Biography of Anthrax
In the early '80s, Metallica and Anthrax ushered in a new wave of American heavy metal, a revolution countering the British scene led by acts such as Judas Priest, Motorhead and Iron Maiden. Both groups played a critical role in the popularity of the movement, ultimately running neck-and-neck for the title of "Fastest Speed Metal Band In The World." However, as time marched on, the two bands began to separate in terms of tempos, tone and tax brackets. Still, Anthrax, though not nearly as heralded as fellow speaker-shredders Metallica, contributed much to the development of today's rock scene.
Queens resident/ guitarist Scott Ian formed Anthrax in 1981 with fellow New Yorkers Dan Spitz (guitar), Charlie Benante (drums), Dan Lilker (bass) and Neil Turbin (vocals). They immediately set out to stalk Jon and Marsha Zazula, owners of the Jersey-based Megaforce Records. Thanks to their paparazzi-like persistence, they convinced the couple to both manage the band and sign them to the label. After recording their debut album, Fistful Of Metal, in 1984, Anthrax went through the first of several lineup and label changes, substituting Frank Bello for Lilker, the operatic Joey Belladonna for Turbin, and Island Records for Megaforce. Over the course of the next few years, the precision-perfect twin guitars, swinging sledgehammer grooves and socially conscious lyrics of albums like Among The Living (1987) and Persistence Of Time (1990) made them standouts in a rapidly stagnating and overcrowded metal scene.
Surprisingly, Anthrax scored most of their major points toward the decade's end by incorporating rap, of all things, into their songwriting. In 1991, they joined forces with influential hip-hop act Public Enemy to re-record the latter's hit, "Bring The Noise." With the tour that followed, Anthrax secured their spot in music history by being one of the first bands to break down the walls separating rap and metal, as well as black and white audiences. The following year, they signed a multimillion-dollar deal with Elektra Records and subsequently handed problematic lead vocalist Belladonna his walking papers. The state of flux didn't end there: After ex-Armored Saint vocalist John Bush was brought in, the band ended their relationship with the Zazulas.
Their first album with the gritty-voiced Bush, 1993's Sound Of White Noise, is arguably their strongest effort to date, an album that had Anthrax primed to survive the great metal purge brought about by Kurt Cobain and the alternative revolution. Unfortunately, they followed that up with the incredibly bland Stomp 442, a record that saw the departure of longtime guitarist Dan Spitz, and left many fans wondering where the beef went. Elektra wondered that as well, and shortly thereafter, they too parted ways with Anthrax. The band's domino effect of problemscontinued into the Summer of '97, when Ian was arrested for breaking into the Spring training facility of the New York Yankees and stealing the mat from the on-deck circle. With the guitarist facing serious jail time, infamous radio personality Howard Stern came to the rescue and convinced Yankee owner George Steinbrenner to drop the charges. Critics began to joke that Anthrax couldn't even get arrested.
Yet despite all the changes and various musical phases, Anthrax have somehow managed to persevere. In the Summer of '98, more than a dozen years after the release of their first album, they put out Volume 8: The Threat Is Real! on Ignition Records (their fourth label). Though much of the album revolves around tired, overamped riffs and uninspired guest appearances by Pantera's Phil Anselmo and Dimebag Darrell, it does have its bright spots. What's surprising is that the subtle moments are the most striking. The album's saving grace is its hidden track, "Pieces," a tender acoustic number written and performed by Frank Bello in tribute to his slain brother. Looser, bluesier tracks like the Who-ish '70s romp of "Harm's Way" and "Big Fat" also show renewed life. Pessimists may fret that the band has gone soft, but optimists will tell you that, more than a decade and a half into their career, Anthrax have finally learned the power of restraint. Only time will tell if it's enough to carry them into the 21st century.
This Biography was written by Michael Moses
Biography of Anthrax
Albums y lyrics of Anthrax
Daddy Yankee - Gasolina
Reik - Yo Quisiera
Rbd - Rebelde
Black Eyed Peas - Don't Phunk With My Heart
Mario - Let Me Love You
Reik - Yo Quisiera
Rbd - Rebelde
Belinda - feat. Moderatto - Muriendo Lento
Daddy Yankee
Belinda
Molotov
Rasmus
Queens resident/ guitarist Scott Ian formed Anthrax in 1981 with fellow New Yorkers Dan Spitz (guitar), Charlie Benante (drums), Dan Lilker (bass) and Neil Turbin (vocals). They immediately set out to stalk Jon and Marsha Zazula, owners of the Jersey-based Megaforce Records. Thanks to their paparazzi-like persistence, they convinced the couple to both manage the band and sign them to the label. After recording their debut album, Fistful Of Metal, in 1984, Anthrax went through the first of several lineup and label changes, substituting Frank Bello for Lilker, the operatic Joey Belladonna for Turbin, and Island Records for Megaforce. Over the course of the next few years, the precision-perfect twin guitars, swinging sledgehammer grooves and socially conscious lyrics of albums like Among The Living (1987) and Persistence Of Time (1990) made them standouts in a rapidly stagnating and overcrowded metal scene.
Surprisingly, Anthrax scored most of their major points toward the decade's end by incorporating rap, of all things, into their songwriting. In 1991, they joined forces with influential hip-hop act Public Enemy to re-record the latter's hit, "Bring The Noise." With the tour that followed, Anthrax secured their spot in music history by being one of the first bands to break down the walls separating rap and metal, as well as black and white audiences. The following year, they signed a multimillion-dollar deal with Elektra Records and subsequently handed problematic lead vocalist Belladonna his walking papers. The state of flux didn't end there: After ex-Armored Saint vocalist John Bush was brought in, the band ended their relationship with the Zazulas.
Their first album with the gritty-voiced Bush, 1993's Sound Of White Noise, is arguably their strongest effort to date, an album that had Anthrax primed to survive the great metal purge brought about by Kurt Cobain and the alternative revolution. Unfortunately, they followed that up with the incredibly bland Stomp 442, a record that saw the departure of longtime guitarist Dan Spitz, and left many fans wondering where the beef went. Elektra wondered that as well, and shortly thereafter, they too parted ways with Anthrax. The band's domino effect of problemscontinued into the Summer of '97, when Ian was arrested for breaking into the Spring training facility of the New York Yankees and stealing the mat from the on-deck circle. With the guitarist facing serious jail time, infamous radio personality Howard Stern came to the rescue and convinced Yankee owner George Steinbrenner to drop the charges. Critics began to joke that Anthrax couldn't even get arrested.
Yet despite all the changes and various musical phases, Anthrax have somehow managed to persevere. In the Summer of '98, more than a dozen years after the release of their first album, they put out Volume 8: The Threat Is Real! on Ignition Records (their fourth label). Though much of the album revolves around tired, overamped riffs and uninspired guest appearances by Pantera's Phil Anselmo and Dimebag Darrell, it does have its bright spots. What's surprising is that the subtle moments are the most striking. The album's saving grace is its hidden track, "Pieces," a tender acoustic number written and performed by Frank Bello in tribute to his slain brother. Looser, bluesier tracks like the Who-ish '70s romp of "Harm's Way" and "Big Fat" also show renewed life. Pessimists may fret that the band has gone soft, but optimists will tell you that, more than a decade and a half into their career, Anthrax have finally learned the power of restraint. Only time will tell if it's enough to carry them into the 21st century.
This Biography was written by Michael Moses
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