PARTIAL LIST OF COLLABORATORS
Aaron Embry (Elliot Smith, Edward Sharpe and the Magnetic Zeros) Marshall Ruffin
Dave Nelson (The National, Nelson Patton) Marlon Patton (Lera Lynn, Nelson Patton) Shahzad Ismaily
Will Glass (Dirty Projectors)
Danny Meyer (Julia Holter, Chairlift) Jenny Hval
Brian Blade, Daniel Lanois, Stevie Nistor
Kelly Pratt (Arcade Fire, David Byrne/St. Vincent, Father John Misty, LCD Soundstystem, Beirut) Dave Eggar
Richard Swift (The Shins, The Black Keys) Bradford Cox (Deerhunter)
Cole Alexander (Black Lips) Dave Portner (Animal Collective)
Lizzi Bougatsos (Gang Gang Dance)
QUOTES ABOUT HOLLEY
"He keeps people spellbound with his oratory, humor, and insights into art-making. Holley's art does the same. He makes the kind of sculpture–and produces the kind of music–that changes people. It gets into their emotional and intellectual core and forces them to rethink art and history, as well as their own assumptions about how the world works."
"Lonnie Holley is the closest thing America has to a prophet."
"Despite undeniable sonic and aesthetic connections to Sun Ra and Arthur Russell, Lonnie Holley's music is a law unto itself, with the inimitable blues orator free-forming at its core."
"Most writing to date on Holley's unique music does not go far beyond characterizing it as 'unclassifiable'. Yet, while it may not slot neatly into any known musical genre, echoes of earlier styles and artists can be detected. Holley's deep soul explorations of topical subjects and the plight of the poor have antecedents in Gil Scott-Heron's sociopolitical laments on Winter in America (1974), Eugene McDaniel's slow-boil jeremiads on Headless Heroes of the Apocalypse (1971), and even Marvin Gaye's 1971 song 'Inner City Blues (Make Me Wanna Holler)'. His vocal mannerisms–talk-singing, oblique lyricism, phrase repetition–at times resemble Van Morrison's more abstract efforts: "Beside You' from Astral Weeks (1968) or 'You Don't Pull No Punches, but You Don't Push the River' from Veedon Fleece (1974. He is fond of what could be called the 'Sam Cooke trill' (the way, for instance, Cooke turns the 'know' of 'I know' into a four-note phrase in his 1964 song 'A Change Is Gonna Come'), often using it to bend the last vowel of a line. Long-held notes resolve to a chewy vibrato reminiscent of Al Jarreau and other jazz vocal acrobats. He occasionally adopts the type of gargled growl associated with Louis Armstrong and Tom Waits...Holley's tinkling electric piano impressionistically traces variations on one rich, unchanging root chord, recalling the quieter moments of Miles Davis's In a Silent
Partial list of museums who own Holley's visual art
The Metropolitan Museum of Art
The Whitney Museum of American Art The Museum of Fine Arts, Houston The National Gallery of Art
The Smithsonian American Art Museum The High Museum of Art (Atlanta)
The de Young Museum (Fine Arts Museums of San Francisco) The Philadelphia Museum of Art
The Minneapolis Art Institute