Date	1985 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Note	An EP featuring the debut of vocalist Joey Belladonna and bassist Frank Bello, Armed and Dangerous is mostly composed of songs originally recorded for the band's debut, Fistful of Metal. As such, the band sounds better, but were still in the process of coming up with quality material and truly hitting their stride.
Production	George Marino-Mastering / Alex Perialas-Engineer Anthrax-Producer Joe Belladonna-Frank Bello-Charlie Benante-Carl Canedy-Producer Scott Ian-Guitar / Dan Spitz-Guitar / Jon Zazula-Executive Producer Norman Dunn-Engineer

Date	1985 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Time	43:40
Note	Anthrax's first album with vocalist Joey Belladonna is a huge leap forward, featuring strongly rhythmic, pounding riffs and vocals that alternate between hardcore-type shouting and surprising amountsof melody. Two tracks left over from the Lilker days are here as well. The traditional metal lyrical fare is more original, while also introducing a penchant for paying tribute to favorite fictional characters and pop-culture artifacts ("Lone Justice" and "Medusa" are prime examples).One of Anthrax's best efforts.
Production	Alex Perialas-Engineer / Anthrax-Producer / Joe Belladonna-Vocals Frank Bello-Guitar (Bass) / -Charlie Benante-Drums, cover concept Carl Canedy-Producer, Assistant Engineer Neil Stopol-Photography / Jon Zazula-Producer, Executive Producer Scott Ian-Guitar / Dan Spitz-Guitar / David Hefferman-Illustrations Norman Dunn-Assistant Engineer / Gary Gershoff-Photography Frank White-Photography / Peter Corriston-Art Direction

Date	1987 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Time	50:13
Note	Generally considered the band's best album, Among the Living broadened the scope of Anthrax's subject matter with socially conscious lyrics addressing prejudice, violence, drug abuse ("Efilnikufesin [N.F.L.]," a rip on John Belushi), and the hollowness of the music business, as well as a politically correct ode to the "Indians." However, the band refuses to take itself too seriously, also recording tributes to Stephen King and Judge Dredd. Musically, the band delivers a powerful, aggressive roar driven by impossibly fast riffing and the changing tempos and collectively shouted vocals of hardcore, especially on the classic "Caught In a Mosh." The brutal rhythm guitar work of Scott Ian and the explosive drumming of Charlie Benante relentlessly pushes the songs along while still maintaining a solid groove, and more than makes up for some lyrical awkwardness. Among the Living remains arguably Anthrax's foremost achievement.
Production	Anthrax-Producer / Joe Belladonna-Vocals Frank Bello-Guitar (Bass) / Charlie Benante-Drums / Scott Ian-Guitar Eddie Kramer-Producer, Engineer Chris Rutherford-Engineer / Dan Spitz-Guitar, Guitar (Electric)

Date	1987 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Time	28:01
Note	This EP features three versions of the title track, the group's pioneering fusion of rap and heavy metal, plus a cover of Black Sabbath's "Sabbath, Bloody Sabbath" and live perfomances of Among the Living's "Caught In a Mosh" and "I Am the Law." While artists like the Beastie Boys and Run-D.M.C. had experimented with rock/rap fusion, Anthrax was the first band on the rock side of the equation to do so, and their take was naturally harder and heavier than anything that came before. Of course, the experiment wouldn't have worked if Anthrax's music hadn't already relied on strongly rhythmic grooves, and their playful sense of humor didn't hurt either. A must-hear.
Production	Anthrax-Producer / Paul Hamingson-Producer Eddie Kramer-Producer / George Marino-Engineer

Date	1988 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Time	52:35
Note	The proper follow-up to Among the Living was somewhat disappointing in its inconsistency. While there are some good moments -- "Be All, End All" is one of the band's most melodic moments, and several other tracks catch fire -- the best thing here is a cover of Trust's "Antisocial," and it doesn't bode well when covers outshine original material. The lyrics continue the self-consciously intellectual, P.C. approach begun on Among the Living, but about half of the album is surprisingly dull.
Production	Anthrax-Producer / Joe Belladonna-Vocals Dan Spitz-Guitar, Guitar (Electric) Charlie Benante-Drums / Mark Dodson-Producer Carol Freedman-Cello / Scott Ian-Guitar (Rhythm) Alex Perialas-Engineer / Frank Bello-Bass

Date	Aug ??, 1990 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal, Rap-Metal
Time	60:24
Note	Persistence of Time rivals Among the Living as Anthrax's best album and might even be a clear-cut favorite if some of the songs had been trimmed a bit. The more cartoonish side of the band is missing here, trimmed in favor of a dark, uncompromising examination of society's dirty underbelly -- nearly every song rails against hatred and prejudice, but without an excess of optimism. The standout track is, once again, a cover -- Joe Jackson's "Got the Time" -- but the rest of the album is strong enough to hold its own. This is the album for those who want Anthrax's serious side without any of the pop-culture references and tributes; others might miss those elements, particularly since there has always been a sort of clumsiness to some of the more intellectual lyrics. However, Persistence of Time is their most lyrically consistent album, and the music simply rages.
Production	Anthrax-Producer, Liner Notes/ Joe Belladonna-Vocals Dan Spitz-Guitar / Michael Barbiero-Mixing Frank Bello-Guitar, Guitar (Bass) / Scott Ian-Guitar Bill Pulaski-Charlie Benante-Guitar, Cymbals, Drums, cover concept Mark Dodson-Producer, Engineer / Paul Crook-Guitar Greg Goldman-Assistant Engineer / Jim Dunlop-Guitar Bob Ludwig-Mastering / Jon Zazula-Executive Producer Marsha Zazula-Executive Producer Brian Schueble-Assistant Engineer Don Brautigam-Artwork, Cover Design / Waring Abbott-Photography / Mike Tempesta-Guitar (Rhythm)

Date	Jun ??, 1991 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal, Rap-Metal
Time	39:56
Note	Not just for devoted fans, this collection of B-sides, covers, rarities, and obscurities actually presents a surprisingly solid overview of the range and diversity of Anthrax's material in an engaging, entertaining manner. Listeners wanting to hear more of the band's sense of humor will be pleased with the bizarre "Milk (Ode to Billy)" (one of two S.O.D. songs redone here), the hilarious power-ballad satire "N.F.B.," and the anti-censorship tune "Startin' Up a Posse," which uses rather predictable tactics to make its point but has such a gleeful, idiotic bounce that it's difficult not to be amused anyway. Two live songs from Persistence of Time are included, capturing the band's serious side, and their various influences are documented through covers of Trust, Discharge, Kiss, and even surf-rockers the Chantays. But the most important item here is the slamming (and highly influential) duet with Public Enemy on that group's classic "Bring the Noise," which paved the way for a host of other bands to mix the aggression and intensity of heavy metal with hip-hop.
Production	Anthrax-Producer / Joe Belladonna-Vocals / Dan Spitz-Guitar Michael Barbiero-Mixing / Charlie Benante-Drums, Producer, Mixing Mark Dodson-Producer / Scott Ian-Guitar, Liner Notes Greg Calby-Mastering Paul Maguire-Illustrations / Jon Zazula-Executive Producer Marsha Zazula-Executive Producer / Charlie-Concept Gene Ambo-Photography / Deborah Melian-Art Direction, Design Nick Koudis-Design, Illustrations / Neil Stopol-Photography

Date	May ??, 1993 (release) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal
Time	56:56
Note	With the addition of deep-voiced vocalist John Bush and a retooled sound attempting to keep up with the times following the alternative rock explosion, Anthrax sounds less distinctive on Sound of White Noise, tightening up their guitar riffs and song structures while making definite moves toward a grungier, Seattle-influenced sound.Anthrax's rhythm section, as always, takes no prisoners, making what might seem like a desperate attempt to follow new trends into another aggressive, pummeling effort that sounds anything but defeated; the intensity is still there.
Production	Anthrax-Arranger, Producer / The Black Dog-Artwork Frank Bello-Bass, Vocals, 6-string bass / Charlie Benante-Drums Bryan Carlstrom-Engineer / Annette Cisneros-Assistant Engineer Mark Fox-Artwork / Scott Ian-Guitar (Rhythm), 6-string bass Dave Jerden-Producer, Mixing / Scott Ralston-Assistant Engineer Dan Spitz-Guitar / Ed Korengo-Assistant Engineer Robin Lynch-Art Direction / John Bush-Vocals Jennifer Monnar-Assistant Engineer Paul Elledge-Artwork, Photo Concept

Date	Apr 5 , 1994 (approx.) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal, Rap-Metal
Time	69:26
Note	This 70-minute concert recording from October 1991, issued after Anthrax had switched record labels, provides a good overview of the band's first seven years, including songs from the albums Spreading the Disease, Among the Living, State of Euphoria, Persistence of Time, and Attack of the Killer B's. Public Enemy joins them for "Bring the Noise," and there are two tracks, the otherwise unavailable "Metal Thrashing Mad" and "In My World," recorded live in the studio in January 1992.
Production	Michael Barbiero-Producer, Engineer / Steve Thompson-Producer

Date	Oct 24, 1995 (approx.) inprint
Genre	Rock
Styles	Thrash, Heavy Metal, Speed Metal, Rap-Metal
Time	50:43
Note	Anthrax continued their downward spiral with Stomp 442, a generic collection of speed metal bombast. Previously, the band had been able to save their weakest material by the sheer force of their personality, but by the time they recorded Stomp 442, they had lost a number of their key members. Instead of recharging the band, the new members make Anthrax seem somewhat unsure of where to go next -- they pull out their old bag of tricks, but none of their blistering riffs, thundering drums, or hip-hop experiments carry any excitement any more. A handful of tracks suggest that the band could save themselves, but Stomp 442 is a disheartening experience for the band's dedicated followers.
Production	Frank Bello -Bass, Vocals / Charlie Benante-Guitar, Drums / John Bush-Vocals Butcher Bros.-Producer, Engineer / Ian Cross-Engineer Scott Ian-Guitar (Rhythm), Vocals/ Dirk Grobelny-Engineer

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