“Gone” challenges the notion that he who dies with the most toys wins. Although a line talks of bribing officials with “our cigarettes and booze,” a man’s trip to India gives him a new perspective on poverty (“Holes to Heaven”). “Rodeo Clowns” exposes the club scene for what it is (“Bright lights flashing to cover up your lack of soul”). Johnson expresses love across the miles (“Tomorrow Morning”) and reminds his partner that their bond is forever (“Cupid”). Other cuts contemplate the repeating cycle of life (“Times Like These”), express sadness over 9-11 (“Traffic in the Sky”) and view anger as a destructive force (“Symbol in My Driveway”). “Cookie Jar” and “Fall Line” are concerned about the media’s influence on society. The former accuses TV and video game violence of contributing to hostility in youth (“You can’t blame me says the media man … We’ve all got blood on our hands”). The latter shows disgust at how television portrays human suffering. “Taylor” describes the empty existence of a young prostitute, but …
It does so with metaphors that may not be obscure enough for some families. A mild profanity (“d–n”) rears its head on two occasions.
Johnson’s mellow acoustic ballads excel when he’s pondering the human condition and challenging society’s blind acceptance of what it’s being force-fed by the media. A few minor language problems, but On and On is thematically solid.
