On Side Three of Scenes from a Well Worn Path, abstract ideas take on surprisingly personal forms. Songs on this section use mathematics, literature and economic thought as a starting point when dealing with themes such as love, inequality and the search for meaning. Jeremy approaches these subjects with a sense of curiosity rather than certainty, using intellectual references to support the songs without letting them overwhelm the work’s human elements. Each piece puts forward its own argument and as a result the entire collection has a distinct identity because of the thoughtful way in which the songs are written.
“I Don’t Know” puts forward a clever approach to the subject of romance. Rather than making use of ordinary expressions of devotion, it tries to explain what love is by means of mathematical reasoning, referring to Fermat’s margin, prime numbers and irrational constants. However, this attempt at proving a point ends in failure, thereby showing that a relationship does not have to be boiled down to a calculation. This arrangement gives the song a clear sense of development: it starts with intellectual confidence and then moves on to an understanding which cannot be achieved through equations. The song’s conclusion acquires its significance exactly because the reasoning hits its limits.
Another type of intellectual exercise is found in “Economic Possibilities for our Grandchildren”. The piece combines Keynes’s economic essay with a quote from Macbeth in such a way that the two references together highlight the essay’s focus on expectations and reality. The economic prospect of greater abundance becomes linked with the issue of who benefits from progress. Similarly, “The Letter” makes use of Schrödinger’s cat and the falling-tree problem in order to examine an unopened envelope, thus extending the book’s interest in uncertainty by means of another set of concepts.
The references give the songs a two-dimensional aspect without making them rely on academic knowledge; listeners are able to deal with the immediate subjects before going on to examine the underlying ideas, and by playing them repeatedly they can pick up on connections which at first sight were not obvious. Although the pieces are relatively short they still remain clearly focused, and the use of acoustic guitar and voice keeps the intimate character of the writing even in arrangements that include drums, bass and some subtle MIDI elements. Scenes from a Well Worn Path (Side Three) works well as an example of creative thinking, demonstrating how intellectual curiosity can enhance songwriting when each reference relates to a familiar human experience.
