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Stomp 442
Studio album by
Anthrax
ReleasedOctober 24, 1995
Recorded1995
StudioStudio 4, Conshohocken, Pennsylvania
Genre
Length50:56
Label
Producer
Anthrax chronology
Live: The Island Years
(1994) 		Stomp 442
(1995) 		Volume 8: The Threat Is Real
(1998)
Singles from Stomp 442
  1. "Fueled"
    Released: 1995
  2. "Nothing"
    Released: 1996

Stomp 442 is the seventh studio album by American heavy metal band Anthrax. It was released in 1995 by Elektra Records. The band and the Philadelphia-based Butcher Brothers produced the album, which includes the singles, "Fueled" and "Nothing". The album debuted at No. 47 on the Billboard 200 charts.[3] The album is their last to be released by Elektra Records, as they left the label after claiming that they did not do enough to promote the album.

Stomp 442 is also Anthrax's first album without Dan Spitz on lead guitar. Though not credited as a member of the band, Paul Crook took over lead guitar duties.

Cover art

[edit]

The album's cover gained controversy when retailer Walmart refused to stock it in its stores, because of the naked man standing next to the giant ball of garbage.[4]

In a 1996 interview with Tom Russell of Glasgow-based radio Clyde 1, Bruce Dickinson revealed that the original design for the cover art was done for his album Balls to Picasso – originally to be titled Laughing in the Hiding Bush – but he couldn't afford it. His album's title was changed and he drew two squares on a toilet wall for the cover.

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStar[5]
Christgau's Consumer Guide(neither)[6]
Collector's Guide to Heavy Metal8/10[7]
Encyclopedia of Popular MusicStarStar[8]
The New Rolling Stone Album GuideStarStarStar[9]

AllMusic reviewer Stephen Thomas Erlewine described the album as "a generic collection of speed metal bombast". He finished his review by saying that the record is a "disheartening experience."[5] Canadian journalist Martin Popoff labeled Stomp 442 as "a fine, responsible collection of working man's metal, if a bit of a repetition" compared to "the relatively unappreciated Sound of White Noise."[7]

Track listing

[edit]

All lyrics are written by Scott Ian and John Bush; all music is composed by Charlie Benante.

No.TitleLead guitarLength
1."Random Acts of Senseless Violence"Paul Crook4:02
2."Fueled" 4:02
3."King Size"Dimebag Darrell3:58
4."Riding Shotgun"Crook, Darrell4:25
5."Perpetual Motion" 4:18
6."In a Zone"Crook5:06
7."Nothing"Benante4:33
8."American Pompeii"Benante, Mike Tempesta5:30
9."Drop the Ball"Crook4:59
10."Tester"Benante, Ian4:21
11."Bare"Benante5:29
Total length:50:55
Bonus tracks (2001 remaster)
No.TitleWriter(s)Length
12."Grunt and Click"Bush, Ian, Frank Bello, Benante5:29
13."Dethroned Emperor" (Celtic Frost cover)Tom Fischer4:32
14."Celebrated Summer" (Hüsker Dü cover)Bob Mould4:30
15."Watchin' You" (Kiss cover)Gene Simmons3:38
Total length:69:04

Personnel

[edit]

All credits adapted from the original release.[10]

Anthrax
Guests
  • Paul Crook – lead guitars on "Random Acts of Senseless Violence", "Perpetual Motion", "In a Zone" and "Drop the Ball"
  • Dimebag Darrell – guitar on "King Size" and "Riding Shotgun"
  • Mike Tempesta – guitar on "American Pompeii"
  • Zach Throne – guitar solo on "Celebrated Summer"
Production
  • Butcher Bros. and Anthrax – producers, mixing
  • Butcher Bros., Dirk Grobelny, Ian Cross – engineers
  • Mike Monterulo, J.J. Bottari, Chris Gately, Phil Nowlan – assistant engineers
  • Manny Lecuona – editing
  • Bob Ludwig – mastering

Charts

[edit]
Chart (1995) Peak

position

Australian Albums (ARIA)[11] 49
Canada Top Albums/CDs (RPM)[12] 81
Finnish Albums (Suomen virallinen lista)[13] 36
Japanese Albums (Oricon)[14] 44
UK Albums (OCC)[15] 77
UK Rock & Metal Albums (OCC)[16] 10
US Billboard 200[17] 47

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Stomp 442

View on Grokipedia
from Grokipedia
Stomp 442 is the seventh studio album by the American heavy metal band , released on October 24, 1995, by . The album was produced by and the Butcher Brothers (Mike and Barbieri), marking a shift toward influences amid the band's adaptation to the evolving metal landscape. It features 11 tracks, including "Fueled," "King Size," and "Nothing," with a total runtime of approximately 46 minutes. Stomp 442 is notable as the first Anthrax release with guitarist on lead guitar, following Dan Spitz's departure prior to recording; the lineup also includes vocalist John Bush, rhythm guitarist , bassist , and drummer . Originally met with mixed critical reception for its production and stylistic experimentation, the album has since been reissued multiple times, including expanded editions in 2001 and 2024, reflecting its enduring place in the discography of , one of the "Big Four" thrash metal bands.

Background and Production

Band Context and Lineup Changes

In 1992, underwent a significant vocal lineup change when longtime frontman was replaced by John Bush, formerly of , marking the beginning of the band's John Bush era. This shift was driven by the group's desire to evolve their sound amid the changing metal landscape of the early 1990s, leading to the release of albums like (1993) that incorporated more groove-oriented and alternative influences. Leading up to the recording of Stomp 442 in 1995, the band faced further upheaval with the departure of lead guitarist Dan Spitz, a founding member since 1983, who left due to exhaustion from years of relentless touring and a desire to focus on family life after becoming married with children. Spitz's exit occurred just before sessions began, leaving the band without a dedicated lead guitarist and prompting internal adjustments. Subsequently, Spitz pursued a career as a watchmaker and later embraced born-again Christianity, which became a central part of his life. To fill the void, drummer stepped up to handle most of the parts during the initial recording sessions, contributing riffs and solos based on his longstanding role as a key songwriter in the band. Guitar technician , who had previously worked with , was brought in for final overdubs and work, eventually joining as the permanent for live performances and future releases. These personnel shifts directly shaped the album's raw, collaborative energy. The band's creative decisions for Stomp 442 were also influenced by growing frustration with following the moderate commercial performance of , which peaked at No. 7 on the but failed to sustain momentum amid the label's shift toward and alternative acts. accused Elektra of inadequate promotion and support, leading to a deteriorating relationship that ended shortly after the album's release; as rhythm guitarist later reflected, "It just turned into a terrible situation."

Recording Process

The recording of Stomp 442 occurred at in , where worked closely with producers the Butcher Brothers (Joe Nicolo and Phil Nicolo), whose background in helped shape the album's sound. This collaboration marked a shift toward a heavier, groove-oriented production style compared to the band's earlier thrash roots, incorporating elements of rhythmic complexity and grunge-inspired polish to achieve a dense, aggressive texture. With the recent departure of lead guitarist , drummer assumed a dual role, contributing guitar riffs and solos to multiple tracks, including Morse code guitar effects, which enabled creative layering and added depth to the guitar arrangements. Guest contributions from on lead guitar and Pantera's on solos further enriched the sessions, fostering an experimental approach to the instrumentation. The process unfolded amid significant challenges, including lineup instability and mounting tensions with , who were prioritizing acts over metal amid the poor commercial performance of Anthrax's previous album, . These pressures, combined with the need to adapt to a changing musical landscape, resulted in a raw yet urgent final mix that captured the band's determination to evolve.

Production Team and Studio

The production of Stomp 442 was led by the band in collaboration with the Philadelphia-based duo known as the Butcher Brothers, consisting of brothers Joe Nicolo and Phil Nicolo, who served as co-producers and mixers. The Nicolo brothers, experienced in working with alternative and rock acts such as and , were brought on to infuse the album with a contemporary edge, marking their entry into heavy metal production despite lacking prior experience in the genre. Engineering duties were handled primarily by the Butcher Brothers alongside Ian Cross and Dirk Grobelny, with assistance from Chris Gately, J.J. Bottari, Mike Monterulo, and Phil Nowlan, ensuring a polished yet aggressive sound suited to mid-1990s metal. The band's involvement extended to co-production, with drummer contributing additional multi-instrumental elements like guitar and percussion across several tracks. Recording and mixing took place at Recording in , a facility founded in 1980 by the Nicolo brothers and known for its role in capturing a range of rock and alternative recordings. Mastering was completed by at Gateway Mastering Studios in , providing the final clarity and dynamics to the album's heavy riffs and rhythms.

Musical Content

Genre and Style

Stomp 442 marked a notable evolution in Anthrax's sound during the 1990s, shifting from their thrash metal foundations toward groove metal and alternative metal. This transition is evident in the album's emphasis on heavy, mid-tempo riffs and syncopated rhythms that prioritize rhythmic drive over the high-speed aggression of their Joey Belladonna-era releases. Produced by the band alongside the Philadelphia-based Butcher Brothers, the album features a polished, cleaner sonic palette that highlights these groove-oriented elements, drawing parallels to contemporaries like Pantera in tracks such as "King Size." Central to this stylistic pivot are the contributions of vocalist John Bush, whose melodic delivery contrasts with the more raw, shouted style of previous frontmen, allowing for greater emphasis on vocal hooks amid the . Songs like "Fueled" exemplify the syncopated grooves and mid-tempo structures, blending the band's thrash heritage with broader alternative influences to create accessible, anthems suited to the mid-1990s metal landscape. The production enhances this by foregrounding guitar tones with a textured edge, contributing to the album's overall heaviness without overwhelming the rhythmic focus. Spanning 11 tracks with a total runtime of 50:56, Stomp 442 maintains a structure that balances intensity and catchiness, reflecting Anthrax's adaptation to the post-thrash era while retaining core metal aggression. This approach positions the as a bridge between traditional thrash and the groove-heavy sounds dominating the genre at the time.

Lyrics and Themes

The lyrics of Stomp 442 were co-written by Anthrax's vocalist John Bush and rhythm guitarist , drawing on their shared experiences to craft narratives that captured the band's evolving perspective. This collaborative process emphasized personal and societal observations, with Bush's contributions bringing a more melodic and emotive quality to Ian's rhythmic, street-smart phrasing. Predominant themes throughout the album center on aggression, , and personal frustration, mirroring 1990s societal anxieties around and alienation in everyday life. highlighted this in discussing tracks like "Random Acts of Senseless Violence," explaining the band's intent to address raw confrontations without resorting to weapons: "If you’re going to get into a fight, don’t use a knife or a . Use your fists." He further elaborated on the frustration of urban interactions, noting, "Fuck, you can’t even beep at somebody without them wanting to take a shot at you," which underscores a broader critique of lost self-respect and escalating tensions in modern society. The songwriting marked a shift from Anthrax's earlier sci-fi and horror-infused themes to more grounded, introspective content rooted in real-life inspirations, such as New York street life exemplified in "Random Acts of Senseless Violence," which evokes random urban brutality. Occasional humor lightens the intensity, as in "Perpetual Motion," where lyrics playfully explore relentless energy amid human limitations. Spoken-word samples and rap-infused vocal deliveries, influenced by the band's prior collaborations with hip-hop artists, amplify the thematic urgency by blending aggressive flows with narrative spoken elements.

Cover Art and Packaging

The cover art for Stomp 442 was designed by and Peter Curzon of Storm Studios, renowned for their surreal and impactful album visuals through the legacy. The imagery adopts a stark, minimalistic approach with a black-and-white depiction of a nude man standing beside a massive ball of garbage rolling down a street, evoking urban waste and chaos to align with the album's intense, groove-metal energy. The cover's nudity sparked controversy, leading retailers such as and to refuse stocking the album. This design marked a departure from Anthrax's traditional branding, as it omitted the band's iconic logo for the first time. Originally commissioned for Bruce Dickinson's 1994 solo album , the artwork was rejected by the label before being repurposed for Stomp 442, providing a fresh visual identity amid the band's evolving sound. The packaging utilized a standard jewel case format for the primary CD release, featuring an 8-page booklet with full , production credits, and by Kristen Wilkinson. detail the recording at in , engineering by Dirk Grobelny and Ian Logan, and mastering by at Gateway Mastering, alongside sample clearances and publishing information for tracks like "Fueled" and "King Size." Promotional editions included a front spotlighting standout tracks—"Fueled," "Nothing," and "Random Acts of Senseless Violence"—to promote the record's heavier, modern edge. International variants maintained core artwork consistency but adapted packaging: the European pressing (Elektra 7559-61856-2) was manufactured in with multilingual inserts, while the Japanese version (WPCR-521) added an obi-strip, Japanese lyric sheet, and a bonus track, "Remember Tomorrow" (an cover). Cassette releases featured similar booklet content in a slimline case, and vinyl editions included a sleeve for expanded credits.

Release and Promotion

Commercial Release

Stomp 442 was commercially released on October 24, 1995, through in the United States, with international distribution managed by . The album launched amid a transitional period in the heavy metal landscape, marking 's continued evolution toward groove-oriented sounds following their previous Elektra effort, . It was offered in multiple physical formats, including standard , cassette, and a limited edition vinyl pressing, catering to diverse consumer preferences in the mid-1990s market. Digital reissues emerged in the and 2024, featuring remastered audio and bonus tracks to appeal to renewed interest in the band's catalog. The , "Fueled," was supported by a directed by , which sought prominent rotation on to boost visibility but encountered limited amid the network's growing emphasis on . The album sold approximately 115,000 copies in the United States as of , reflecting modest commercial performance influenced by Elektra's reallocating resources toward rising nu-metal acts like Korn and .

Marketing Challenges

The release of Stomp 442 was hampered by ' diminished promotional efforts, stemming from significant internal restructuring at the label, including the departure of key staff who had supported Anthrax's prior Sound of White Noise. This shift resulted in minimal radio airplay for singles like "Fueled" and no substantial allocation for a major tour budget, leaving the band to handle much of the grassroots outreach themselves. Anthrax's mounting frustration with Elektra culminated in the severance of their contract shortly after the album's release, as publicly accused the label of neglecting their project in favor of and alternative acts dominating the mid-1990s market. Scott Ian later reflected on the ordeal in a 1998 interview, describing it as "a terrible situation... [that] took two years out of our lives," highlighting the emotional and professional toll of the inadequate support. Compounding these label woes, Stomp 442 entered a landscape where traditional heavy metal's was eroding amid the rise of emerging genres like nu-metal, exemplified by Korn's self-titled debut album in 1994 gaining traction by 1995. This shift diluted visibility for thrash-influenced releases like Anthrax's, as labels and retailers pivoted toward alternative and rap-infused sounds, further marginalizing established metal acts.

Touring and Live Performances

Following the release of Stomp 442 in October 1995, launched the Stomping Around the World Tour, commencing with a series of U.S. club performances in late November. The tour featured intimate venues such as Birch Hill Nite Club in Old Bridge, , on November 24, and Malibu Night Club in , on November 26, allowing the band to showcase material from the new album in close proximity to fans. These shows marked the debut live renditions of several tracks, emphasizing the album's heavier, groove-oriented sound amid the band's transitional lineup with touring guitarist . Tracks like "Fueled," "King Size," and "Riding Shotgun" quickly emerged as live staples during the U.S. leg, frequently appearing early in setlists to energize crowds with their aggressive riffs and dynamic structures. Onstage adaptations were necessary for Benante's lead guitar contributions from the album, which Crook incorporated into the performances alongside rhythm guitarist Scott Ian, maintaining the songs' intensity without a permanent second lead player. The band balanced new material with classics such as "Caught in a Mosh" and covers like Joe Jackson's "Got the Time," creating sets that blended Stomp 442's modern edge with Anthrax's thrash roots. The tour extended internationally in 1996, with European dates in January, including a performance at The Forum in on January 25, where the full band delivered nearly the entire Stomp 442 tracklist alongside fan favorites. This was followed by a Japanese leg in , featuring shows at LIQUIDROOM in on April 2 and April 6, highlighting the album's global appeal despite the era's shifting metal landscape and limited label support. These overseas outings involved comprehensive performances of most album tracks, underscoring the band's commitment to promoting Stomp 442 abroad. Enthusiastic fan responses during the tour provided a morale boost amid the album's commercial underperformance, with crowds vigorously to the new songs and contributing to the proliferation of bootleg recordings from venues like the 9:30 Club in , on October 30, 1995. These unauthorized live captures, often circulated among devotees, preserved the raw energy of the performances and reflected the dedicated following that sustained through promotional challenges.

Reception and Legacy

Critical Reviews

Upon its release in 1995, Stomp 442 received mixed reviews from critics, who praised its heavy, groove-oriented sound but often criticized it for lacking innovation and memorable elements within the genre. AllMusic's described the album as a continuation of Anthrax's "downward spiral," labeling it a "generic collection of bombast" that, despite its aggression, failed to deliver hooks or distinctive riffs due to overly slick production. Reviewers highlighted John Bush's powerful vocals as a strength, contributing to a "modern thrash" intensity, particularly on tracks like "Fueled," though some noted the overall riffing felt repetitive and uninspired. The production by the Butcher Brothers was commended for its polished, rhythmic drive, evoking a heavier groove metal feel, but detractors argued it diluted the band's classic energy in favor of '90s alt-metal trends. In retrospective analyses, the album has been viewed as underrated by some, with its experimental blend of thrash and groove elements seen as an influential precursor to later metalcore styles, though critics maintain it represents a low point in Anthrax's discography. A 2016 review in Louder (formerly Metal Hammer) called it "rock bottom," faulting its "leaden and joyless" attempts to chase grunge influences while acknowledging flashes of the band's thrash heritage. Anthrax guitarist has defended the record against accusations of selling out to grunge-era production styles, stating in interviews that he loves many of its songs and views it as a valid evolution rather than a betrayal of the band's roots.

Commercial Performance

Stomp 442 debuted at number 47 on the US chart on November 11, 1995, marking the album's peak position there. According to Nielsen SoundScan data, the album sold 115,017 copies in the United States by April 2002. Worldwide sales remained modest, with no certifications awarded due to limited promotion. Internationally, the album achieved a peak of number 77 on the Official Albums Chart in November 1995, while reaching number 10 on the Official Rock & Metal Albums Chart. This represented a commercial decline from Anthrax's previous release, , which had peaked at number 7 on the in 1993. The band attributed the underwhelming performance to ' insufficient promotional efforts, including a focus on acts over metal, which ultimately led to their departure from the label. In the long term, Stomp 442 has experienced a resurgence through digital platforms, amassing over 3 million streams on as of 2025.

Influence and Retrospective Views

Stomp 442 represented a pivotal evolution for , transitioning from the high-speed of their earlier work to a more groove-oriented sound that emphasized heavy, syncopated rhythms and mid-tempo riffs, effectively bridging the gap between and the emerging genre of the mid-1990s. This rhythmic focus, evident in tracks like "Fueled" and "," helped lay groundwork for later developments in the style. The band has reflected positively on the album in later years, featuring it in reissues during the , including a 2001 expanded edition with bonus tracks such as covers of Kiss's "Watching You" and Celtic Frost's "Dethroned Emperor." In their 2021 40th anniversary retrospective video series, members including , , and John Bush discussed its production and challenges, highlighting it as a product of turbulent times. Ian has specifically cited the fallout with —whom the band accused of inadequate promotion in favor of acts—as a key factor in the album's initial underperformance, describing the label situation as a "terrible" ordeal that stalled their momentum for two years. Culturally, Stomp 442 played a role in sustaining through the late and into the , enabling the group to rebound with subsequent releases like Volume 8: The Threat Is Real (1998) and (2003) amid the shifting metal landscape. Its tracks were remastered in the 2001 U.S. reissue and remain accessible on major streaming platforms in the , ensuring ongoing availability to new listeners. Among fans, the album enjoys a , often hailed as the strongest representation of the John Bush era for its raw energy and guest contributions from figures like , despite its commercial disappointments and the band's subsequent label woes.

Track Listing and Credits

Song List

Stomp 442 features 11 tracks on its original release, with a total runtime of 50:43. Songwriting credits are primarily attributed to the band's core members—vocalist John Bush, guitarist , drummer , and bassist —with "Anthrax" as the collective credit for many songs. Notable exceptions include contributions from guests, such as providing guitar solos on "King Size" and "". The singles released from the album were "Fueled" in 1995 and "Nothing" in 1996; the "Fueled" single included the B-side "Grunt & Click", an original non-album track from the era.
No.TitleDurationWriter(s)
1"Random Acts of Senseless Violence"4:02Bush,
2"Fueled"4:02
3"King Size"3:58 (solo: )
4"Riding Shotgun"4:25 (solos: )
5"Perpetual Motion"4:18
6"In a Zone"5:06
7"Nothing"4:33
8"American Pompeii"5:30
9"Drop the Ball"4:59
10"Tester"4:21
11"Bare"5:29
The 2001 remastered reissue includes bonus tracks such as "Grunt & Click" (3:23), the cover "Dethroned Emperor" (4:31), the cover "Celebrated Summer" (4:22), and the instrumental "Lambda's Theme" (5:24, by Benante). Certain international editions, like the Japanese release, also feature "Remember Tomorrow" ( cover, 5:24) and a full version of "Lambda's Theme" as additional bonuses.

Personnel

The core lineup for Stomp 442 featured John Bush on lead vocals, on rhythm guitar and backing vocals, on bass guitar and backing vocals, and on drums, percussion, and occasional lead guitar parts including the main solo on "" and end solo with talkbox on "". contributed lead and rhythm guitar on tracks 1, 5, 6, and 9, as well as backing vocals and additional solos on "Random Acts of ," "," "In a Zone," and "Drop the Ball". Guest musicians included of , who provided the intro and main guitar solos on "Riding Shotgun" along with feedback effects, and a solo tag on "American Pompeii" by . Additional contributions came from assisting with lyrics on "King Size," Joe Nicolo adding noises to the verse of "Riding Shotgun," and percussion stomping on "Tester" by Mike Monterulo and Zachary Throne. The band members also provided backing vocals throughout the album.

Production Credits

Stomp 442 was produced and mixed by and the Butcher Brothers. It was recorded and mixed by Joe Nicolo at in , with additional engineering by Dirk Grobelny and Ian Cross, and assistant engineers Mike Monterulo, Chris Gately, J.J. Bottari, and Phil Nowlan. The album was mastered by at Gateway Mastering in . All songs were arranged by , with lyrics primarily by John Bush and . A&R coordination was managed by Ron Laffitte for , while management was overseen by and Marsha Zazula.

Artwork and Design

The artwork was created by Mark Fraser, with cover design by Peter Curzon and of Storm Studios. Overall design was handled by Donna Ferrone, and photography was provided by Rupert Truman, Tony May, James Payton, and Kristin Callahan.

References

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  57. https://open.spotify.com/album/4Jn7ICuweRDMzz37hztARn
  58. https://shop-hellsheadbangers.com/item.asp?PID=100873
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