Happy Halloween!

Here's Johnny!!!
Some pretty cool pumpkin carvings. Here's one of Johnny Cash. A bunch more rock-tober pumpkins of your favorite rockers. No Neil though.
Happy Halloween!






“Okemah” is a reference to Woody Guthrie’s birthplace, and Farrar certainly has incorporated the protest spirit into his new material. “Jet Pilot,” which was paired with “Endless War,” is a thematic cousin to John Fogerty’s “Fortunate Son,” and takes a none-too-subtle jab at President Bush. Subject matter aside, the new songs exhibit a return to country-informed rock influenced by bands such as Neil Young and Crazy Horse, Lynyrd Skynyrd and Creedence Clearwater Revival.
Farrar seemed pleased, too. Nobody is ever going to confuse him for the gregarious Bono on stage, but he really appeared to be happy to be fronting a rock band again. While far from chatty, he thanked the crowd on several occasions. He dug into a stinging guitar solo at the end of “Medication,” and he blew a pretty fierce harmonica solo on “Damn Shame,” which was a damn nice compliment to Frame’s searing slide guitar.
Despite the concentration of “Okemah” material, Farrar was more than willing to give the fans, even the more casual ones, what they came for. Crowd participation increased with each tune from the classic Son Volt albums “Trace,” “Straightaways” and “Wide Swing Tremolo” – songs such as “Medicine Hat,” “Loose String,” “Route,” “Caryatid Easy” and “Tear Stained Eye.”



"The record would be this timeless thing that we hope will live on far after we are gone. The live performances are just us having fun and us living out our thirteen-year-old fantasy of air-guitaring on our beds."
"Canadian Kathleen Edwards has recorded some great rocking out tunes and a few slow ones, all the while intertwined with some twang. Her husky voice sounds very much cigarette and booze inspired (and she did nothing to dissuade the booze part, finishing her set by downing a shot), and works well with her many tales of failed and failing relationships on her two albums, 2003's Failer and this year's Back to Me. Her set used a five-piece band, most of the time employing three lead guitars, a bass, and drums. This led to some serious jams in her 45-minute set, which essentially expanded on eight of her songs. She got to most of my favorites (given that her music never gets played on local radio, I'm not sure if any can be considered "hits"). I missed two things from her set: the horn used on the album version of "12 Bellevue," and the song "Hockey Skates" off her first album. Also, her voice wasn't at the peak that I found it on the albums (no surprise I suppose). That being said, these are mere quibbles from a great live performance."
"MMJ rocked so hard on main-set closer "Run Thru," complete with disco-synth breakdown, they might as well have been called My Morning Bulldozer."
"The boys started off with the first 3 songs off of the new record in order, then launched into a blistering take on “One Big Holiday” which really got the crowd going. the songs from Z that translated best live were the dueling guitar of “Lay Low”, the bouncy rhythm of “Off The Record” and straight-ahead rock of “Anytime”, which closed the 5-song encore. not much off of At Dawn, but there were nice versions of “The Way That He Sings” and the title track, and the band treated long-time fans by reaching all the way back to debut The Tennessee Fire for “I Think I’m Going To Hell” and lovely, lesser-known track “Sooner” off the Chocolate And Ice EP. It Still Moves is prob my least favorite release of the band’s (still love it), but the show was punctuated by great takes on favorites “Mahgeeta” in the encore and “Golden” with Edwards on backing vocals, and the highlight of the show was a transcendent version of “Run Thru” from It Still Moves, absolutely sick rawk that drove the audience into a frenzy. as always, the band’s energy was super high, and the adoring crowd fed off of James and the boys’ enthusiasm throughout the show."



"We wanted to make a record that grooved and swung, but wasn't trying to imitate classic soul. We wanted to keep an aspect of what we'd always done, but also make something you could dance to or listen to while driving home. Hip-hop and soul music are unifying people right now. I wanted to incorporate that into our music."

"It's quite a departure from both the southern rock of It Still Moves and the reverb-drenched atmosphere of At Dawn - devotees of either record will probably find something to like and dislike about the new record. It's certainly a bold move on the band's part, thanks at least in part to some personnel turnaround and the addition of two new memebers since their last studio record as well as working with legendary British producer John Leckie. An eclectic record to be sure, it sounds like a stylistic dog's breakfast but somehow very right at the same time. Individually most of the songs are good to excellent, but as a whole I can't tell if there's no flow or if it's so deep that I just haven't tapped into it yet. There's little doubt this album is a grower - it just hasn't hit full bloom with me yet, but I'm willing to bet that it will, sooner or later."
"This one is totally different from everything else. It's the first album with two new members from the band...two new people and that's definitely going to change the sound a bit. They've opened up some new areas. It's a result of all of us growing up quite a bit. It's kind of a reflection of our attitudes on the state of the world. We could choose the low roads and be depressed; but we're choosing to be really positive. It's more spacious, as we took a kind of 'less is more' approach. More danceable, so to speak, but there are definitely rocking moments. We like music that moves you. That's definitely in there as well. This album is all over the place really."