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Reception to the song was widely positive. Loudersound ranked Time Bomb as Rancid's second best song.[1] Consequence ranked the song as the band's 5th best song,[7] and the 44th best punk song of all time.[8] Diffuser listed it as their 10th best song.[9]

the first couple of times i heard this song i thought it was about growing up, because it was all about "avoiding the time bomb" and trying to stay young. and the "black coat, white shoes, black hat, caddilac" made me think of getting old, having a job, all that stuff. But now i have been persueded to think otherwise, and i have changed my mind.

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this song is about a kid who hustles. from the time hes a kid he gets into trouble, so it seems inevitable that shit won't end well. as he grows up he continues to hustle and make money however he can, until the day he dies.

this song is about Eric Hogan who used to own American Graffiti Tattoo, Eric was murdered by Hells Angels (oddly enough he was a member also) for sleeping with someones wife, Tim Armstrong and the band were good friends with him.

this is well known among tattooers and real rancid fans

After Rancid had their big mainstream breakthrough with 1995's ...And Out Come the Wolves, they wanted to go even bigger. Enter Life Won't Wait, the lengthiest and most ambitious album that Rancid ever made. They brought some of Operation Ivy's ska-punk back on ...And Out Come the Wolves, but this time they embraced ska (and reggae) in more prominent and more traditional ways. They didn't want to just be a punk band with upstrokes; they wanted to be the real deal. They recorded part of the album in Jamaica and got help from Jamaican reggae musician Buju Banton, as well as from members of veteran ska bands The Specials (Roddy Radiation, Lynval Golding, Neville Staple) and The Slackers (Vic Ruggiero, Dave Hillyard). They went beyond the standard punk setup to include organ, steel drums, sax, trombone, trumpet, blues harmonica, piano, and more. They wrote slower, cleaner, and longer songs, but they also wrote plenty of fast punk songs, and the list of guest punk musicians on the album is just as star-studded: Marky Ramone, Agnostic Front's Roger Miret, Green Day's Billie Joe Armstrong, The Mighty Mighty Bosstones' Dicky Barrett, D Generation's Howie Pyro. It's like the album was one big shoutout to all the music they love, and sometimes the album was literally that. "Wrongful Suspicion" is an ode to New York punk and its lyrics shout out H2O, The Slackers, Stubborn All Stars, Sick Of It All, Agnostic Front, Crown of Thornz, D Generation, DJ Ansen, Dave Hillyard and the Rocksteady Seven, Simon and the Bar Sinisters, Nine Lives, Chrisipline and his new band Under The Gun, Madball, and Marky Ramone and the Intruders. On ...And Out Come the Wolves, Rancid started getting pummeled with Clash comparisons, and with Life Won't Wait, it's like they tried to write their Sandinista! (and on "Lady Liberty," they reference actual Sandinistas, which can't be a coincidence).

For all the talk of Life Won't Wait being Rancid's big, cross-genre, reggae-meets-punk album, though, it's not that different from ...And Out Come the Wolves. If I had to criticize it, I'd say Rancid probably could have been even more ambitious and departed even more from their roots. The title track, which features Buju Banton and Vic Ruggiero and is one of the most overtly reggae songs on the album, is also one of the strongest and catchiest. Going further down this rabbithole could've resulted in an even more adventurous album. At the same time, the familiarity of the bulk of Life Won't Wait helps the riskier songs go down easy. Absurdly catchy punk and ska-punk bangers like "Bloodclot," "Warsaw," "Leicester Square," and "1998" could've fit just fine on ...And Out Come the Wolves and they're as strong as a lot of the songs on that near-perfect album. Mixing them in with the reggae of "Crane Fist" or the blues harmonica of "Cocktails" made for an album that struck a fine balance between the old and the new. It's by far Rancid's most unique album, and one of the most unique albums to come from a mainstream '90s punk band in general.

If the cleaner production did anything for Rancid's sound, it just brought out how there had always been strong pop songs stirring beneath Tim Armstrong's gravelly voice. The ...And Out Come the Wolves songs are the most classic, but Rancid have never written songs catchier than Indestructible singles "Fall Back Down" and "Red Hot Moon" before or since. And if you don't think it's punk to talk about strong pop songwriting, you must not listen to the Ramones or the Buzzcocks. Like a lot of musicians who emerged out of the punk underground, Tim Armstrong is a genuinely talented pop songwriter (he wrote and produced a hit for P!nk the same year Indestructible came out), and sometimes those punk musicians just need some better production to coax the great pop songs out of them. And, over 15 years later, "Fall Back Down" and "Red Hot Moon" hold up as two of the stronger pop-minded punk songs to come out of the whole mainstream punk boom. They retained the attitude and the style of classic Rancid, but they went down even easier than the classics and they held their own against the actual pop of the time. And plus, when you consider that those are the two poppiest songs that Rancid ever wrote, you're still looking at a band who are way more abrasive than the large majority of mainstream pop punk bands. Indestructible can't just be boiled down to those two songs though. Part of the reason that the album ranks so high is that, throughout its 19 tracks, it just keeps offering up ripper after ripper. There's a slow song or two in the mix, but mostly Rancid just sound like a well-oiled punk and ska-punk machine on Indestructible. It's definitely an album that favors economical, accessible songs over anything that borders on "risky," but even with that being the case, it's got a handful of fast, aggresive punk songs and even a straightup hardcore song ("Out of Control"), and there aren't many mainstream sellout punk bands who write rippers like that.

Rancid's 1993 album was a solid yet humble debut, and the band's only album recorded as a trio. But once they solidified the classic lineup of original trio Tim Armstrong, Matt Freeman, Brett Reed, and then-new guitarist/vocalist Lars Frederiksen, and teamed up with producer Brett Gurewitz of Bad Religion (who would go on to produce most of their albums), Rancid made their proper introduction on 1994's Let's Go, and it remains home to some of the very best songs of their career. The seeds for Let's Go were being sewn on the debut, but it's still hard to believe they made such a giant leap in just one year. It almost sounds like a different band. (And technically, it sort of was.) Let's Go wasn't yet embracing the ska that ...And Out Come the Wolves would embrace, but it saw them branching out pretty far from their straightforward debut, with cleaner guitars, slower tempos, more dynamics, and more complex rhythms. And most importantly, they were all of a sudden writing really, really great songs. The debut album showed that Tim Armstrong knew his way around a hook and that Matt Freeman was a beast on the bass, but here Tim (and Matt) are writing timeless choruses and Matt's basslines are nearly as memorable as some of the words. And Let's Go is just an onslaught of great songs. It's not fair to call it top heavy, but Rancid were smart enough to put the best songs up front, and what a hell of a way to start a record. The first five songs is one of the greatest chunks of music to come out of the entire '90s punk era. Each song throws you right into the action; there's maybe a snare hit or about five seconds of power chords and lead bass, and then you're just hurled straight into the hook. Let's Go isn't as simplistic as either of the self-titled albums, but it doesn't waste time with things like intros or outros or interludes or anything like that. It's basically the ideal punk album: nothing but loud, in-your-face songs that you'll be yelling along to by the second listen, and a strong identity that separates it from the masses of punk bands trying to do exactly the same thing.

...And Out Come the Wolves brought out the best in Rancid in every way: the lyrics, the hooks, the basslines (the most iconic Rancid bassline is of course the solo on Wolves opener "Maxwell Murder"), the balance of punk and ska. Some of the best ska-punk songs ever written are on ...And Out Come the Wolves; it's songs like "Time Bomb" and "Old Friend" that defined the style Rancid would "go pop" with on Indestructible, and the style Tim would help revive with his now-popular protgs The Interrupters. They didn't go full reggae on this album like they did on Life Won't Wait, but they brought in some reggae organ and they certainly sang about reggae on this one. (Unlike Life Won't Wait and unlike most ska, this album had no horns.) And if Rancid opened Let's Go with a perfect five-song run, I'd say they opened this one with a perfect nine-song run. From "Maxwell Murder" through "Ruby Soho," each new song starts and instantly gives you that feeling of "oh yeah, this one!" It's the kind of album where you start to memorize the sequence, you can always feel what's coming next, and you never want to hear it any other way. The album's three singles all fall during that first nine, but all nine of them feel like they belong on a Rancid greatest hits album. And while Rancid albums tend to be long with the fan favorites up front, the 19 songs of ...And Out Come the Wolves never drag and tons of fan favorites pop up during the second half, like "Journey to the End of the East Bay" and "Old Friend" and "As Wicked" and album closer "The Way I Feel." No other Rancid album stays this strong all the way through. Even the songs that don't stand out as much as the big fan faves remain memorable and essential. Part of that is because Rancid knew to give their songs just the right amount of musical diversity on this album. As great as Let's Go is, the songs can sometimes start to blur but that never happens on ...And Out Come the Wolves, where each individual song is its own beast. Rancid would go further down the musical diversity rabbithole on the ambitious Life Won't Wait, but on this album they've got the perfect mix of branching out from your roots and saying true to them. Life Won't Wait sounds like it was written to top ...And Out Come the Wolves and become considered the band's definitive record, but sometimes you just can't control that kind of thing. If Life Won't Wait is their Sandinista! then ...And Out Come the Wolves is their London Calling. It's forever the band's most iconic work, and it deserves to be. e24fc04721