Bible Prophecy Music Blog | End of Time Prophecy Blog | Armageddon Prophecy Blog | Songs About Prophecy

Baby Woodrose – Love Comes Down

Any one who knows me, knows that one way to get me happy in the midst of a monster of a traffic jam is to drop some thing raw and garagey into the player, crank up the volume and watch me become one with the fuzz. That’s exactly what Baby Woodrose does Love Comes down, the latest retro-psychedelic masterpiece, leaked-from-underneath-the-oil-can, blast of pure garage pop bliss. For many die-hard Baby Woodrose fans (and you can count me amongst the ranks – along with just about anything from the Bad Afro Label) Love Comes Down is the “lost” Baby Woodrose album.  Originally released in 2006 only in Scandinavia, not many folks outside ever got the chance to hear it.  Which is a damn shame, because I’ll tell you, Love Comes Down may just be my favorite Baby album in the whole catalog.

If you’re a fan of fuzzed-up, psyched-out, garagepunk from the sixties, this album may be your new holy grail.  Finding a smoky path that’s slightly more straight ahead than other releases, Love Comes Down finds the fuzz big, the melodies huge, and the hooks massive.  Take one look at the acid tab on the cover, and you’ll get an idea of what awaits you.  Each song is a corker of garage rock bliss with a riveting rhythm section, spaced out buzz, and a rock and roll grind.  Sometimes hard and charging, sometimes blissed-out and fuzzed in mellow pop psychedelia, there are no highlights, it’s all good.  Better than good.  It’s a rightly heralded classic of pysch-garage fuzz.  Absolutely essential for fans of the band and the genre, or just good music in general.  Go, Baby!

Voice of Addiction – Reduce Reuse Resist

Let’s up the punk, shall we.  Voice of Addiction came around a sharp corner and blindsided me upside the cranium with their hyper-nitro fueled, determinedly pissed off, punk rock.  From the first cut, “Wrecking Ball,” I was in their corner, cheering them on, hoping they could keep this fantastic momentum going all disc long. And they do.

Voice of Addiction bring in equal parts Oi! punk street guts, Green Day pop punk smarts, and the political snarl of Dead Kennedys, and blasts out their venom in all directions. The offenders for this musical mayhem: Ian Tomele (Vox, Bass Guitar) Andy Bobby Petty (Drums, Backing Vox) are at their absolute best when they lay it all on the line, like the steaming punk-fury of “Constant Pollution” or the pop terror of “Wrecking Ball.”  If you’ve tired for the last time of whining emo or the 33rd incarnation of the Dookie album, you should check these guys out.  This is punk done right.

The Generators – Last of the Pariahs

Hey, I never claimed to be the hippest guy in the world, but even I’m shocked at myself for never having heard of The Generators before.  With Last of the Pariahs, The Generators have released their (count em) 8th studio album of high-octane, gun metal punk, a career that has entrenched The Generators at the forefront of the Southern California punk scene since 1997.  Yes, I live in California.  Yes, I dig punk.  No, I hadn’t heard of em.  Yes, I feel like an idiot.

But that’s all changed now.  Simply put, The Generators put the “rock” into punk rock.  Tons of attitude, gobs of melody, chugging guitars, blitzing rhythm section.  It’s all here.  Ramones speed, D.O.A. snarl, Offspring hooks.  Why aren’t the “powers that be” hailing this band as the second coming? Take one look at the video below.  Tell me this isn’t a near-perfect punk song.  Aggression melody, some clean harmony guitar work, passionate vocals, a guttural bass,and a message of mankind’s stupidity.  This song is branded into my auditory cortex.  Love it!

This album decimates most of the punk that I’ve heard this year.  DC Jam really did us a favor picking up these unsung heroes and unleashing Last of the Pariahs.  Make sure to pick this one up, you’ll be glad you did!

Nappy Riddem – One World Sovereignty

From punk to reggae?  Yep, it’s a straight line, as The Clash, The Slits and others showed us way back in the 70’s.  Reggae represented all the passion and defiance that punk embodied and was just as outlaw.  Nappy Riddem doesn’t concentrate on the resistance aspects of reggae instead focusing on the beat and the “ass-movingness” aspects.  If you know what I mean.

When I first popped this disc into my player, my jaw dropped, my butt moved and my inner funk burst to the forefront.  It wasn’t a pretty sight.   But how else could I respond to the killer old-school-cum-Parliment-meets-the-world vibe of “Nappy Riddem”?  I’d been looking for funk like this for years!  The song just doesn’t let up with it’s hip-moving, ass-shakedness! Then when I found out that Nappy Riddem was only a duo, I was even more impressed.  This album had none of the overly-produced, sonically sterilized boredom of many studio creations.  It’s just warm and organic all the way through.  Just listen to “Devil Needs a Bodyguard.”  This is Marvin Gaye updated for the 21st Century.  We got it all.  A throbbing bass.  Nasty beats.  Riotous horns, snarling guitars, and simply beautifully smooth vocals.  This is the funnest funk/soul song I’d heard since, Gnarls Barkley’s “Crazy.”

A killer surprise find.

–Racer

 Here’s an interview conducted by fearless Ripple Scribe, Boogeyman, that originally ran on his own blog, Long Live Rock N Roll.  Pop over there for more insights from the Boogs.

Being called Rock’s “Come Back Bands of the Year” by Metal Odyssey, and having a string of great reviews from the likes of The Metal Minute, Rocktopia, and The Soda Shop just to name a few, I’ve been given the great pleasure to interview Iron Claw’s guitarist and one of the band’s original founding members, Jim Ronnie. As you’ll find out, it’s one hell of come back for these Proto Metal Pioneers indeed.

Boogs: As a musician myself that use to play in a band and have been out of the music scene for quite some time, what was the spark that ignited your desire to get the band back together after such a long time and start rockin’ again?

Jimmy Ronnie:  The last thing on my mind late 2009 was an Iron Claw reunion. I became aware of  Rockadrome’s release of the band’s self titled CD and must admit to giving that little attention either. However, it became clear that there was indeed a lot of interest out there for our 1970’s recorded back catalog. That was the spark that ignited the possibility of a reunion in my mind. I arranged a meeting of the surviving former band members and that was it! Iron Claw was reborn!

There wasn’t much of a plan at that stage other than “let’s record some new material and see how it goes”. All that changed when Ripple Music got involved and suddenly we were now faced with the task of producing an album for world wide release on this new dynamic label…….wow!

Boogs: That’s amazing! How are some things better now with Iron Claw than they were back in the day when you guys first started out?

Jimmy Ronnie:  The internet is probably the biggest single change that has happened to music since 1979. Musicians now have a vehicle for getting their recorded music out to the world.

That didn’t exist during our first time around and record companies were practically the only way to get recordings heard. There were no CDs of course and pressing your own vinyl records was not a practical option. Even if that could be overcome, how do you distribute them?

On the negative side though, there are now a lot fewer live venues much less opportunity for bands to play. That’s a great shame. We need more live venues. That is how new young bands learn their craft and if they don’t get a chance to play live the standard of music will drop. Never mind TV talent shows. That’s not what it’s all about.

Boogs:  Once again congrats on A Different Game being praised as the “Come Back Album of the Year” in the world of rock and classic rock. How does that feel? It’s gotta be an extremely gratifying feeling. Especially being labeled “Proto-metal Pioneers.” That’s gotta be honor being a part of that.

Jimmy Ronnie: The reviews for “A Different Game” have been astounding. Almost universal acclaim which is about is good as it gets. A couple of Doom sites don’t seem to like us but we’re not a Doom band so that’s fine.

It is extremely gratifying as you say. It’s always nice to get applause for a performance and the music press has thrown themselves behind us 100%.

As for “Proto-metal Pioneers”, I guess that’s what we were but that’s not something that was ever considered at the time. I never thought about breaking new ground. We just did what we did and had a great time doing it.

It was obvious then though that the music was not mainstream and we didn’t always go down well. “Play something we know!” being a common cry from the unsuspecting audience. The response was usually “Fuck off, you’re getting hard rock whether you like it or not!” Ah… the arrogance of youth!

Boogs: Your new album A Different Game is quite different than your first album. What was the experience recording A Different Game as opposed to your first album? What was your guys’ focus on this album, or was it just this music beast within just itching to get out and rock shit again?

Jimmy Ronnie: The main difference is that this is an album produced as a single project, in one studio, with a single line-up of musicians. It was all done in a relatively short period of time as well.

The Rockadrome album is a compilation of recorded work done during our first lifetime (1969 to 1974). As such it is a good mixture of styles and production techniques and shows the bands evolution through the first 5 years of our existence.

The focus on “A Different Game” was clear from the start. We wanted to produce a record that was pure Iron Claw and that was about capturing the live spirit of the band on record. This was about returning to our roots as a band rather than writing and recording about where we may find ourselves as changed individuals today.

Iron Claw is what was called for and Iron Claw is what was given. The end result is that we have produced an album for today. The spirit of the record is 40 years old but the sound is now. I’m very pleased with it as you can probably tell!

Boogs: Absolutely, and you have every reason to be! I definitely have my favorite tunes on A Different Game, one of them being the album’s title track. What would you say is your definite song favorites writing as well as recording?

Jimmy Ronnie: I, too, like the title track which, together with “It’s Easy”, comes from a mid-90’s solo recording project of mine. A couple of the songs had been part of our 1970’s live set but never recorded in the studio. Some were recorded first time round in 1970 but never released.

This was actually our very first album recorded in Luton near London with Mike Waller on vocals. Some of the songs are brand new and written in the studio for this album. So some of the songs are old, some are new but all of them have been stripped bare and reworked for the album.

I don’t know if I’ve got any real favourites. It depends what kind of mood I’m in. “What Love Left” is definitely the right choice for the opener and single….straight to the point rock n roll! I like the Youtube promo video too (not everyone shares my opinion on that though!)

Boogs: I know you all played The Barlinnie Prison last October for charity. What else is in the works for Iron Claw?

Jimmy Ronnie: Yes. The official album launce was at Scotland’s largest prison in Glasgow. That was a very special night for us. A few hundred very sober prisoners gave us a frosty welcome to the stage. By the end of our set they were rockin’ full on! That was immensely satisfying for us and hopefully we managed to plant a few seeds that night.

As we speak we are rehearsing with our new vocalist and hopefully it shouldn’t be long before we’re back on the road. Looking forward to that.

Ripple Music have offered us the chance to make another album. Their only stipulation being that it’s as “kick ass” as this one! That is some time away but we’re really looking forward to that as well.

It has been two years since we decided to reform. Two very intense, busy, yet satisfying years. Personally, up until Ripple Music came along I had given up all hope of fulfilling my dream and securing a recording and publishing deal. Just goes to show that you never know what’s around the corner! As long as there is an audience for Iron Claw and we can still do it then it continues…..Here’s to the future!
———————————————————————————————

Yes, indeed, you never know what’s around the corner, and as this year almost closes in, I can only suspect great things for the Iron Claw boys. There’s is a great story, a very cool story that’s not often told in rock. I personally love it. It takes courage and a big brass set of kahones to make a come back like Iron Claw has.

Once again, I’d like to thank Jimmy Ronnie for being gracious enough to take the time out to answer a few questions for this hard rock fan.

For more information on the Iron Claw band, visit the link to read their biography and get a healthy taste of some of their tunes featured on the their new cd release A Different Game!

Looking for the cd? Click the link to go to Ripple Music’s store and grab your copy of Iron Claw: A Different Game released on Ripple Music now!

 
Coming off the heels of one of if not the best grindcore album of 2011, End Time; the men in Brutal Truth are at it again. This time giving us a small taste of what’s to come in 2012 with their digital EP, Walking Corpse 2112.

This two song EP is brutal as fuck! It makes you yearn for more. Some may remember the song “Walking Corpse” from Brutal Truth’s debut album, Extreme Conditions Demand Extreme Responses. “Walking Corpses 2112” is  a re-recording of that very song….go figure.  After listening to the 2112 version I had to go back into the Cicatriz vault of music and take another listen to the original. My only question is, “How the fuck did these guys make this song even more brutal?”. The answer is easy. Like a fine wine these guys get better with age.

“preconditioned.
Accepting your role
Robbed of life and stripped of soul
Fall into the same routine
Of drab existence, what does it
Mean
Are you satisfied with the way that
You exist?
Every single day just like the one
Before
Don’t you feel the need to express
The way you feel?
Wake your sleeping brain, there’s
So much more”

The final track on this EP is the song, “You Should Know Better”. This song is an exclusive digital release that can also be found on the compilation, This Comp Kills Fascist Vol. 1. This song wastes no time kicking the jams into high gear. Fast as all hell drum, brutal vocals and blistering riffs makes this one a winner.

They say, “good things come in small packages”. This is definitely the case for Brutal Truth’s Walking Corpse 2112. Fans of Brutal Truth and grindcore need to  this one…now!

Brutal Truth goes good with: Assuck, Napalm Death, Carcass, Anal Cunt, Slayer, Pig Destroyer, Agoraphobic Nosebleed, Liberteer, Lapse, Eddie Brock

-Cicatriz

Download this album here: http://www.amazon.com/Walking-Corpse-2112/dp/B006IZH1KI

mmm-mmm good!

ADULT. – D.U.M.E. (USED-VG)
Au Pairs – Live in Berlin (USED-GOOD)
Blurt – Friday the 12th (USED-GOOD)
Bobbie Gentry – Way Down South (USED-VG)
Bush Tetras – Rituals EP (USED-VG)
Celebration – The Modern Tribe (USED-GOOD)
Dave Van Ronk – No Dirty Names (USED-VG)
David Bowie – The World of David Bowie (USED-GOOD)
Death in June – Born Again EP (USED-VG)’
Deerhoof – Milk Man (USED-GOOD) (Original Copy w/ Silk-Screened Sleeve)
Dramarama – Cinema Verite (USED-GOOD)
Husker Du – Warehouse: Songs And Stories (USED-VG)
Iron Maiden – The Number of the Beast (USED-VG)
Joan Jett and the Blackhearts – Glorious Results of a Misspent Youth (USED-VG)
Joe Jackson – Look Sharp! (USED-GOOD) (Autographed)
Kim Fowley – Snake Document Masquerade (USED-GOOD)
King Crimson – Discipline (USED-GOOD)
Laura Nyro – Christmas and the Beads of Sweat (USED-VG)
Paul Quinn and Edwyn Collins – Pale Blue Eyes (USED-VG)
Pere Ubu – cloudlands (USED-VG)
Steve Earle & The Dukes – Exit 0 (USED-VG)
The dB’s – Like This (USED-VG)
The Sound – All Fall Down (USED-GOOD)
This Mortal Coil – Filigree & Shadow (USED-GOOD)
Wolf Parade – At Mount Zoomer (USED-VG)
XTC – Drums and Wires (USED-GOOD)

Alizée – Les Enfoirés 2012 – Lyon

some clips

Silver Swans are a duo from San Fran that excel in tightly constructed, electro-leaning pop gems. Despite the West Coast leanings, they sound like natives of the Swedish electro-pop scene, a highly versatile breeding ground for both brooding atmospheric builders (The Radio Dept.) and punchy pop magic (Lo-Fi-Fnk). Yet there are also those that tread

Child prodigies.  Most don’t measure up to Mozart.  Then, again, how many kids do you know were composing and performing before royalty at five years old?  Amadeus may have been the exceptional exception.  The ultimate musical genius of all musical geniuses.

There have been others, especially guitar-based bluesmen and rockers.  Jonny Lang released Smokin’ when he was fourteen years old and had his first hit album, Lie To Me, at sixteen.  Kenny Wayne Shepherd was wailing on stage with blues greats when he was thirteen.  By the time he was eighteen he already had a top ten single.

Add to those blues child guitar prodigies Andy Poxon.  He started playing gigs at fourteen and at sixteen years old released a barn burner of an album called Red Roots with The Andy Poxon Band.  If you look beyond Poxon’s giant shock ‘fro of tangled red hair and queue the music, you will hear a thirteen track bombardment of guitar blues – from rockabilly to soul – fronted by a teenager with the pain in his voice of an eighty year old Mississippi Delta blues denizen, the sadness of a middle aged country blues singer and the guitar playing ability of a blues master.

Red Roots starts with Hottest Thing In Town which establishes that Poxon has the musical chops of rockabilly legends. It is Stray Cats on steroids  Poxon follows the opening track with a funky blues number, No Love. Could that really be a late 1970’s Slowhand?  Nope, it’s Poxon.

So what do you do when you write songs and play well enough to rival Brian Setzer and Eric Clapton? Well, you play a country blues on par with Albert Lee. That is exactly what Poxon does on the track Quitters Never Lose. Is that Sam Cooke or Percy Faith?  Nope, it’s Poxon.  While you grapple with the idea that this kid has never lived in a world without the internet,  I Want You So Bad plays and he throws down a guitar solo that would make Joe Bonamassa smile.

The only track that didn’t work for me was I Need My Girl, a pop song with an early rock/blues ballad sound.  It seems like the least mature songwriting on the album. Yet, it too contains some tasty blues licks from a mean guitar slinger.

Is that Stevie Ray Vaughan or Buddy Guy on I’ll Sing The Blues? Nope, it’s Poxon.  What can’t he do with that guitar?  Is that Gary Moore on the track Stop?  Nope, it’s Poxon.

A third country love ballad on the album explores country rock. When is a weepy whopper of a song; Raining In brings Poxon back to the blues of the late 50’s/early 60’s.   How can a kid born in 1996 channel Otis Rush?  Even more insane – a 16 year old creating an Albert King-worthy song and performance like Poxon does on Run Of Bad Luck.

Just when you think Poxon has exhausted his blues tricks he tears it up with an extraordinary blues shuffle, I Hate Being Alone.   Still, he is not done.  The penultimate track, Is There Anything I Can Do, is reminiscent of some of the greatest blues songs ever written.  In it are touches of I Still Have The Blues For You, Born Under A Bad Sign and Stormy Monday. 

The last track is C’mon Pretty Baby, a rockabilly swing country blues which brings Poxon and Red Roots full circle.   It is incredibly hard to believe that Andy Poxon is just turned 17 years old. Hell, when I was 17 years old I was looking for a date to the senior prom, not opening on the road for Coco Montoya and channeling Gene Vincent.  What about you?

–Old School