Begin to Hope is the album to rescue from the pile of “woman-versus-piano” recordings.  The anti-folkist who isn’t, Regina Spektor blends quirky with innocent and streetsmart, and comes up with an album that is altogether endearing.  Not many songwriters could make lyrical references to finding a tooth on Delancey, the solo in “November Rain,” or ripe tangerines work, but in Spektor’s hands even the most odd bits of her imagination flourish with a breezy eccentricity that somehow escapes question.  Musically, there is plenty to love here, from the jazz homage of “Lady” to the hand-claps and sing-along chorus of “On the Radio” and the neo-torch balladry of “Samson,” Begin to Hope covers a lot of ground with a sprightly step.  Flowing from breathy whisper to odd yelps and souful croons,  the star attraction is Spektor’s fearless vocals; Spektor lets her voice takes surprising turns, like a moth flitting around a bare bulb.  (Plus, I’m a complete sucker for the bit in “Apres Moi” where she breaks into Russian.)  There is a reason Begin to Hope is popping up on so many year-end best-of lists.  Do not sleep on this one.

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