A triple LP is a big commitment for the average listener. This goes double when the triple LP in question is made up of winding, wordy songs composed of harp, orchestral flourishes and atypical vocals. I entered this album with big expectations and as I made my way, for the first time, through the two hours that comprise its dense song craft, I honestly was not sure how to feel about what I was hearing.
I really enjoy Joanna Newsom’s previous albums. When The Milk-Eyed Mender came out, I was turning my ears towards anything and everything that was labeled ‘freak-folk’ by hip music writers (or Devendra Banhart). The record stood out because of its clever word play, sparse, harp-based songs and the oddball warbling of her vocals. When Ys was released, I was so drawn into its complicated narratives that I took to the habit of taking notes while listening. Despite my enthusiasm, I was aware of her limited appeal. In fact, I once made someone a mix tape of some of my favorite songs and the recipient enjoyed each and every one except for “Bridges and Balloons” performed by “that girl with the annoying voice”.
The first time I listened to these songs, they did not make much of an impression. There were not really any tracks which stood out and everything seemed to blend together into a monotonous drone which struck me as fairly dreary. I missed the spark which I had heard in her earlier releases. Her first two albums were characterized by such a liberated and open presence; it was infectious to hear her perform so unselfconsciously and unapologetically. Suffice it to say, I was feeling fairly disappointed by the time I got to the third disc when unexpectedly, things started to change.
The third disc opens with a song called “Soft As Chalk”. It is initially comprised of just her vocals with a piano accompaniment; I really started to notice the lyrics which had been weaving their way fairly consistently throughout every song on the album. Joanna Newsom is known for her literate songwriting but the mixing on this album does not give the words enough room to breathe and so they remain unnoticed, a constant ; just another part of the background on each track. The quick lyrical flash which was provided to me by the opening to “Soft As Chalk” really cleared my mind of the haze and I immediately gained a new focus to concentrate on the music I was hearing. Not only did I notice the lyrics more but the subtle inventiveness of the arrangements began to shine through. By the time I finished the third disc, I was ready to immediately start the recording over again from the beginning.
My second listen was a completely different experience than the first. The inventive instrumentation made itself known and married its voice to the sprawling poetry expressed by Ms. Newsom’s unique vocal styling. I love the drama of the percussion, the playfulness of the strings, the exclamations of the horns and the steady reliability of the harp at the core of each composition. This is inherently dramatic music set in a deceptively unassuming presentation. It seems ridiculous to call a triple LP “deceptively unassuming” but there is a real subtly to these songs which allows them to open up to the listener at the pace which he or she feels comfortable.
For the most part, these songs are about the conclusion of a relationship. This is certainly not a unique subject but Ms. Newsom manages to imbue it with her distinctive presence. Some may argue that the record could have been more effective if distilled to a single (or even double) album but the audaciousness of a triple LP in the era of mp3 only serves to heighten the dramatic impact of Have One On Me. It is clear to me that the listening experience will grow richer with repetition and I look forward to visiting it again, this time with a chance to notice even more of its nuances. While it is not in the running for the top position in my annual ‘favorite albums’ list, I could imagine it making my top ten and in February, that is an accomplishment.
