Anthony Minsky

New Song - Blood Of Eden

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I don't know who worked on the production, but since it is a cover song, I wouldn't presume that it is an indication of where Regina is heading. Also bear in mind that Regina's albums are not in chronological order; she is known to use songs from several years ago that have not yet been recorded. I am looking forward to her next album, and hope to hear some gems that have not yet been put on record.

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I'm fully aware of the fact that she usually uses old songs that hasn't been recorded yet. I'm just saying that there's a possibility that they will be recorded a little bit like Blood of Eden and You've Got Time instead of like No Surprises and say...Firewood. I'm not saying I hope or think or dread this, I'm just thinking out loud :) I do think though, that she gets more input from Jack musically now than she did before. It's just I feeling I have. She has always wanted to work more with production, and maybe I'm blinded by the fact that I know he's been producing stuff and that I hear him sing in Blood of Eden and play on You've Got Time. I know these songs are two separate pieces, and that BoE is a cover, but this is what she wanted to do with them and we might see more of it in songs that are to be released, don't you think?

Btw, I think Jack is a great musician, singer, composer, producer and arranger, and I'm glad they're doing stuff together. It will be interesting to see what has happened to Jack's music in the meantime.

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I think it's pretty cool, the fact that they influence each others music. Oh well, I don't know for sure if it's a fact but probably they do. I really love Jack's music, and can't wait to see if Regina has had any affect on his new stuff, or the other way around! "Call Them Brothers" is so good, so I do wish they would do more songs together.

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I'm pretty sure Jack is doing background vocals on the chorus for this...

Yeah, I mean, the production of it is kinda safe, I guess, but... I don't know. I still really like it, it's a good song, and she does a really good job with the vocals.

I probably wouldn't want a full album of stuff like this, but I think it's a good cover.

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Yeah, that's exactly what I meant. I'm sorry if I sounded aggressive in any way. I was having kind of a rough day. I definitely hear Jack singing with her in the chorus. It's a cool artistic touch, when they're singing about the "woman and the man" that there's both a woman and a man singing. Thought through.

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I agree with Shane D. and sweetness . This song is pretty enough to like but too safe for me to fall in love with. And although it breaks my heart to admit it, I felt the same with 'You've Got Time' and WWSFTCS. Don't get me wrong, I still love Regina's music to the point of heartache. Perhaps this snippet of a Far review from Popmatters put it more aptly :

But as she gets more widely known, more popular, Regina Spektor will paradoxically have to work harder to maintain that persona she’s built up over the past eight years. The old fans want that feeling of discovery again, the new ones can have their sweet melodies. It’s not as if Spektor’s lost it all, though—truth is, she doesn’t have to do too much. Just say in that childlike voice, “Hello, hello, calling a Karl Projectorinski to the front "

I am a late bloomer to Regina's music ( post - Far ) , so I might be totally wrong here, but I feel the entrancing quality in her past songs are harder to find in her recent songs. It was as if her personality is being overshadowed by the lush productions of her recent releases. I still remember the feeling of utter serenity and bliss when I first heard "Lounge" and "Just Like The Movies", and I hope (oh god how I hope!) to rediscover that feeling again in her future releases.

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I actually think Cheap Seats had much better production on the songs than Far did, but I know what you mean.

I think it's not so much that the quality of the songs has decreased - after all, many of the songs from Cheap Seats (and Far) were many years old. It's more just that the production on them is "poppier," for lack of a better term, than the original solo versions of those same songs. For example, I think Folding Chair and One More Time with Feeling are terrific songs when played solo, but I really dislike the production on the album version of both of them. It's not the songs themselves.

So I really think, for the most part, her songs are just as good as they ever were. It's just that, for whatever reason, Regina feels the need for the songs on the records to have somewhat of a glossy production... at least some of them.

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I am a late bloomer to Regina's music ( post - Far ) , so I might be totally wrong here, but I feel the entrancing quality in her past songs are harder to find in her recent songs. It was as if her personality is being overshadowed by the lush productions of her recent releases. I still remember the feeling of utter serenity and bliss when I first heard "Lounge" and "Just Like The Movies", and I hope (oh god how I hope!) to rediscover that feeling again in her future releases.

Begin to Hope was my first album and while I love, love, love it, I could *never* really get into Far very much. I'm still not entirely sure why... all the good things were there, but it was just hard to get into for me. Then, a few years later, WWSFTCS was released and I felt it again, that thing which was missing from Far.

I feel like maybe it's just expectations or something that prevent us liking the album(s) after discovery. Maybe you'll get that feeling back with the next album, like I did. :)

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Interesting.. I love Far as much as any of her albums... The Calculation is an amazing start, being immediately poppy and accessible and yet a brilliant metaphor as only Regina could write them - using time to measure out emotions..not to mention her beautiful vocal gymnastics at the end. Eet of course is brilliant - who but Regina could write a song about the old typewriter EET key (and use it in a video). Blue Lips is breathtaking in its exploration of the universe creation, and Regina's quick history of humanity from the garden of Eden to the drudgery of the assembly line is a tour de force of songwriting. Folding Chair is an utterly delightful and catchy song, and Regina playfully deconstructs the self -image that women labor under with the line 'I've got a perfect body cause my eyelashes catch my sweat'

Laughing With is a wonderful exploration of how we wrestle with faith and also skewers the phony faith healers and pious hypocrites who poison our air waves Dance Anthem of the 80s explores serious themes of want and loneliness in between its catchy lyrical melody. Genius Next Door is a beautiful cinematic construct of a song, I see a movie playing in my head whenever I hear it. Wallet takes a simple mixup involving a lost wallet and makes an elegant short story of it.

One More Time with Feeling is a real standout for me - from the chilling opening 'Your stitches are all out, but your scars are healing wrong' to the compassionate "And the pride inside their eyes Would synchronize into a love you've never know, So much more than you've been shown. And Man of a Thousand Faces uses surreal imagery to masterful effect. It is a magnificent album which ranks among the best of any current singer songwriters, IMO

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