Emily - Joanna Newsom

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Emily Lyrics

The meadowlark and the chim-choo-ree and the sparrow
Set to the sky in a flying spree, for the sport of the pharaoh
A little while later the Pharisees dragged a comb through the meadow
Do you remember what they called up to you and me in our window?

There is a rusty light on the pines tonight
Some corn wine, Lord, or merlot
Into the bones of the birches
And the spires of the churches
Jutting out from the shadows
And the yoke and the axe and the old smokestacks and the bale and the barrow
And everything sloped like it was dragged from a rope
In the mouth of the south below

We've seen those mountains kneeling, felten and grey
We thought our very hearts would up and melt away
From the snow in the night time
Just going
And going
And the stirring of wind chimes
In the morning
In the morning
Helps me find my way back in
From the place where I have been

And, Emily, I saw you last night by the river
I dreamed you were skipping little stones across the surface of the water
Frowning at the angle where they were lost, and slipped under forever
In a mud-cloud, mica-spangled, like the sky'd been breathing on a mirror

Anyhow, I sat by your side, by the water
You taught me the names of the stars overhead that I wrote down in my ledger
Though all I knew of the rote universe were those Pleiades loosed in December
I promised you I'd set them to verse so I'd always remember

That the meteorite is a source of the light
And the meteor's just what we see
And the meteoroid is a stone that's devoid of the fire that propelled it to thee

And the meteorite's just what causes the light
And the meteor's how it's perceived
And the meteoroid's a bone thrown from the void that lies quiet in offering to thee

You came and lay a cold compress upon the mess I'm in
Threw the windows wide and cried: Amen! Amen! Amen!
The whole world stopped to hear you hollering
You looked down and saw now what was happening

The lines are fadin' in my kingdom
Though I have never known the way to border 'em in
So the muddy mouths of baboons and sows and the grouse and the horse and the hen
Grope at the gate of the looming lake that was once a tidy pen
And the mail is late and the great estates are not lit from within
The talk in town's becoming downright sickening

In due time we will see the far butte lit by a flare
I've seen your bravery, and I will follow you there
And row through the night time
So healthy
Gone healthy all of a sudden
In search of a midwife
Who can help me
Who can help me
Help me find my way back in
And there are worries where I've been

And say, say, say in the lee of the bay; don't be bothered
Leave your troubles here where the tugboats shear the water from the water
Flanked by furrows, curling back, like a match held up to a newspaper
Emily, they'll follow your lead by the letter
And I make this claim, and I'm not ashamed to say I knew you better
What they've seen is just a beam of your sun that banishes winter

Let us go! Though we know it's a hopeless endeavor
The ties that bind, they are barbed and spined and hold us close forever
Though there is nothing would help me come to grips with a sky that is gaping and yawning
There is a song I woke with on my lips as you sailed your great ship towards the morning

Come on home; the poppies are all grown knee-deep by now
Blossoms all have fallen, and the pollen ruins the plow
Peonies nod in the breeze and while they wetly bow
With hydrocephalitic listlessness ants mop up their brows

And everything with wings is restless, aimless, drunk and dour
Butterflies and birds collide at hot, ungodly hours
And my clay-colored motherlessness rangily reclines
Come on home, now! All my bones are dolorous with vines

Pa pointed out to me, for the hundredth time tonight
The way the ladle leads to a dirt-red bullet of light
Squint skyward and listen
Loving him, we move within his borders
Just asterisms in the stars' set order

We could stand for a century
Starin', with our heads cocked
In the broad daylight at this thing
Joy
Landlocked
In bodies that don't keep
Dumbstruck with the sweetness of being
Till we don't be
Told take this
And eat this

Told the meteorite is the source of the light
And the meteor's just what we see
And the meteoroid is a stone that's devoid of the fire that propelled it to thee

And the meteorite's just what causes the light
And the meteor's how it's perceived
And the meteoroid's a bone thrown from the void that lies quiet in offering to thee

Lyrics provided by LyricsEver.com
Joanna Newsom (born January 18, 1982) started taking piano lessons at a very early age and played for a couple of years, but switched to the harp at seven. Her approach to the harp, from the percussive aspects of her playing to her chord changes, was also influenced by West African and Venezuelan harp music, which she began studying at a folk music camp she attended in her early teens. At the same time, she also listened to more vocal-based folk, punk, and jazz like Karen Dalton, Texas Gladden, Patti Smith, and Billie Holiday. By the time she reached high-school age, Newsom decided she wanted to become a composer, and while that became the focus of her studies, in her free time she began writing and recording instrumental songs. Eventually, Newsom's passion for songwriting won out, and she began studying creative writing to work with words in the same way she was accustomed to working with music.

Although Joanna Newsom's Appalachian-meets-avant-garde take on folk music is her most celebrated work, her range is even more inclusive than her solo career suggests: the classically trained harpist adds a decidedly different, textural sound to Nervous Cop, the noise rock trio that also features Deerhoof's Greg Saunier and Hella's Zach Hill, and she also plays keyboards for The Pleased, another San Francisco-area band more akin to Blondie or Television than her other projects. Newsom's family and hometown of Nevada City, CA, were both musically rich: her mother trained to be a concert pianist, her father is a guitarist, and her brother and sister play the drums and cello, respectively; meanwhile, the Newsoms also counted composer/pianist Terry Riley as a neighbor, along with Howard Hersh and W. Jay Sydeman.

Despite her extensive musical background, she hadn't sung until she began concentrating on her songs, but her voice — which had a pure, untrained sound somewhere between a child and a crone — was the perfect complement to her music. Newsom recorded some collections of songs that she gave to her friends, but eventually her music made its way to likeminded musicians like Will Oldham and Cat Power, both of whom invited her to play opening slots for their shows in 2002. That year also saw the release of the Walnut Whales EP, which she followed up with more appearances and another EP, Yarn and Glue, in 2003. After signing to Drag City, Newsom released her full-length debut, The Milk-Eyed Mender, in spring 2004; later that year, she toured the U.S. with Devendra Banhart and Europe with Smog.

In 2006 she changed direction again, with the release of her new album Ys, which received great critical acclaim and landed Newsom the Number 3 spot on Pitchfork's list of Top Albums of 2006. The EP Joanna Newsom & the Ys Street Band, which contained one new song and rearrangements of two old ones, followed the next year.

In Spring 2009, she developed vocal cord nodules, leaving her unable to sing, speak, or cry. Since then, her voice has seen a few changes.

2010 saw the release of her third full-length, the triple album Have One on Me, which contains eighteen songs spanning just over two hours and which (arguably) collectively makes up her most diverse set of material yet. It has also frequently been regarded as more accessible than its predecessors, in part due to the changes in Newsom's voice. The album was chosen by UK's Uncut magazine critics as their Best Album of 2010, and became the most commercially successful album she had released to date.

Her fourth full-length, Divers, was released in 2015. Like her previous work, it was highly critically acclaimed. It also proved to be commercially successful, outstripping its predecessors' performance on the U.S. Billboard 200. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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