On July 1, 1985, the four recorded what could loosely be termed a demo tape in the studio. Titled “Crab Society North”, it was recorded by plugging a Walkman into a speaker, and then just cutting loose with their material. The demo tape was 14 minutes and 21 seconds, and contained 63 songs, ranging in length from 1 second to 58 seconds. Very little was eventually used from this one day jam, but one thing that did stick was coming up with the name of the band – Stormtroopers of Death, or simply S.O.D.
For the next four days, from July 2 to 5 1985, the four members of the newly named band put together the 21 tracks that would form what would be known as their debut album, and recorded and mixed it. Upon its release it was instantly controversial due to their deliberately offensive explicit lyrics. Scott Ian said from the outset that the songs were written as a big inside joke, adding: "Some people thought we were racist, and those people are stupid”. Even more remarkable, this album, completed in four days at the end of the sessions for Anthrax’s “Spreading the Disease” album, actually beat that album to its release by two months. And in its own way went about creating its own genre, with the joy and amusing anecdotes that was titled “Speak English or Die!”
When it comes to this album there are a couple of things that have to be addressed. The first is the lyrical content on many of the songs, controversial topics and opinions sprouted in songs such as "Pre-Menstrual Princess Blues", "Pussy Whipped" and "Fuck the Middle East", addressing homosexuality, women and foreign cultures. Dan Lilker stated at the time that "The lyrics were never intended to be serious, just to piss people off. Furthermore, in an interview with Songfacts in 2014, when asked "If Speak English or Die came out today, do you think that because of the political correctness of today, it would go over the same?", Lilker responded, "It probably would have had a harder time just because people seem to be more uptight now. Nevertheless, it was what it was, which is saying it is what it is, but back then. And I don't regret it. Maybe minor aspects went overboard with certain lyrical things, but then again, we didn't really mean them. Perhaps if people realise that, then it's just more funny”. And this is worth considering if you are new to the album. The lyrics may not be politically correct but they are not the serious thoughts of those who wrote them. They were written to gain a reaction and to be considered as a running joke commentary. Not all of course will see or take it that way.
That comes from the first track, following the instrumental opening of “March of the S.O.D” introduces us to the man himself “Sargent D and the S.O.D”, who takes all in his wake, espousing “Their cause is justified, their reason is clear, the word "revenge" is all that they hear. They'll make you wish that you didn't exist cos Sargent "D" is coming and you're on his list”. A great stomping track, that continues into “Kill Yourself” with inspiring lyrics such as “You're a loser, there's nothing left for you, A worthless loser at everything you do. Kill yourself now!”. “Milano Mosh” gives lead vocalist Billy Milano the chance to stomp around a bit himself. “Speak English or Die” lives on that threshold. “You come into this country, you can't get real jobs, boats and boats and boats of you, go home, you fuckin' slobs”. Let’s face it, real opinions such as these are still sprouted in the modern day by Joe Public, let alone those who are somehow voted into our governments. Every extremity has been covered by the band in the opening four songs.
Without trying to cover the entire range of the 21 tracks that cover the almost 29 minutes of this album, there are some really great pieces on this album. “United Forces” is a beauty, another real stomping track with a great riff and easy singalong lyrics. The short, sharp attitude of “Chromatic Death” punctuates and enlightens along the way. “Freddy Krueger” is just a brilliant thrash hardcore track that combines the best of both world and throws it into the mix perfectly. A ripping moshing song. “Milk” is perfect in the same way, expressing the disappointment that one can’t have a normal breakfast because Mum hasn’t bought milk. I imagine my 17 year old son would probably think exactly what this song expresses whenever he has drunk all the milk in our house.
Every other track, from the 2 second and 5 second squats to the lengthy 80 seconds bursts, all make for a fabulous listening experience, one that combines anger and angst with moshing and a good time.
I first came across this album as we began the new decade. As avid listeners to this podcast will know, I very recently spoke about Anthrax’s album “Persistence of Time”, and the fact that the band opened their tour for that album in Australia, which I got to see. As a lead up to that I had tried to gather together as much music from the band as I could, which had included the “I’m the Man” EP as well as being directed to this album. And it is fair to say that it struck a chord from the outset. It merged in with other band and albums that I was beginning to be introduced to at that time and over the next couple of years. Part of the Anthrax mantra had been to have a fun, corny time with their music on stage, and this certainly melded in with that.
Did I care about the fact that it used language and spoke about controversial subjects? No, not in the slightest. It would be easy to say that I wasn’t offended by anything on this album because none of those things affected me. But the truth is that it was all obviously in jest, in creating a storm by expanding these things in a greater context. If people are offended by anything here – either 40 years ago or in the present day, where offence seems more prevalent – then simply don’t listen to it.
I’ve had this album out again over the past couple of days, and it is as enjoyable as I have always found it. For me it will always be a novelty, something that is fun to put on every now and then and enjoy it for what it is, and then send it back to the shelves to wait until the next time. I am more likely to reach for an Anthrax record than I am an S.O.D. album, for no other reason than the substance of the songs.
S.O.D. toured in support of the album in 1985, opening for Motörhead and The Plasmatics, among others. They had apparently planned a follow-up titled USA For S.O.D., which was ultimately scrapped and never recorded. After their tour ended, Lilker carried on with the band Nuclear Assault while Benante and Ian continued with Anthrax. Milano formed the spin-off band Method of Destruction, known as M.O.D. It was not the end of the S.O.D. story but it doesn’t pick up again for a few years down the track.
