Kateateyou reacted to bum bum bum in Remember Us To Life (Album Coming Sep 30, 2016)
It's true! Regina said this in an interview recently and I feel like it captures how a lot of people digest her music, and music in general, perfectly:
“To me it’s a very breathing, living thing that someone invites into their house, kind of like a pet, and they can interact with the record when they’re in different moods, or different times of their lives. Maybe for months they can skip over one song as soon as it starts – something about it just annoys them – and then one day, when the time is right, that song just becomes the exact thing they need, and all of a sudden they’re like, ‘Wow, I never used to like this and now I love it.’
Another song they used to really like, maybe they never ever want to hear it again, you know; ‘I’ve taken all the nutrients from it and it’s got nothing left for me.’ I like that. That’s what music is to me, it’s almost like food – like a supplement or something. ”
Kateateyou got a reaction from gloriame2 in John Cusack is a Regina Fan!
Oh, wow, that's cool how she posted about WWSFTCS.
Although I personally wouldn't say How 'slays my soul'.
I don't know, maybe there's just so many love related songs that you hear all the time that How doesn't have as big as impact as it might have, even if (I assume) it's sincere... and we know Regina isn't the type to churn out standard radio-friendly love songs.
Sorry that didn't make much sense.
Kateateyou reacted to himynameism in Hey I dreamt about Regina!
Last night I had a dream that Regina posted a video to facebook. In this video she walked into a hair salon and took some large turquoise scissors and cut off her hair up to her chin, but only on one side. Then she just walked out of the salon and that was the end of the video. So weird but cool haha
Kateateyou reacted to Barth in Marrying my nephew
Cute headline and slightly provocative, but a rather straightforward story.
My nephew was married yesterday and he and his new wife asked me to conduct the ceremony. I have no legal authority to do this, so they took care of the legal issues elsewhere, but I was so honored to be able to stand with bride and groom to essentially read a truly beautiful script they wrote.
They also asked if I would insert some personal comments about them, such as when I knew they belonged together and the like, so I scratched a few sentences of that type together. When I finished writing my two paragraphs, though, I felt as if something was missing. And so I added this:
“I am following their lead in how we are conducting this ceremony, but every wedding needs a little poetry, and the only poets that mean anything to me are lyricists. So, here is some poetry
this is how it works
You peer inside yourself
You take the things you like
Then try to love the things you took
And then you take that love you made
And stick it into some -
Someone else's heart
Pumping someone else's blood
Later, I was asked by more than one person about the lyrics and I was proud to to identify her and to tell those who asked that I think she has something meaningful to say about every event one could imagine.
I remain so proud to have been asked to do this and to have injected Regina into such a happy day, that I am willing to give up my secret identity to just link to some of the photos of the event: https://www.facebook...o_album_comment
Kateateyou reacted to kaoir in Open (Down the road & up the hill)
Hmm.. My interpretation is a little different from the others.
This may sound weird but I think there are similarities between 'Ghost Of Corporate Future' and 'Open'.
The character in 'GOCF' is really open minded. He thinks that people are just people: stop worrying, be yourself and have fun. (yay!)
In 'Open', the character is totally different. I think the character is lonely and has a sort of social phobia. She (or he) waits desperately for someone who will join her. She is 'potentially lovely' which means that she has love to offer but she is also 'perpetually human', she feels vulnerable and she is afraid to show her feelings.
Then, there is this amazing line about the snow: "In the night the snow starts falling, and everybody stares through the windows at the streetlights, too beautiful to see..."
Nobody can see the snow without the streetlights, there are many beautiful things in the world but it's not so easy to notice them. The character realizes the reason why she is lonely. She is like the snow (but without the streetlights ), nobody can see the beauty she has to offer if she hides herself from the world. She is feeling desperately lonely and starts suffocating.
In this thread someone said "you just can't breath normally when she starts gasping". I think this is the reason why I love this song so much. Even if you have not social phobia, you can identify yourself with the character and.. become the character. (I may have schizophrenia, though )
Finally, I think there is hope at the end of the song. The melody is the same than the one used when people look at the snow falling. The character understands the reason why she is lonely, if she opens her eyes she allows people to look at her.
I tried my best not to sound corny but I failed miserably. Haha.
Kateateyou reacted to andreseng in srg 10th Stix Anniversary
Please join me in wishing one of the greatest regina fans on the planet a happy 10th anniversary on the stix. srg (Serge) is one of the kindest human beings around as anyone that has met him or interacted with him can attest. He shares his historical knowledge about reg with us. Not to mention all the media at reginaspektor.net.
What sums him up best to me was after the Planned Parenthood show, in January of 2009, at the Bowery Ballroom a group of us were lucky enough to spend some real quality time with regina (as her parents slept in the car) after the show. Many topics were discussed. But the one that sticks out in my mind was she told us about being contacted by a producer that wanted to use Lucky Penny. At first she said she freaked out a bit because she couldn't remember the song. Then she said something to the effect of, thank God for that reginaspektor.net or I never would have found a recording of it. Not one to seek the limelight Serge said nothing. But we were sure to point out that it was his website.
Then of course all the meetups over the years before and after shows and the genorosity he has shown to all of us. The tickets he has shared with many of us. The "upgraded tickets" he has shared. I could go on and on about this mans kindness and genorosity. He is by far THE greatest regina fan of all time.
Happy Anniversary Serge...and many more.
Kateateyou reacted to aussietony in Regina in Melbourne - What I Saw From My Seat
(Apologies for the length of this - in short Regina excelled!)
At the Plenary in Melbourne on Friday 14 December 2012, the genius was no longer next door but fortunately for us on stage doing her stuff as only Regina Spektor can.
After an impressive New York appetiser in the form of Jack Dishel aka Only Son, the way was left clear for the other member of the household to delight us with her musicianship, voice and inimitable turn of phrase.
A quick hello to her audience and a moment to pick up a microphone were the only impediments to an unannounced launch into Ain’t No Cover, done a Capella just to show that the piano isn’t another body part.
Having proven that the mezzo-soprano was in fine fettle, Regina then set the ivories on a carnival ride, beginning with The Calculation. The crowd which had gathered for a quality Friday night helping of art greeted this choice with a requisite level of enthusiasm, aware that the piano playing had hit the same high standard as the accompanying vocal.
On The Radio belied its title by being presented live on stage, and in the space of just three songs Melbourne had received justification for its love affair with a charming chanteuse.
Small Town Moon is track one from the latest Spektorial studio album and also became Regina’s first offering tonight from that creation, released earlier this year. The changes of pace in the song give it a clear edge and the benefit was more pronounced live.
The backing band was appropriately understated throughout, but at times these quality musicians shared the spotlight, as with Ode To Divorce, where Regina sang like a cello, creating a harmony with the normally inanimate instrument.
Next a sensational double hit with two 2012 singles - How immediately followed by All The Rowboats. The latter is lyrically masterful and I too worry for those violins. How is a beautifully crafted song and the often underrated vocal range of Regina Spektor allows for the aching ballad to be transported into our psyches in the most telling fashion – no more effective than tonight.
Two more songs from the Far album were the next beneficiaries of a live performance, firstly the thought provoking Blue Lips and then the equally important The Sword & The Pen. Not for the first or last time, it became just Regina and her piano evoking the full scale of emotions and demanding intimate attention.
The Prayer, a poem from François Villon, is written in Russian, but the melody and the passion with which it was sung almost discounts the language, and still further we were drawn into the growing Spektor tapestry.
A break from the piano, and Only Son joined Regina on stage to sing their co-written Call Them Brothers. Something new for me, and refreshing to hear these two voices work so well together on what appears on first exposure to be another powerful track.
On her way back to the piano, Regina stood a few valuable minutes at the keyboards to donate a favourite – Dance Theme Of The 80’s. Sure, this is safe territory, but every effort was made to give it something special, and it was appreciated.
Better became the second sojourn to the Begin To Hope album, and it only required a couple of notes for fans to realise that another memorable reading of the radio friendly melody had begun, and kudos to input from the drums on this one.
Until now, Regina had been careful to choose from a variety of her rich sources of material, but realising that Melbourne had not seen her since the recording of What We Saw From The Cheap Seats, she took care that most of that album be delivered live, six of the tracks in fact in the final eight, pre encore.
During the evening, between songs, the more vocal fans were yelling requests which were politely ignored at the time, but in most instances eventually answered in the affirmative by singing them. One particularly popular ask was for Don't Leave Me (Ne Me Quitte Pas), and it made its entrance to rapturous applause. Regina respectfully included Melbourne in the lyric, replacing Paris to give us “...I love Melbourne in the rain…” which was rather prophetic given the weather outside.
One of the most meaningful songs which Regina sings live is Firewood, and it happens to be one of my very favourites, so when it showed up I had expectations I thought would be difficult to fill, yet I had nothing to fear. When you have created a lyric as poignant as Firewood, with a simple melody and room for piano interlude, all the stars align for a memorable concert rendition, which is precisely the outcome. This alone repaid my ticket several times over.
How to follow? Change tack completely of course, and Oh Marcello is from a different postcode, maybe different galaxy altogether. This is Regina at her most playful, borrowing a classic 60s song and adding an Italian accent not to forget the beat boxing from her vocal bag of tricks.
The fourth of what amounted to a Cheap Seats quartet was Ballad Of A Politician, a bluesy, satirical look at the road to success. It, and the other 6 tracks so far gleaned from the album had made successful Melbourne concert debuts and any could become regular features of Spektorculars in the future.
The Chronicles Of Narnia - Prince Caspian became the recipient of Regina's magic with a classy ballad, The Call, and it continued its run of concert engagements to as much acclaim as its follower Sailor Song, not quite as Disney as The Call but still a winner despite Mary Ann continuing to be a bitch.
The next two songs again showcased Cheap Seats, but still no Patron Saint. A little disappointing as I rate it highly, but that is me being self indulgent. I missed Folding Chair and Man Of A Thousand Faces too but fortunately Regina recorded those as part of her Live In London for our enjoyment.
What we did hear tonight were Open and The Party to finish the official programme. Open starts with a great coupling of lyric and piano and surprises upon initial hearing by maintaining a constant classic base of beautiful ballad with exquisite key changes but introducing Regina-esque vocal sound bytes in the second part to chilling effect. A worthy substitute for Patron Saint in the Plenary.
The Party is another of Regina’s metaphors for the highs and lows of a personal relationship, with each descriptive verse building to an almost sing along chorus and before we were set to hear more, it was over, and Regina and her band had left the stage.
The pleas for an encore were varied but unanimous and the desperate cries terminated with the reappearance of Regina and her band - the final 4 songs tapped into earlier recordings.
Us from Soviet Kisch, and Fidelity, Hotel Song and Samson (all from Begin To Hope) formed a stirring finale to a magical evening. Even when forced to stop mid way through the delightful Samson because of a “ghostly” presence on stage, the professionalism and commitment of Regina Spektor gave us a “Samson – part two” which quite possibly comprised the vocal highlight of the concert.
Whilst what I saw was not necessarily from the cheap seats, it would not matter from what vantage point this concert was viewed. The performance confirmed yet again the talent Regina Spektor is, and how generously she shares her gift with the world, Melbourne the latest beneficiary.
Kateateyou got a reaction from Emmerrrrrrr in New Zealand and Australia Tour anyone?
Did anyone go to the show at the opera house tonight (10th of December)? Ahh it was awesome!! Regina was so cute. I think she might have been sick, at least her voice sounded a bit high but I don't know? When she left the crowd was cheering like crazy for ten minutes, and Regina was behind he screen and talked over the mic that she was 'the ghost of Sydney opera house...ooo! Regina's not coming back!' And played the sword on the pen on the organ :') then came out and did a four more songs I think.