Joanna Newsom Have One On Me Sealed 2010 Drag City 3LP Boxset

$

29

Vinyl:  Sealed!   This is the Original 2010 Drag City Pressing!  Epic 3 LP Opus by the Milk-Eyed Mender Songstress!
Cover: Sealed! (see photos)
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AllMusic Review by Heather Phares  [-]

In case there was any doubt that Joanna Newsom was busy making music -- along with modeling and starring in MGMT videos -- in the four years between her brilliant second album Ys and its follow-up, Have One on Me’s three-disc, two-hour expanse is proof positive. The album’s massive size suggests that Newsom is bent on outdoing herself with each release, but the music is simpler than Ys’ symphonic majesty. Instead, she uses this oversize canvas to travel from Appalachian folk to big city pop, with stops at country, soul, and gospel along the way. It’s a dense journey, not just as a whole, but from song to song. Most of the album’s range is in the title track: Over 11 minutes, “Have One on Me” begins with jazzy harp stylings and some of Newsom’s most polished vocals, returns to Milk-Eyed Mender’s rural whimsy, passes through a marching band and lands in a British folk reverie. Similarly striking moments appear at the beginning and end of this triptych, but the first disc presents Newsom’s biggest departures. Have One on Me’s first third incorporates rock and pop, giving it a Laurel Canyon flair that underscores the ‘70s vibe of the whole endeavor. The lovely “Easy” plays like a Ys track rewritten for a rock opera; “Good Intentions Paving Company” flirts with winsome country-rock; “’81” is the closest the album comes to having a pop single; and the limpid, almost painfully quiet “Baby Birch” reaffirms that Newsom doesn’t have to be complex to be moving. The album’s third disc dives into her dramatic side, especially on “Kingfisher,” a chamber pop fantasia that plays like a condensed version of Ys. Have One on Me’s middle stretch unfurls songs that expand on Milk Eyed Mender’s serenity, including the dazzlingly beautiful “Go Long,” which ranks among Newsom’s finest songs, and the pretty but meandering “You and Me, Bess.” Therein lies the problem with Have One on Me: Newsom gives her listeners so much music that not all of it is equally memorable. The album’s cross between Milk-Eyed Mender and Ys isn’t always greater than the sum of its parts -- songs that sound like they come from a less-complex Ys or a less-innocent Milk-Eyed Mender are sometimes simply less. While Have One on Me might be more listenable if it was one or even two discs, it’s hard to say that it would be better. Its flow from disc to disc disproves thoughts that Newsom recorded three albums’ worth of material, couldn’t decide what to keep, and just released them all. At its best, these songs have the feel of an intimate live performance; at their worst, they’re lovely, but exhausting. Have One on Me is quite a technical achievement, but since Newsom has proven she can do just about anything, next time she shouldn’t try to do everything. –– ADVERTISEMENT –– Synopsis by Mark Deming Between giving up his super powers, confronting criminals from outer space, and having problems with his girlfriend, it's a bad time to be the Man of Steel in this sequel to the 1978 blockbuster. When terrorists threaten to destroy Paris with a thermonuclear device as they hold reporter Lois Lane (Margot Kidder) hostage, Superman (Christopher Reeve) comes to the rescue and flings the weapon into space. However, its blast outside the earth's orbit awakens Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O'Halloran), three villains from Superman's home planet of Krypton who were exiled to outer space for their crimes. Zod and his partners arrive on Earth and use their powers in a bid to take over the U.S., and then the world. However, when Lois realizes that mild mannered Clark Kent and Superman are actually the same person, he brings her to his Fortress of Solitude, where his decision to marry Lois costs him his remarkable strength. Without his super powers, how can Superman vanquish Zod and save the world? Gene Hackman, Ned Beatty, Susannah York, and Jackie Cooper return from the first film, which was shot at the same time as parts of the sequel. One of the most prominent examples of a member of the Beatles funding a film occurred in the early 1970s. Alejandro Jodorowsky had shaken up avant-garde cinema with his surrealist Western, El Topo (1970). John Lennon was so enamored with the film that he convinced his manager, Allen Klein, to buy the rights to it. Then he offered to fund Jodorowsky’s next project. Lennon handed a million dollars to Jodorowsky to make his follow-up to El Topo. That follow-up became The Holy Mountain (1973), an equally trippy experience about religion, frogs, and Christ figures pooping in glass casserole dishes. Collapse ?