Joanna Newsom remains an influential figure in progressive folk. From her deeply poetic songwriting, to her unique vocals and instrumental arrangements, Newsom has a long-lasting foothold in the genre despite only releasing four albums. For new fans looking to delve into her work, or old fans wanting a refresher, here are three songs that are must-listens.
“Clam, Crab, Cockle, Cowrie”
“Clam, Crab, Cockle, Cowrie” is the closing track to Joanna Newsom’s debut 2004 album The Milk-Eyed Mender. This song presents an intersection between free will and fate, as the speaker realizes that her relationship is ending. There are many contradictions, even just in the title, that call to mind the roles that fate and autonomy play in life. What parts are created through free will and personal agency? And what is destined to happen despite our own interference? Is there such a thing as fate anyway?
Newsom shares these thoughts in “Clam, Crab, Cockle, Cowrie,” though maybe not in such plain language. Still, while the speaker wants to hold fast to her autonomy, she must eventually recognize that some things are bigger than she is. Eventually, her relationship comes to an end, and although she’s reluctant to leave, she recognizes that it might be out of her control this time.
“Good Intentions Paving Company”
“Good Intentions Paving Company” appears on Joanna Newsom’s 2010 album Have One On Me. The title references the aphorism “the road to hell is paved with good intentions,” a sentiment that crops up throughout the track. On first listen, this song seems like a positive reflection on a devoted romance. But, as it continues, the lyrics reveal more tragic moments, misunderstandings, and contradictions.
The first pre-chorus gives this away in the lines, “How I said to you, ‘Honey, just open your heart’ / When I’ve got trouble even opening a honey jar / And that, right there, is where we are.” The speaker urges her lover to open up to her, but she has even more trouble doing so. Realizing her hypocrisy, she tries to move past the issue quickly: “And I’ve been ‘fessin’ double-fast / Addressing questions nobody asked.” She wants to get over the awkwardness and confusion of a too-big confession. But sitting in the discomfort is part of a relationship, even if it leads to its collapse. All the good intentions in the world can’t hide the fact that the road still goes straight to hell.
“Time, As A Symptom”
“Time, As A Symptom” serves as the closing track of Newsom’s 2015 album Divers. Using field recordings of mourning doves and other nature sounds, this song turns the album into a cyclical narrative. The last verses return listeners to the opening track, “Anecdotes,” particularly the final line. There’s more of a cohesive story on Divers, and picking out a singular thread from the weave is difficult.
But “Time, As A Symptom” is the track that brings all the elements of the album together. Ideally, a Joanna Newsom album should be listened to from start to finish with no distractions. There’s a lot to delve into with her work which benefits from close listening. “Time, As A Symptom” reveals the importance of appreciating impermanent things, whether despite of because of their impermanence. Additionally, it broaches the overall theme of the album: “Love is not a symptom of time / Time is just a symptom of love.” Essentially, there are two concepts here; love will not appear just because time passes, but it does become the ultimate measure of time.
Photo by Tabatha Fireman/Redferns
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