It was a little disturbing at first to hear that Joanna Newsom's full-length follow-up to the ambitious and polarizing Ys would be a triple album. Where 2004's The Milk-Eyed Mender was an unusual record with its share of quirks (her squeaky voice and fondness for arcane language, the harp), it also had its simple pleasures. Most of the tracks were short and the sound was spare; you pretty much liked it or you didn't based on how you felt about Newsom's sound and her ability to put a song together. Ys, on the other hand, was unapologetically dense. The five songs av eraged more than 10 minutes each, and through them Newsom sang continuously; Van Dyke Parks' arrangements were similarly relentless, seeming to comment upon and embellish almost every line. It was a rewarding album-- filled with memorable turns of phrase and impressive storytelling. Many were enthralled, and almost everyone at least admired it. But in comparison to Milk-Eyed, Ys took some serious work to crack. So when I heard that Newsom would be following it with a 3xLP set called Have One on Me, I had troubling visions of 25-minute songs with lyrics that stretched to 5,000 words.

We already know Joanna Newsom isn’t afraid to go big. Hell, she sits her small frame behind that hulk of a harp all the time, and knocks out those strange, percussive notes of hers. However, Have One on Me isn’t big—it’s enormous. It’s an album without borders, its two-hour-plus running time is an unruly and unreasonable length. We saw her expand from tight, contained songs on her debut The Milk-Eyed Mender to sprawling yet stately folk epics on Ys, backed by the huge swirl of Van Dyke Parks’ string arrangements. So, at first glance, you could mistake this new, triple-album as a next step for her.