5 Deep and Deadly Cuts from Anthrax’s Early Years

New York quintet Anthrax are part of the Big Four of thrash who transformed the musical landscape of the 1980s. They were also not cut from the same cloth as many of their peers—in the late ‘80s they wore Bermuda shorts on stage, goofed around in photo shoots, and showed off their sense of humor. It was in purposeful contrast to their darker lyrical imagery and musical mayhem.

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Anthrax certainly produced a lot of classic tracks during that time. There are also many lesser-known ones hardcore fans know that don’t get as much attention. Here are five of those songs from their early years for your head-banging enjoyment—many of them emanating power without needing to achieve high-velocity tempos. It wasn’t always about speed—variety is the spice of thrash.

“Death from Above” from Fistful of Metal (1984)

Even when Anthrax were working in a mid-tempo vein, they often possessed frenetic undercurrents. When this writer first heard this stirring track on WBCN in Boston back in the day, the negligent DJ failed to announce who it was. By sheer coincidence, upon snagging the first Anthrax album, songs unheard, their identity was unintentionally revealed. Their early vocalist Neil Turbin screamed quite high on this song and enlivened this tale of a maniacal fighter pilot.

“Across the River”/”Howling Furies” from Fistful of Metal (1984)

Prefaced by the speedy instrumental “Across the River” (Styx, we assume), this closing track to Anthrax’s debut album was an ominous mid-tempo churner inspired by someone sinister. Could it be … Satan? Co-written by original bassist Danny Lilker, “Howling Furies” foreshadowed the horror imagery to come, including the cover for the 1987 album Among The Living. This is one tune that hasn’t gotten a lot of concert play, but it certainly deserves some.

“Armed and Dangerous” from Armed and Dangerous EP (1985)

This five-song EP—two originals, a Sex Pistols cover, and live studio takes of past songs—showcased both the powerful pipes and presence of then-new singer Joey Belladonna and the agility of fresh bass recruit Frank Bello. Featuring lyrics from Turbin, the title track opened delicately enough with pretty acoustic-guitar work and keyboards, but once the band kicked in the intensity it swelled into an aggressive gallop and rapid riffing. A more polished mix without the synth intro emerged on Spreading the Disease, but this one feels stronger.

“The Enemy” from Spreading the Disease (1985)

Here’s an ominous, stomping song from Anthrax’s major-label debut that showcased the power of thrash combined with socially conscious lyrics. In this case, the band took on Hitler and the Holocaust but chose to revisit that horrific subject matter with a controlled pace rather than unleashing a torrent of riffs. The guitar harmonies sounded purposefully and eeriely off-kilter.

The plans, of a race gone mad
A final solution to pass
All dreams are taken from their lives
No hope for the young all the old realize

He is but a solitary man
Whose prejudice will spread like a flame
Throughout the land
He’s enslaving those who will be free
Etching his own name in black
For all of us to hear and see

“Gung-Ho” from Spreading the Disease (1985)

Probably the most rip-roaring track from their early years, “Gung-Ho” embodied light-speed riffing from Scott Ian and Dan Spitz, pummeling bass and drums from Bello and Charlie Benante, and Belladonna’s animated performance. While some like-minded thrashers would keep the energy amped up through the end, Anthrax threw in a curveball by unexpectedly injecting a melody from “Rondeau” from “Sinfonie de Fanfares” by Baroque composer Jean-Joseph Mouret near the end of the song. Then the track just devolved into sonic chaos. Points for that.

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