An extravagant return

I’m sitting here wondering how many multi-disc albums have really ever warranted their multiplicity. Smashing Pumpkins’ Mellon Collie and the Infinite Sadness immediately stands to attention. That was the perfect execution of a vision: two discs with distinct moods and sounds complementing each other to form a united front under a common theme. There are of course others, but I’m not here to dwell on the past.

Music, the way we listen to it and the way we relate to it, is ever-changing. The thing about listening to it on MP3 players these days is that there’s no natural break in the running of an album. When you hit play, the music keeps going until you hit stop; there’s no need to get up and swap sides or exchange discs. Maybe I’m missing the point; maybe I’m guilty of being part of a generation that doesn’t appreciate how music should be listened to. Nonetheless, I feel it’s harder than ever to pull off a multi-disc album.

Left waiting
We haven’t heard anything significant from Joanna Newsom in four years. She left us inescapably smitten after the gorgeous 2006 release Ys, then all but disappeared, taking from us her gentle and delicate, but equally eccentric, song writing. Those of us anxious to be engulfed again were left floundering. I thought her resurfacing would be nothing short of spectacular, but now she’s back, I don’t quite know where to turn.

Have One On Me is a three-disc epic that simply bombards you with her four years of absence. As a result we have to work our way through 18 tracks before we can fall head over heels again. Unfortunately, it’s simply too much work. The restraint an artist shows in paring down their work to the best tracks they can muster is half the art of making a great album. Sometimes, though, they fall foul of their own egos and refuse to believe that we can do without any of their work. I can’t help but feel this is one of those occasions.

There are elements of delight within these three discs. Tracks such as Kingfisher, Autumn and Go Long retain the simplicity and charm that Joanna Newsom and her harp execute so effortlessly, while In California shows her to still be capable of inspiration and intensity. But to expect us to patiently navigate through so much after four years of waiting? I’m afraid that’s just a little too egotistical.

Fortunately, on stage artists need to show more restraint and hand pick the songs that best suit the mood, venue and audience of a live show. I’m in no doubt that the Royal Festival Hall on 11-12 May will be treated to an evening of exceptional poise and measured prestige. Let’s hope so, because something needs to justify this extravagant album.