Anthrax
Stomp 442

THE REVIEW

I believe that "Anthrax" were one of the most underrated and misunderstood bands in the '80s/'90s thrash-metal scene. That's why I took the opportunity to discuss one of their few albums not yet reviewed on this site. "Stomp 442" is, in my opinion, the fourth in terms of "acoustic beauty" among their 9 albums, but it was definitely too neglected and criticized at the time of its release. It's time to give due honor to the entire discography of a band that I think contributed a lot to metal and influenced many more well-known and famous bands. For those who don't really know them, a small "excursus" on their origins and history might be useful.

Like almost all long-lived bands (1982 - today), Anthrax also had their leaders. Specifically, two: one being more of an icon and charismatic leader, Scott Ian (rhythm guitar), and the other more behind the scenes but equally important, Charlie Benante (drums). The first is the son of Jewish immigrants, and the other of Italian immigrants, both born in '63. They grew up together in the worst Bronx of New York during the '70s, rife with mafia and murders. The two friends started by playing on tourist ships circling the Statue of Liberty to make ends meet. However, they soon developed a very personal (and very violent) style in the basements where they took their first steps. It's music that reeks of repressed anger, of kicks and batons in the mouth, of racial slurs and wrongs suffered. In 1984, the dynamic duo released their first album, "Fistful of Metal," with a lead guitarist also born in '63, Dan Spitz (but already with a famous "pedigree"). He's the brother of that Dave Spitz, bassist of Black Sabbath, who were already making waves at the time. They recruited a screamer from the neighborhood, Neil Turbin (truly awful) on vocals, and the talented bassist Dan Lilker (who will form the "frightening" Nuclear Assault). It's a raw, immediate album, recorded without money, objectively ugly! Charlie, the true mind of the group, then brings in his cousin, Frank Bello; a "scugnizzo" from '85, who started playing jazz and soul bass in some neighborhood clubs at the time. They get rid of the "screamer" Turbin and find a proper singer, the legendary Joey Belladonna, a son of Sicilians who had recently moved to the city, with a lot of experience from "pub-bands" behind him. Finally, the real "Anthrax" is born, and they will remain with this lineup until 1992.

In 8 years, they will produce 4 albums, 1 compilation, 1 EP, and 1 live album! Of the 4 albums (in order): Spreading The Disease, Among The Living, State Of Euphoria, Persistence Of Time, it's difficult to rank them. Personally, my favorite is the last of this lineup's era, "Persistence of Time"; while the one I like least is undoubtedly "State of...", though it's the most famous. "Spreading" and "Among" perhaps have greater importance because they will influence significantly the entire Thrash movement of the '80s. "State of Euphoria" is poor, heavily influenced by the glam and street styles that were prevalent in those years (1988), but it contains their most famous single ever, "Anti-Social." Thanks to the success of these 4 albums, Anthrax thus became part of the "Big Four" of thrash metal in the early '90s. A tetrarchy also composed of Metallica, Megadeth, and Pantera. Four very different bands indeed. Of the four, Anthrax was always the least famous, the ones that filled stadiums less, but also undoubtedly the fastest and most consistent. They never "exaggerated" (see Mustaine, Hetfield, and Anselmo). They kept "healthy," with their small following of loyal fans ready to do anything for them. Until the fateful 1991. "The Attack of the Killer B's" was released, an EP strongly wanted by the record label to cash in and exploit the band's great moment after the success of "Persistence" and their world tour opening for Iron Maiden (seen in Milan, former Palatrussardi, 1990 and... oh my! I still keep and lick a scar). It's a nice collection of B-sides, covers, and silly stuff, but it also contains the track "Bring The Noise" played alongside Public Enemy. The single smashed all planetary charts, the EP sold more than many previous albums, Anthrax immediately went back on tour first with the "Public," and then around the world with "Slayer."

In 1992, Anthrax was at the height of success and ready to enter the studio for their sixth album, but something broke. Belladonna disagreed with the shift in sound towards speed-rock/cross-over desired by Ian and Benante; he abruptly left the group! He was never the leader. Decent voice, but "unlucky," ugly, not much of a frontman, so he was soon replaced by the (excellent but) very different John Bush, formerly of "Armored Saint." Technically much superior to Belladonna, with him, the band recorded "Sound Of White Noise" in '93. The album marks a definite change from previous productions. These are the years of the great success of the Black Album and the entire Seattle Grunge movement. Ian and Benante feared being trapped in a genre now considered obsolete, and so they chose to write an album still very fast and "tight," but with more rock sounds, less shrill vocals, and a more square drum. It's an album in which in reality, the 4 singles are, in my opinion, very good, but it was panned by both critics and fans. The result is that Spitz also left the band. Anthrax (following the example of Def Leppard) decided not to replace him. Charlie, in addition to being a good drummer and major composer, was a multi-instrumentalist and in "Stomp 442," he wrote and played all the guitar solos instead of Spitz, who would be replaced (in hopeful anticipation of his return) only live by various mercenaries and roadies.

"Stomp 442" was released in 1995 with (in my opinion) one of the most beautiful covers in music history! A fantastic example of modern art by Storm Thorgerson (see Pink Floyd, Peter Gabriel, Audioslave covers), which visualizes in one stroke the degradation of civilization in the face of man's strength as an ancestral mammal. The album would be a total commercial flop! In my opinion, it's a good album. It opens with one of the most "damn-fucking-metal" tracks in history: "Random Acts Of Senseless Violence," which wasn't even a single. 4 minutes of breathless pogo. Then it moves to "Fueled" and "King Size," good driving, guitar-heavy tracks. But I don't want to do the usual tedious listing of all the damn tracks! Go listen to it and that's that; I think those who like to pogo and fast metal will love it. I just want to highlight the single "Nothing" and number 8 "American Pompeii," two real bone-crushing but quality tracks. In this album, finally, John Bush is no longer an outsider to the band. He actively participates in the song arrangements, which are therefore designed for his voice and not Belladonna's. Jan has a guitar sound much less thrasher but still nasty. Thick, saturated, almost punk. Frank Bello gives his best (not much, really) with slaps here and there, but as usual, he follows Benante's drums well, which, although no longer demonized with double bass like in the early days, hits the snare drums with unheard-of force. If we want, the album is noteworthy for its fantasy and courage, even in its rare and brief guitar solos.

In short, in my opinion, an album worthy of a full 7, although lacking in great heights of virtuosity (like much of Anthrax's production). From here on, unfortunately, our New Yorkers will showcase "Volume 8" and "We've Come For You All," two anonymous albums lacking the typical grit of their early days. In 2003, Bush's departure marked the end of Anthrax's propulsive drive. I saw them again recently in 2005, and then in 2006 playing with the old lineup only the tracks from the first 4 albums at the "live" near Brescia, and I have to admit they even made me feel a bit sorry, like whales on beaches. Spitz has taken to hormones in the gym and exploded! Belladonna shows all his 47 years, poor guy, and can no longer hit high notes; the other three are still into it but seem aware of their "Jurassic" status, riding the feeble long wave of a genre that only we 30/40-somethings still listen to.

What to say, a rather sad and inglorious end, marked by many too many live shows and compilations released in recent years just to be able to retire with at least a cottage in Connecticut and a convertible Mustang in the garage. And yet... great!