{"id":36545,"date":"2000-03-19T00:00:00","date_gmt":"2000-03-19T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/attack-of-the-killer-bs\/"},"modified":"2000-03-19T00:00:00","modified_gmt":"2000-03-19T00:00:00","slug":"attack-of-the-killer-bs","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/attack-of-the-killer-bs\/","title":{"rendered":"Attack Of The Killer B&#8217;s"},"content":{"rendered":"<p>The writing on the wall was there for fans of Anthrax in 1991.<br \/>\nAll the signs of imminent change and possible disaster were right<br \/>\nthere in front of our faces. Why we didn&#8217;t recognize it, I don&#8217;t<br \/>\nknow.<\/p>\n<p>\n<i>Attack Of The Killer B&#8217;s<\/i> &#8211; great, just the graphics someone<br \/>\nwho is deathly afraid (no joke) of the little stinging bastards<br \/>\nneeds to see &#8211; was admittedly a stop-gap release that bought the<br \/>\nband time to work on their follow-up to<br \/>\n<i>Persistence Of Time<\/i> but also gave the diehard fans one<br \/>\nsource for the rare, collectible songs. Of course, not long after<br \/>\nthe album&#8217;s release, lead singer Joey Belladonna was shown the<br \/>\ndoor, and the band left Island to reap the benefits (or so it<br \/>\nseemed) of a mega-deal with Elektra.<\/p>\n<p>But dammit, the signs were there. Of the &#8220;new&#8221; songs<br \/>\n(translation: tracks not recorded live, featured on the import EP<br \/>\n<i>Penikufesin<\/i> or included on a Public Enemy record),<br \/>\nBelladonna provides lead vocals on two &#8211; count &#8217;em, two &#8211; of the<br \/>\nsix tracks.<br \/>\n<i>Hello?!?<\/i><\/p>\n<p>Maybe the reason we didn&#8217;t pay attention to the signs of<br \/>\nBelladonna&#8217;s imminent departure was because we were all fretting<br \/>\nand fuming about the half-ass quality of this release.<br \/>\n<i>Attack Of The Killer B&#8217;s<\/i> has its moments, but this is one<br \/>\nthat&#8217;s definitely for the diehard fans only.<\/p>\n<p>Let&#8217;s look at the two live tracks first. Quality-wise, these<br \/>\ntracks recorded in Birmingham, England don&#8217;t do the band a lot of<br \/>\njustice. The sound quality is a bit muddied, and these aren&#8217;t the<br \/>\neasiest tracks to get into from the<br \/>\n<i>Persistence Of Time<\/i> disc. (For that matter, the last time I<br \/>\nlistened to that album, I wasn&#8217;t impressed&#8230; but that&#8217;s another<br \/>\nreview for another day.) What would have been interesting is if two<br \/>\ntracks from a promo-only disc,<br \/>\n<i>Free B&#8217;s<\/i>, had been included instead.<\/p>\n<p>The material borrowed from the<br \/>\n<i>Penikufesin<\/i> EP hasn&#8217;t aged too well &#8211; the cover of Kiss&#8217;s<br \/>\n&#8220;Parasite&#8221; sounds a bit sloppy &#8211; but is still kinda nice to have in<br \/>\nthis format. Worth noting: their cover of Trust&#8217;s &#8220;Sects&#8221;. This<br \/>\nparticular song still rocks today. But to play devil&#8217;s advocate,<br \/>\nwhy did they choose not to include the French version of<br \/>\n&#8220;Antisocial&#8221; or their cover of &#8220;Friggin&#8217; In The Riggin'&#8221; that also<br \/>\nwere on<br \/>\n<i>Penikufesin<\/i>? Maybe to make sure there would still be demand<br \/>\nfor the original? Hmm&#8230;<\/p>\n<p>The collaboration with Public Enemy, &#8220;Bring The Noise,&#8221; is still<br \/>\nfun to listen to, and it marked a significant point in the<br \/>\nrelationship between rap and metal not seen since Aerosmith and<br \/>\nRun-DMC joined forces for their cover of &#8220;Walk This Way&#8221;. Rhythm<br \/>\nguitarist Scott Ian proves to be quite the rapper, and the track<br \/>\ndiminishes neither band&#8217;s power or prestige in any way.<\/p>\n<p>That leaves us with six new tracks on<br \/>\n<i>Attack Of The Killer B&#8217;s<\/i>. Two of the tracks give Anthrax&#8217;s<br \/>\nspin on S.O.D. &#8211; &#8220;Milk (Ode To Billy)&#8221; and &#8220;Chromatic Death&#8221;. (Hmm,<\/p>\n<p><i>another<\/i> sign of things that were to come; less than two<br \/>\nyears later, S.O.D. &#8211; which featured Ian and drummer Charlie<br \/>\nBenante &#8211; reunited for<br \/>\n<i>Live At Budokan<\/i>.) I can&#8217;t say I like the addition onto<br \/>\n&#8220;Milk,&#8221; but the newer, crunchier version of &#8220;Chromatic Death&#8221; is a<br \/>\nrare instance of a re-make improving on the original. (S.O.D. must<br \/>\nhave thought so; they switched &#8220;Chromatic Death&#8221; to the Anthrax<br \/>\nversion.)<\/p>\n<p>The remaining four tracks give new meaning to the phrase &#8220;big<br \/>\nmistake&#8221;. &#8220;Startin&#8217; Up A Posse&#8221; proves two things. First, a poorly<br \/>\nwritten song taking the anti-censorship position can only hurt your<br \/>\nside&#8217;s stance&#8230; and the fact is, this song is lame to the nth<br \/>\ndegree. Second, Ian can&#8217;t carry a tune in a bucket when it matters.<br \/>\n(He does a better job on the cover of &#8220;Protest And Survive,&#8221; in all<br \/>\nfairness.) This track is easily the biggest nugget of dog crap<br \/>\nAnthrax has ever recorded.<\/p>\n<p>Their tongue-in-cheek tribute to rap, &#8220;I&#8217;m The Man,&#8221; gets<br \/>\nre-worked here as &#8220;I&#8217;m The Man &#8217;91&#8221;. It has its moments as well,<br \/>\nbut the old saying rings true: If it ain&#8217;t broke, don&#8217;t fix it. As<br \/>\nfor &#8220;N.F.B. (Dallabnikufesin),&#8221; this track shows how much throwaway<br \/>\nmaterial was really on this album.<\/p>\n<p>Collections of b-sides and rarities are almost always a<br \/>\nhit-or-miss batch of tracks, but at least the effort to put<br \/>\ntogether a collection worthy of a band&#8217;s name should always be<br \/>\nmade. If you pick up<br \/>\n<i>Attack Of The Killer B&#8217;s<\/i> expecting to hear vintage Anthrax,<br \/>\nyou&#8217;re gonna get stung.<\/p>\n","protected":false},"author":2,"featured_media":25339,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[5959],"rating":[11204],"class_list":["post-36545","review","type-review","status-publish","has-post-thumbnail","artist-anthrax","rating-rating-c-minus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/36545","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=36545"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/36545\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/25339"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=36545"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=36545"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=36545"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=36545"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}