897. Anthrax / Persistence of Time. 1990. 5/5

The progression of Anthrax through their first four albums was on a similar path that their contemporaries all travelled along. The opening album of pure thrash metal, with vocals that serviced what the band had written but from what more was needed. The second album that was tighter musically and vocally more proficient. The third album that funnelled all of that into producing an album that was at the top of their form, one that still holds true years later. Anthrax had done this as well, with that progression from the “Fistful of Metal” album, and then the change of vocalist that went on to produce “Spreading the Disease” and the legendary “Among the Living”, that still holds true against two other third albums in the discography of highly regarded thrash metal artists, “Reign in Blood” and “Master of Puppets”. In 1988 Anthrax then released their fourth album, “State of Euphoria”, an album that still enthralled the fans and sold as well as the band’s previous two albums, but critically was reviewed with less enthusiasm. Part of the criticism the band received for this album was that it was felt that the band was becoming too ‘cartoonish’, a reference to the stage wear the band wore during gigs, and that many of their songs were written around novels and comic books. Some of that seems misplaced, as the band had tackled some serious issues in a couple of songs from that album.
Heading into their follow up album, there was a lot going on around the band that perhaps led to a slight change in their lyrical and musical direction. The band returned to the studio in late 1989, surrounded in the turmoil of several on going issues. The first was that guitarist Scott Ian was in the process having divorced his first wife during this process, something that is rarely pleasant and now doubt affected his mental state and mood during the writing and recording of the album. Then in late January 1990 a fire in the complex where their studio was situated meant that they lost their rehearsal room along with up to $100,000 worth of equipment, not something that could be replaced quickly or easily. On top of this, it was later revealed that the band had begun having talks of working with a new lead singer, something that their current lead singer Joey Belladonna was kept in the dark about. There was quite an age difference between Belladonna and the rest of the band, and the differences in their pastimes and listening material were said to be a part of why this discussion took place. All of this swirled around the band as they spent more than three months composing and recording what would be their fifth studio album, one that did indeed have a change of tone about it. But would these changes, the maturing of the band’s songwriting to have a bigger focus on the world around them, not only appease their critics but their fan base as a whole?

The increasing ticking of a clock to start to "Time", followed by the frantic guitars and timing-perfect drums is the perfect start to the album, combining all of the best parts of Anthrax's music. Charlie Benante’s drumming on this song from the outset is outstanding, that metronomic-like double kick is amazing alongside everything he is doing on his snare and toms up top. Joey Belladonna’s vocals are precision perfect with the exact right amount of phrasing and emotional kick as the lyrics dictate it is required. Frank Bello on bass combines timing perfect with Charlie throughout, leaving Scott Ian and Dan Spitz to rail over the top. The lyrics speak of life and death, and how time may be an enemy if you let it. There are so many superb lines in this song, but just a piece here is: “Life and death as words they don't mean shit, It's what you do with them and how you live with it, Raging like a bull inside a cage, Just give me a stage where this bull can rage”. This is a truly wonderful start to the album, one of their very best. The opening track segues straight into the follow up in “Blood”, another with Charlie’s opening drumbeat followed by the guitar riff. “Blood” has some great time changes throughout as Charlie mixes things up to mess with the tempo throughout. Lyrically it explores various stories within its different meanings, which may have been a result of the difficulties the band faced during the writing process. While it seems to concentrate mainly on wars, fighting each others brothers, there are lines that speak deeper of Scott’s mood at the time, such as “Misery can be so attractive, when making yourself happy is the only alternative, At the expense of someone else's life, Do it for yourself, damn it, do what's right”. “Keep It in the Family” speaks volumes about racism and prejudice that is handed down from parents to kids, with the kids only learning from what is behind their door and not from where ‘the real world is outside your door’. There’s no holding back in the lyrics here, some that are still far too close to home even 35 years later, such as: “Retribution, no solution, constitution, Discrimination through the nation
Raining hatred”. Sound familiar? It’s another great song on the album, where the topics have become darker and more socially aware. They mix slower heavier riffs with the faster and louder aspects. There is no doubt that this is not an out-and-out thrash album, something that some people are unable to get past. But it is damn heavy and still thought-provoking lyrically, and the maturity both lyrically and musically is a huge step up from their last album.
"In My World" returns the album to the upbeat tempo musically at which it performs its best, rollicking along once again and being driven by Charlie's rolling drumbeat and the flailing of the guitars, while Joey wails over top in fine form. Lyrically, 35 years ago, I would never have thought that I would be so in tune with what parts of this song are saying. It’s a different world, and I am generations older than i was when this was released. “But when you have lines that suggest “I just want my life to do whatever I like
Yeah, it's a selfish need to have no responsibility, So I'll say what I'm gonna say cos I'm going to Hell anyway, I'd rather be alone in my world”. Not in the way that the lyrics and song suggest, but my need to be out in the world has diminished over time, and these lyrics do strike a chord with me. Musically it is fabulously mature thrash metal, the changing tempo engineered by the rhythm section here is terrific, and lyrically it is extremely easy to sing along to with gusto. Another great track. On the back of this, "Gridlock" is the most thrash-like song on the first half of the album, even if it could be described, as I did with the previous track, as a 'mature' form of thrash. Joey stars again on this song, preaching from the stage on the judgements that others will place on you, those who are more interested in gossiping behind your back and tearing you down without confronting you directly. And it is so accurate, especially in workplaces, something I have found in the past, and this song is a perfect example of that kind of behaviour. The band leaves nothing in the tank when it comes to sprouting their vitriol over such practices, along with great riffing and soloing from Dan and Scott. This is a superb way of closing out the first side of the album, and you almost feel a state of exhaustion come over you as a result. It has been draining physically and emotionally from the outset.
The opening to side two of the album is perhaps the best example of the strides Anthrax had made in its writing and performing to this stage of their career. It opens with a snatch of conversation from the classic Twilight Zone episode from Series 3 called “Deaths-Head Revisited”, where the protagonist former commandant of a Dachau concentration camp in Nazi Germany, on visiting the camp 17 years later, insists “we did as we were told”, to which his ghostly companion Alfred Becker, whom he tortured while at the camp replies "They just heard you offer the apology for all the monsters of our times” and followed by an echo of laughter as the instrumental “Intro to Reality” begins. This is a wonderfully written and performed piece, three minutes of awesome riffing and melodic guitar with the bass and drums holding the song together underneath. It builds beautifully in a crescendo before crashing into the killer riff that then kicks in to Joey's spitting vocals that set the scene brilliantly, the segue straight into the beginning of “Belly of the Beast”, which then tells the story portrayed in “Deaths-Head Revisited” from the point of view of Alfred Becker, with Belladonna immediately sneering “You walk this earth without a heart, you tear the innocent souls apart, you shovel your conscience into the grave”. Lyrically this song is a wonderfully composed tome based on that Twilight Zone episode, conveying the horror of the time and of what is described in the episode both in the past and the then present. It is perfectly sung by Belladonna, spitting and incredulous in the same instant. It is the basis of what this album was all about, combining the instances of time throughout, and still delivering a message. It is probably still the highlight of the album for me.
This is followed by the sensational cover of Joe Jackson's "Got the Time", which not only ties in nicely with the album title but rifles along at that thrash speed everyone can enjoy. This is a ripping song, pulled off perfectly by the entire band. Frankie Bello’s bassline is the star attraction here, being front and centre throughout the song, and it sounds like the band is having a lot of fun playing it.
The remainder of the album continues on the angry side of angry. "H8 Red" is another song that seems to be an example of how Scott Ian was facing his difficulties at the time. Lyrically it isn’t set upon that, it incorporates the usual mix of topics that Anthrax throw at you during this album, but there seem to be some pointedly noticeable lyrics that can easily be interpreted as having come from a realistic argument. Beyond that, it is another great song. I love the way the vocals and backing come together on this song and the drums and guitar riffs flood together in a perfect tidal wave of aggression. More of the same follows with "One Man Stands" and "Discharge". All three final songs use 'hate' and 'lie' as a major theme in the lyrics, and the anger inherent in the music and lyrics continues the theme of the album.

19-freaking-90. That is a very long time ago. I was 20 years old, going on 21, with a job that did little else but earn me money to do what I wanted to do, a close group of friends and no romantic attachments. Seems like the perfect life, doesn’t it? And for much of it, it pretty much was.
The memories of this album are still enormous. Anthrax had never toured Australia before, and they began their “Persistence of Time” tour in New Zealand and Australia. This album was only released 9 days before the concert where I saw them. They had played New Zealand and flown into Sydney, where they had an instore appearance at Utopia Records, where they would sign stuff if you’d made a purchase that day. I bought the CD and the vinyl, and then got both signed by the whole band, as well as getting a drumstick signed by Charlie (I had just taken up the drums about a year earlier). I still have the signed CD and drumstick. The vinyl was unfortunately lost in the flood of 2001, a sad day for music in the Peters household. Five days later we saw Anthrax live for the first time. I had had five days to try and suck this album into my conscious, and I did a pretty good job of it overall. It probably wasn’t the perfect way to see the band. I would love to have had more time to really know the album, like I do now. But it didn’t detract from the magnificence of that night.
The album got stuck in my rotation. It along with three other albums that were released around this time became the ones that were replayed over and over on a constant loop. And this lost nothing compared to those others either. This was not a new Anthrax, but it felt like it was a more focused Anthrax. Every song here is pivotal to the rest of the album. The topics covered are hard core, stretching from war to race to anxiety to anger and back again. The music is just brilliantly heavy and dark, magnified by the topics covered and creating a wonderful whole picture throughout.
All combatants are at the top of their game here. Joey Belladonna's vocals are just perfect, especially in songs such as "Time" and "Belly of the Beast" where a bit of attitude is necessary. Frankie Bello's bass work is terrific again, especially in the bass players' handbook song of "Got the Time". Dan Spitz and Scott Ian's duel guitar riffing is tight and complete, revelling in the speed and heavy chunk that proliferates this album, while Charlie Benante's drumming is as superb as always, the masterful timing and precision of his playing is a joy to behold, and it is pretty much the star turn on this album.
I have had this album out and on again for almost two weeks now. I could easily have it out for another month or so. I just don’t ever get tired of this album. Everything about it is quite superb. If I haven’t listened to this 20 times from start to finish in that time period then I am a bad judge. I’ve been air drumming and singing along loudly for that whole time. Is it their best album? It’s close. Is it my favourite Anthrax album? If you made me choose, then yes it probably is.
1990 was a pretty big year in music. Megadeth had found their masterpiece, Judas Priest had rediscovered their killer instinct, Slayer had maintained their rage while still finding a broader fan base. There's no doubt that in this metal landscape, “Persistence of Time” more than held its own, and kept Anthrax on the top shelf of metal bands heading into the new decade. 35 years later and it still sounds pretty bloody awesome.