Regina Spektor had warned me that she wouldn’t let me hear her sing. Now we were sitting outside the L.A. studio of her producer, Mike Elizondo, where she’d been laying down initial tracks of piano and voice for her sixth solo record, “What We Saw from the Cheap Seats.” And still she wouldn’t budge.
“Everybody who’s ever made records feels that way,” Spektor explained. “You’re in a room and you’re working on it and it’s just an engineer and a producer. And then someone comes over, and you play the song for them. The way you hear it in that instant is very different than how you’ve been listening to it. If you do it really early you interrupt the process with other frequencies. It’s almost like a certain kind of coat of color. You can’t take it off once you’ve listened to something with a stranger in the room. And at that point everybody’s a stranger. It could be your mom.”...