Cohen and Madonna for the 2nd Annual Jewish Music & Heritage Festival at the 92nd Street Y in New York City.
While with The Strokes on their 2003–2004 Room on Fire tour, Spektor performed “Modern Girls & Old Fashion Men” alongside the band.
In 2006, Spektor embarked on a successful headlining tour of the United States and Europe, selling out numerous clubs and theaters.
Media coverage
Beginning in 2005, Spektor’s music has been used in various television programs and commercials. In late 2005 “Us” (from Soviet Kitsch
Regina Spektor gained much media attention in 2006 when her video for “Fidelity” was viewed over 200,000 times in two days on the YouTube website. On SIRIUS Radio’s Left of Center channel, her single “Fidelity” was voted by listeners as the #1 song of 2006.
In Australia particularly, Spektor’s music has rapidly gained popularity in mainstream culture primarily due to Begin To Hope being played on the nation-wide radio station Triple J, where it eventually became a feature album. Prior to Begin To Hope, Regina Spektor had only a small following in Australia in comparison to the US and Europe.
Discography
Most of Spektor’s early albums have been released exclusively in the United States. Her compilation, Mary Ann Meets the Gravediggers and Other Short Stories
Albums
2001 – 11:11 (Regina Spektor)
2002 – Songs
2004 – Soviet Kitsch
2005 – Mary Ann Meets the Gravediggers and Other Short Stories
2006 – Begin to Hope
Singles and EPs
2003 – Reptilia b/w Modern Girls & Old Fashion Men by The Strokes (Rough Trade)
2004 – Your Honor / The Flowers (Shoplifter)
2005 – Live at Bull Moose EP (Sire)
2005 – Carbon Monoxide (Transgressive)
2006 – Us (Transgressive)
2006 – On the Radio (Sire) UK #60
2006 – Fidelity (Sire) US #84*
Compilations
2006 – Mary Ann Meets the Gravediggers and Other Short Stories
REGINA SPEKTOR
Begin To Hope (SIRE)
A mere five years ago, Regina Spektor was hypnotizing small crowds at hole-in-the-wall venues on New York ‘s Lower East Side . After playing hundreds of shows in and around NYC, Spektor became the talk of the burgeoning music scene. Though she was selling many copies of CDs she had recorded and produced with friends ( 11:11 and Songs
Abandoning her usual method of production and opting for a new experience, Spektor holed herself up at New York Noise Studios in NYC’s Meatpacking District with seasoned producer David Kahne (Paul McCartney). Spending two months during the summer of 2005 working on her fourth release (this new album is also considered her major label debut), Spektor had the opportunity to experiment “until a little Frankenstein was born.” Taking two months to record was a huge amount of time by Spektor’s standards, since she had recorded her “Songs
“Before I even started I knew I was going to experiment with things I’ve only thought about, like beats and drums,” explains Spektor, a multi-instrumentalist. “I really wanted to play with electronic instruments and bigger arrangements. Still, on this record, there are some songs where it’s really sparse. You don’t want to arrange just for the sake of arranging. I had to be careful so the music wouldn’t be more fun to make than to listen to.”
Judging from the final product, we’d say mission accomplished. On “Begin To Hope??? Spektor took the lyrical vignettes and sparse instrumentation she crafted for “Soviet Kitsch
“You don’t ever know the true lineage of your songs,??? reveals Spektor. “Maybe I’m becoming less of a narrator and more of a character these days. I was always used to observing and writing third-person narrative stories about things I was seeing. Then, as time went on, I started placing myself in these scenes, more like an actor.???
“I don’t fully understand the fascination of people wanting to know the ‘real’ you after listening to your songs” says Spektor, who is still extremely careful when it comes to sharing her personal life with the public. “I understand the fascination of people to want to know you,??? admits Spektor but “ People always want to know which part of the song really happened, they want to know some sort of a “Truth.” For some reason they can see the same actor acting in 17 different movies, using 17 different hair colors, using fake props, changing their voice, changing their accent, being evil or being the victim, and they are okay with that. They understand that it’s just a movie, they understand that it’s an art. But with music they forget. Music, somehow, is life.”
Always willing to damn convention for the sake of creativity, Spektor is one of those rare talents who manage to outrun the trends and force the rest of the world to keep up. “The more I experience in this world, the more questions I seem to have about where this life is leading,??? reveals Spektor . Begin To Hope might still mark the beginning of her career, but Regina Spektor has been carving out her place in music history since she sang her first note.
{ 5 comments… read them below or add one }
I too met Regina on CBS Sunday Morning and had pretty much the same reaction you did. I flat fell in love with her! I now own all her albums and have become somewhat obsessed, much to my chagrin. I’m pretty excited though, as part of a trip to New York later this month to see my son and his chorus perform at Carnegie Hall, I managed to get tickets to see Ms. Spektor at Purchase College on March 28.
http://www.reginapolis.tk
Thanks for the link, Gaby!
I heart Regina. She was on some obscure up-and-coming artists on VH1 last year, but I’m glad to hear she’s coming back into attention. Her music is perfect. Good analogy to the other artists. I immediately connected her to Tori.
Regina’s lyric line of: “people are just people” released me as an indentured servant to a failed love life. I too am captured by her beauty and voice. Thank you Chris for this internet page. The way Regina bats her eyelashes in On the RAdio , makes me go weak in the knees. Bringing me closer to woman heaven, is a gift she gives! How sad our life is, if we do not speak in love. rtg. Vancouver Canada