Lonnie Holley - Tonky - COMPACT DISCS [CD]
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There are poets like the great Mary Oliver, who mightsuggest that one's primary function when moving through theworld, for as long as they have life and the ability to move throughthe world, is to play close attention to that which others may foolishlycall small, or quotidian. The brain and heart are both containers, withas much space as you wish for them to have, and to live is to createcollections of found affections. Sounds from your beloved andfamiliar blocks, movements of the trees and the people beneaththem, the way someone you adore may hold you for a few lingeringseconds before releasing from a hug and vanishing into a crowdedcrosswalk. To think of our living, our making, and our loving in thisway means that, at least for some of us, we may be propelled forwardby the prospect of what's next. What moment we can hold and placein our overflowing pockets.The work of Lonnie Holley is, for me, a work of this kind ofaccumulation and close attention. The delight of finding a soundand pressing it up against another found sound and another until,before a listener knows it, they are awash in a symphony of soundthat feels like it stitches together as it is washing over you. Tonky isan album that takes it's name from a childhood nickname that wasaffixed to Holley when he lived a portion of his childhood life in ahonky tonk. Lonnie Holley's life of survival and endurance is one thatrequired - and no doubt still requires - a kind of invention. Aninvention that is also rich and present in Holley's songs, which are fulland immersive on Tonky, an album that begins with it's longest song,a nine minute, exhaustive marathon of a tune called InchSeeds,Inch whichbegins with a single sparse sound and then expands. Chants, faintkeys, strings, and atop it all, Holley's voice, not singing, but speakingplainly about working the earth when he was young, the violence heendured in the proce
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- GenreRockDescriptionThere are poets like the great Mary Oliver, who mightsuggest that one's primary function when moving through theworld, for as long as they have life and the ability to move throughthe world, is to play close attention to that which others may foolishlycall small, or quotidian. The brain and heart are both containers, withas much space as you wish for them to have, and to live is to createcollections of found affections. Sounds from your beloved andfamiliar blocks, movements of the trees and the people beneaththem, the way someone you adore may hold you for a few lingeringseconds before releasing from a hug and vanishing into a crowdedcrosswalk. To think of our living, our making, and our loving in thisway means that, at least for some of us, we may be propelled forwardby the prospect of what's next. What moment we can hold and placein our overflowing pockets.The work of Lonnie Holley is, for me, a work of this kind ofaccumulation and close attention. The delight of finding a soundand pressing it up against another found sound and another until,before a listener knows it, they are awash in a symphony of soundthat feels like it stitches together as it is washing over you. Tonky isan album that takes it's name from a childhood nickname that wasaffixed to Holley when he lived a portion of his childhood life in ahonky tonk. Lonnie Holley's life of survival and endurance is one thatrequired - and no doubt still requires - a kind of invention. Aninvention that is also rich and present in Holley's songs, which are fulland immersive on Tonky, an album that begins with it's longest song,a nine minute, exhaustive marathon of a tune called InchSeeds,Inch whichbegins with a single sparse sound and then expands. Chants, faintkeys, strings, and atop it all, Holley's voice, not singing, but speakingplainly about working the earth when he was young, the violence heendured in the proceArtistLonnie HolleyTitleTonkyFormatCDLabelJagjaguwar
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There are poets like the great Mary Oliver, who mightsuggest that one's primary function when moving through theworld, for as long as they have life and the ability to move throughthe world, is to play close attention to that which others may foolishlycall small, or quotidian. The brain and heart are both containers, withas much space as you wish for them to have, and to live is to createcollections of found affections. Sounds from your beloved andfamiliar blocks, movements of the trees and the people beneaththem, the way someone you adore may hold you for a few lingeringseconds before releasing from a hug and vanishing into a crowdedcrosswalk. To think of our living, our making, and our loving in thisway means that, at least for some of us, we may be propelled forwardby the prospect of what's next. What moment we can hold and placein our overflowing pockets.The work of Lonnie Holley is, for me, a work of this kind ofaccumulation and close attention. The delight of finding a soundand pressing it up against another found sound and another until,before a listener knows it, they are awash in a symphony of soundthat feels like it stitches together as it is washing over you. Tonky isan album that takes it's name from a childhood nickname that wasaffixed to Holley when he lived a portion of his childhood life in ahonky tonk. Lonnie Holley's life of survival and endurance is one thatrequired - and no doubt still requires - a kind of invention. Aninvention that is also rich and present in Holley's songs, which are fulland immersive on Tonky, an album that begins with it's longest song,a nine minute, exhaustive marathon of a tune called InchSeeds,Inch whichbegins with a single sparse sound and then expands. Chants, faintkeys, strings, and atop it all, Holley's voice, not singing, but speakingplainly about working the earth when he was young, the violence heendured in the proce
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'Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point - his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's 'My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all it's own.It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understandingInch, Holley is able to make a profound point as ever in far fewer phrases InchThe deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's.Inch Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community. Album Tracks 1. Testing 2. I Am a Part of the Wonder 3. Oh Me Oh My 4. Earth Will Be There 5. Mount Meigs 6. Better Get That Crop in Soon 7. Kindness Will Follow Your Tears 8. None of Us Have But a Little While 9. If We Get Lost They Will Find Us 10. I Can't Hush 11. Future Children
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Album Tracks 1. I'm a Suspect 2. Back for Me 3. How Far Is Spaced-Out? 4. I Snuck Off the Slave Ship 5. I Woke Up in a Fucked America 6. Copying the Rock 7. Coming Back (From the Distance Between the Spaces of Time) 8. There Was Always Water 9. Down in the Ghostness of Darkness 10. Sometimes I Wanna Dance
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