Anthrax "State of Euphoria" 12" Vinyl LP Album

- USA Release, Megaforce / Island Records

Album Front Cover Photo of Anthrax State of Euphoria Visit: https://vinyl-records.nl/

"State of Euphoria" (1988) is Anthrax at full throttle — loud, clever, and impossible to ignore. The album brims with manic energy and East Coast attitude, blending breakneck riffs with humor and defiance. Songs like "Antisocial" became anthems for outsiders everywhere, proving that metal could be both furious and fun. Its surreal artwork, packed with distorted faces and twisted smiles, perfectly mirrors the chaos inside.

Table of Contents

"State of Euphoria" (1988) Album Description:

By 1988, Anthrax had clawed their way to the top of the thrash metal heap — not by mimicking the doom of Metallica or the menace of Slayer, but by injecting humor, social wit, and a New York street edge into the genre’s furious heartbeat. “State of Euphoria” arrived as their defiant mid-career statement, balancing absurdity and anxiety in equal measure.

The Late-80s Thrash Boom

Thrash metal in the late eighties was a strange hybrid beast — equal parts rebellion and precision engineering. MTV was just beginning to flirt with the genre, and bands like Anthrax suddenly found themselves switching from sweat-drenched clubs to stadium stages. This was the year metal became self-aware: political, sarcastic, and occasionally self-mocking.

How Anthrax Got Here

Coming off the critical high of “Among the Living,” the band was exhausted but unwilling to slow down. Endless touring and label expectations pushed them straight back into the studio. Joey Belladonna’s elastic voice, Scott Ian’s crunch-tight riffs, and Charlie Benante’s relentless drumming were a well-oiled machine — maybe too well-oiled. “Euphoria” reflects that tension between confidence and burnout.

Sound and Songs

The album opens with “Be All, End All,” a wall of riffs that somehow manages to sound both triumphant and paranoid. “Make Me Laugh” turns televangelist hypocrisy into sharp comedy, while “Now It’s Dark” draws inspiration from David Lynch’s twisted film world. And then there’s “Antisocial,” a cover of the French band Trust that became Anthrax’s own anthem of alienation — sung half the time in French, because why not? It was a gutsy move that paid off with global appeal.

In the Company of Giants

1988 saw Metallica’s “...And Justice for All,” Slayer’s “South of Heaven,” and Megadeth’s “So Far, So Good... So What!” — each a heavy statement in its own right. Anthrax stood apart by refusing to take themselves too seriously. Their mix of hardcore velocity and Bronx humor made “State of Euphoria” the joker in the deck — one that could still out-riff the rest.

Critics, Confusion, and Cult Status

Critics were baffled. Some heard lazy repetition; others heard evolution with a smirk. The album’s frenetic pace and deliberately cartoonish cover art split opinion, but fans didn’t care — they moshed through the noise. Over time, its rough edges and unfiltered energy aged far better than many of the overproduced efforts of the same era.

Inside the Band

Beneath the bravado, Anthrax were juggling fame, exhaustion, and creative control. Scott Ian’s riffs were sharper than ever, but internal debates about direction hinted at future shake-ups. The humor that once bonded them now divided fans — some wanted more speed, others more substance. That push and pull gives “State of Euphoria” its peculiar flavor: half laughter, half scream.

Legacy and Reflection

Decades later, “State of Euphoria” still sounds like a band trapped between joy and frustration — a perfect state, really, for any creative act worth remembering. It may not be Anthrax’s most polished work, but it’s their most human. Drop the needle today and you can still hear the sweat, sarcasm, and stubborn pride of five guys chasing euphoria through distortion.

The riffs still ring out like subway noise under neon lights — loud, fast, and entirely unapologetic.

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

American Thrash Metal (East Coast Style, late-1980s wave)

Emerging from the New York metal underground, East Coast Thrash Metal fused breakneck speed with hardcore punk aggression and biting humor. Anthrax stood out for their razor-sharp riffs, satirical lyrics, and a sound less apocalyptic than their West Coast peers — more streetwise, sardonic, and self-aware.

Label & Catalognr:

Megaforce Worldwide ILPS 9916 – Island Records / SBK Songs Ltd

Album Packaging:

This album includes the original custom inner sleeve with complete lyrics of all songs and band photos.

Media Format:

Record Format: 12" Vinyl LP Gramophone

Year & Country:

1988 – USA

Production & Recording Information:

Producers:
  • Anthrax – Producer
    As one of the pioneering bands of the “Big Four” of thrash metal, Anthrax not only performed but also produced much of their own material, shaping their distinctive mix of aggression, humor, and melody. Their production choices on State of Euphoria reflect a band confident in its creative identity during the late-1980s metal boom.
  • Mark Dodson – Producer
  • Mark Dodson – Producer, Recording Engineer

    One of those behind-the-glass names that keeps popping up when late-80s metal suddenly sounds huge, tight, and slightly unhinged (in the best way).

    Mark Dodson is the kind of credit I spot and immediately think: yep, this record is about to hit harder than it has any right to. He is a London-born British producer and sound engineer whose career kicks off in the late 1970s with engineering/mixing work (including acts like Advertising, Judas Priest, Joan Jett, and The Modern Lovers), then locks into metal gear for the big runs people actually collect for. With Anthrax, his main stretch is the late-80s/early-90s era (1988–1991) around State of Euphoria, Persistence of Time, and related releases. With Suicidal Tendencies, it is a tight, high-impact window from 1988–1990 (and a 1993 compilation credit), plus the side-quest with Infectious Grooves across 1991 and 1993. Basically: when I see his name, I expect punch, clarity, and zero patience for “polite” guitar tones. Mark Dodson Wiki

  • Alex Perialas – Producer
  • Alex Perialas – Audio Engineer, Mixer, Record Producer

    In my book, his credit is the “this is gonna hit hard” stamp—Pyramid Sound vibes all day.

    Alex Perialas is an American audio engineer, mixer, and record producer who helped lock in the tight, punchy thrash sound of the mid-1980s through the early 1990s from Pyramid Sound Studios in Ithaca, New York—working with bands like Anthrax, Overkill, Testament, Nuclear Assault, S.O.D., and Flotsam & Jetsam. Later on, his work stretches into other lanes (Bad Religion, Pro-Pain), and he’s also been tied to teaching sound recording at Ithaca College—because apparently someone had to explain to the next generation how to make guitars sound like a chainsaw with manners.

    Alex Perialas Wiki
  • Jon Zazula – Executive Producer
  • Jon Zazula – Megaforce Records founder & metal scene catalyst

    The “Jonny Z” era starts in the East Brunswick trenches (early ’80s), then detonates with Metallica in 1982–1983 and keeps rolling through Megaforce years with bands like Anthrax (notably 1985–1991), Overkill, Testament, and Manowar.

    Jon Zazula, in my head, is proof that heavy metal didn’t just “happen” in the ’80s—it got built by obsessive weirdos with good ears and zero chill. He ran the Rock ’n’ Roll Heaven record store in East Brunswick, New Jersey, and used that shop as a kind of underground command center, blasting demos through the tape-trading network until the right bands found the right people. The pivotal moment (and yeah, it’s basically metal folklore at this point) lands in the winter of 1982, when he heard Metallica’s “No Life ’Til Leather” demo, pulled them to New York, and helped push them onto their first real East Coast stages—then Megaforce Records followed, and “Kill ’Em All” hit in 1983 like a crowbar to the radio. After that, his “periods” with bands were less about being onstage and more about being the guy who opened doors: the Megaforce run expanded from Metallica and Manowar in the early ’80s to a wider roster that included Anthrax (a key 1985–1991 stretch), plus acts like Overkill and Testament—basically a roll call of bands that helped define what American metal would sound like when it stopped asking permission.

    Jon Zazula Wiki
  • Marsha Zazula – Executive Producer
  • Marsha Zazula – Megaforce Records co-founder & executive producer

    Marsha Zazula is the quiet force behind a lot of “how did this band get big?” stories: early Megaforce years with Metallica (1982–1983), then key credits with Raven (1985), Anthrax (1988–1990), Overkill (1988–1989), and Testament (1987).

    Marsha Zazula, I file her under “people who changed metal without ever needing a guitar solo.” Together with Jonny Z, she co-founded Megaforce Records in 1982, and that one move basically helped flip American metal from tape-trader rumor into a real-world industry machine. Her “periods” with bands weren’t on stage, but they were all over the credits: the early Megaforce launch with Metallica when the label put out “Kill ’Em All” (1983), a producer/executive presence around Raven on “Stay Hard” (1985), and then the heavy thrash stretch where Jon and Marsha show up as executive producers/management for Anthrax (notably “State of Euphoria” in 1988 and “Persistence of Time” in 1990). She’s also credited in that same behind-the-scenes power lane with Overkill (executive production on “Under the Influence” in 1988 and “The Years of Decay” in 1989) and Testament’s debut “The Legacy” (1987). The thing I respect most is how unglamorous the work actually is—phones, logistics, money stress, belief—and she still helped build a runway for bands that would go on to define entire subgenres.

    Marsha Zazula Wiki
Recording Location:

Quadradial Studios – Miami, Florida, USA

Quadradial Studios was a favored recording spot during the 1980s for its clean analog sound and technical staff experienced with high-volume rock acts, contributing to the clarity and punch of State of Euphoria.
Mixing Studio & Location:

Electric Lady Studios – New York City

Founded by Jimi Hendrix, Electric Lady Studios became one of the most legendary recording venues in rock history. By the late 1980s, it was a creative hub where metal met modern production, perfectly fitting Anthrax’s mix of aggression and humor.
Mastering Engineer & Location:
  • Greg Calbi – Mastering Engineer at Sterling Sound, New York City
    Greg Calbi is one of the most respected mastering engineers in the music industry, with a career spanning over five decades. His credits include landmark albums by John Lennon, Talking Heads, and Bruce Springsteen, bringing a polished yet dynamic sound to every project.
Album Cover Design & Artwork:
  • Don Brautigam – Album Cover Art
  • Don Brautigam – American illustrator & album cover artist

    The American illustrator who painted Metallica’s “Master of Puppets” (1986) and then kept popping up on heavy hitters: Anthrax (1987–1990), Mötley Crüe (1989), and AC/DC (1990).

    Don Brautigam, I think of him as the rare visual storyteller who could bottle a band’s whole atmosphere into one frozen scene. He was an American painter/illustrator and graphic designer (active roughly 1974–2008), known for mixing acrylic painting with airbrush polish until the image felt unreal in the best way. His “periods” with bands read like a timeline of loud history: early credits include James Brown’s “The Payback” (1973) and “Reality” (1974), then Chuck Berry’s “Rockit” (1979), before the metal era hit like a brick through a stained-glass window. In 1986 he painted Metallica’s “Master of Puppets,” then followed with Anthrax’s run of covers — “Among the Living” (1987), “State of Euphoria” (1988), and “Persistence of Time” (1990) — before landing the big glossy menace of Mötley Crüe’s “Dr. Feelgood” (1989) and AC/DC’s “The Razors Edge” (1990). The wild part is how his art doesn’t just decorate the music; it sets the mood before the needle even drops.

    Don Brautigam Wiki
  • Mort Drucker – Back Cover Art
    Mort Drucker was a legendary caricaturist best known for his decades of work with MAD Magazine. His humorous yet detailed illustrations brought a comic twist to rock artwork, blending satire with pop culture flair.
  • Charlie Benante – Cover Concept
    Charlie Benante, besides being Anthrax’s drummer, contributed many of the band’s visual ideas. His design sense helped define the band’s signature balance of intensity and humor.
Photography:
  • Gene Ambo – Album Cover Photography
    Gene Ambo is a Chicago-based music photographer known for his vibrant live shots of thrash and heavy metal bands. His work has documented decades of high-energy performances from acts like Slayer, Anthrax, and Metallica.

Band Members / Musicians:

Band Line-up:
  • Joey Belladonna – Vocals
    Joey Belladonna is an American singer from Oswego, New York, best known as the lead vocalist for Anthrax. His soaring melodic voice contrasted the aggression of thrash, giving the band its unique balance between fury and clarity. Learn more about him
  • Dan Spitz – Lead Guitar
    Dan Spitz brought precision and technical flair to Anthrax’s thrash assault. Before joining Anthrax in 1983, he was part of Overkill. Later, he became a master mechanical watchmaker — proving thrash guitarists can handle more than just shredding.
  • Scott Ian – Rhythm Guitar
  • Scott Ian – Rhythm guitarist, lyricist & thrash metal co-founder

    Scott Ian (born Scott Ian Rosenfeld) is the riff-engine who’s been steering Anthrax since 1981, with side-quests that hit like bonus levels: S.O.D. (1985–1991; reunions in 1999 and 2007), The Damned Things (2009–2012; 2019–present), Motor Sister (2014–present), and Mr. Bungle (around 2020–present).

    Scott Ian, I’ve always thought of him as the human proof that rhythm guitar can be the main character. He’s best known as the co-founder, rhythm guitarist, and primary lyricist of Anthrax (1981–present), and he’s the only member who’s been there for the whole ride while the rest of the lineup history does its usual metal soap-opera thing. Outside Anthrax, his “periods” with other bands map out a whole corner of crossover and hard rock: he co-founded Stormtroopers of Death (S.O.D.) for the original run in 1985–1991, then popped back in for reunion eras in 1999 and 2007; he shifted into supergroup mode with The Damned Things (2009–2012, then back again from 2019 to the present); he formed Motor Sister in 2014 and kept it rolling; and he became part of the revived Mr. Bungle lineup around 2020. The vibe I get is simple: Ian doesn’t just play riffs—he builds lanes for other people to drive dangerously fast through.

    Scott Ian Wiki
  • Frank Bello – Bass
    Frank Bello (born Francis Charles Joseph Bello) from the Bronx, New York, has anchored Anthrax’s rhythm section since 1984. His groove-heavy bass lines bridge punk urgency and metal precision.
  • Charlie Benante – Drums
    Charlie Benante, Anthrax’s powerhouse drummer since 1983, not only drives their rhythm but also designs much of their artwork. He’s also a founding member of S.O.D. (Stormtroopers of Death).
  • Carol Freedman – Cello

Complete Track-listing:

Tracklisting Side One:
  1. Be All, End All (6:22)
  2. Out of Sight, Out of Mind (5:13)
  3. Make Me Laugh (5:41)
  4. Antisocial (4:27) Cover
    Cover of Trust’s classic French anthem against conformity — later re-recorded by Anthrax in both English and French versions.
  5. Who Cares Wins (7:35)
Tracklisting Side Two:
  1. Now It's Dark (5:34)
  2. Schism (5:27)
  3. Misery Loves Company (5:40)
  4. 13 (0:49)
  5. Finale (5:47)

Disclaimer: Track durations shown are approximate and may vary slightly between different country editions or reissues. Variations can result from alternate masterings, pressing plant differences, or regional production adjustments.

Collector’s Note: Anthrax Performs “Antisocial” in French

Somewhere between a joke and a statement, Anthrax decided to belt out “Antisocial” in French — yes, actual French. The song, borrowed from Parisian rock rebels Trust , was already a snarling middle finger to conformity. Anthrax just made it faster, meaner, and twice as much fun.

Hearing Joey Belladonna spit French syllables at breakneck speed is pure joy for anyone who’s ever tried to sound metal while ordering croissants. It’s a cheeky tribute, part homage, part chaos — and the kind of cross-Atlantic mischief only Anthrax could pull off without losing an ounce of their swagger.

Anthrax performs Anti-Social in French:
Trust performs Anti-Social:
Album Front Cover Photo
Front cover of Anthrax’s 1988 album State of Euphoria shows a hypnotic yellow background with a red spiral target pulling the viewer toward its center. Around the spiral, distorted faces of band members scream in endless repetition, symbolizing chaos and madness. The band’s angular blue-and-black logo appears on all four sides, while the album title State of Euphoria repeats in block lettering. The design, based on a concept by drummer Charlie Benante and executed by artist Don Brautigam, captures the manic humor and restless energy of late-1980s thrash metal, reflecting both rebellion and parody within a dizzying visual vortex.

The front cover of "State of Euphoria" by Anthrax is a bold and disorienting swirl of color and mania. A deep yellow background dominates the frame, overlaid by concentric red circles that spiral toward the center like a hypnotic target. The spiral’s motion seems to pull everything into its orbit — including the distorted, screaming faces of the band members, repeated and rotated in a feverish loop around the composition.

The band's sharp-edged blue-and-black Anthrax logo appears four times — upright, inverted, and sideways — amplifying the sense of movement and chaos. Each logo is paired with the album title, "State of Euphoria", in a crisp white font set against a blue banner. The combination of repetition, symmetry, and intensity creates the illusion that the sleeve itself might be spinning off the turntable.

Designed from a concept by drummer Charlie Benante and painted by illustrator Don Brautigam, the artwork bridges the gap between humor and hysteria. Brautigam’s painterly technique renders each face with lifelike intensity — stretched mouths, wild eyes, and exaggerated expressions — turning raw emotion into surreal performance. It’s both a parody of madness and an emblem of it, perfectly suited to the band’s mix of satire and speed.

Original U.S. pressing on Megaforce Worldwide / Island Records, released in 1988. The image presented here captures the authentic textured matte finish of the sleeve, a detail prized by collectors for its tactile depth and color fidelity.

Album Back Cover Photo
Back cover of Anthrax’s 1988 album State of Euphoria features a caricature illustration by Mort Drucker showing the five band members in exaggerated cartoon form standing in front of a brick wall. Behind them looms a grinning bald giant with a clownish smile, resting his hands on their shoulders as if introducing his chaotic creation. Each band member is depicted with distinctive clothing and posture — from Joey Belladonna’s target shirt to Scott Ian’s cap and camouflage shorts, Frank Bello’s Spy vs Spy tee, Charlie Benante’s purple tank top, and Dan Spitz’s skull-patterned shorts. A small white chicken struts across the bottom right corner, completing Drucker’s satirical depiction that blends comedy with heavy metal attitude. The tracklist appears on the left, production credits on the right, with the Megaforce and Island logos at the bottom edge.

The back cover of "State of Euphoria" trades fury for fun — a full-blown caricature created by Mort Drucker, the legendary MAD Magazine artist known for his sharp wit and uncanny portraits. Here, Drucker captures Anthrax as a mix of streetwise rockers and animated misfits, each rendered with exaggerated features and a spark of mischief.

The five band members stand before a red brick wall, their cartoon likenesses larger than life. Joey Belladonna grins beneath a halo of curls, wearing a shirt emblazoned with a bullseye. Scott Ian poses confidently in a sleeveless black top and camouflage shorts, while Frank Bello’s “Spy vs Spy” tee nods to pop culture chaos. Charlie Benante sports a purple tank top with a sneering face, and Dan Spitz, wearing skull-print shorts, extends an arm toward the viewer as if to break the fourth wall.

Behind them looms a bald, red-nosed giant with a huge grin — part mascot, part maniac — wrapping his oversized hands around the band like a proud puppet master. At the bottom right, a white chicken casually walks past the scene, adding an absurd final touch that perfectly mirrors the band’s sense of humor. The track listing fills the upper left, production credits the right, while the Megaforce Worldwide and Island Records logos mark its authenticity as the original U.S. pressing from 1988.

Drucker’s art turns thrash into satire — a wink to fans and critics alike that Anthrax knew how to laugh at themselves while the amps still roared.

First Photo of Custom Inner Sleeve
First inner sleeve of Anthrax’s 1988 album State of Euphoria shows a black-and-white band photo framed by handwritten graffiti-style song titles on a wall behind them, including Now It’s Dark, Finale, Schism, and Out of Sight, Out of Mind. The five band members pose casually — Scott Ian seated with his hands on his head, Joey Belladonna and Dan Spitz standing behind, while Frank Bello crouches and Charlie Benante leans forward with a grin. Their clothing features metal and pop references such as a Thrust shirt and a King Amp graphic. Dense liner notes and thank-you lists fill the left and right columns, including production credits, management information, and acknowledgments to fans and fellow musicians. The overall design combines gritty authenticity with humor, reflecting Anthrax’s down-to-earth yet rebellious energy at the height of the thrash metal era.

The first inner sleeve of "State of Euphoria" presents Anthrax in their purest, unfiltered state — relaxed, defiant, and slightly unhinged. A black-and-white band portrait dominates the center, surrounded by columns of liner notes, credits, and sprawling thank-you lists that read like a punk zine in print form. The wall behind them is covered with graffiti scrawls of song titles such as “Now It’s Dark,” “Schism,” and “Finale.”

The five members of Anthrax pose like a gang of misfits rather than rock stars: Scott Ian sits cross-legged at the front, clutching his head in mock exhaustion; Frank Bello crouches beside him with an easy confidence; behind them, Charlie Benante leans in with a smirk, Joey Belladonna stands relaxed, and Dan Spitz completes the lineup, his expression both intense and amused. The floor beneath them is littered with musical gear — a tiny “Superbrand” amp serving as a tongue-in-cheek prop.

Printed along both sides are exhaustive acknowledgments: fans, friends, road crew, producers, even obscure inside jokes. On the right, the credits roll from Alex Perialas to Greg Calbi, documenting the team that captured and refined Anthrax’s chaotic brilliance. The mixture of graffiti, gratitude, and raw black-and-white photography gives this sleeve an unmistakable DIY authenticity — the spirit of New York thrash pressed directly into the paper fibers.

Original U.S. inner sleeve, Megaforce Worldwide / Island Records, 1988. The image perfectly encapsulates the humor and camaraderie that separated Anthrax from their more solemn thrash peers.

Close up of Side One record’s label
Close-up of Side One record label for Anthrax – State of Euphoria (1988 USA release). The label has a tropical Island Records design with a large stylized palm tree standing on a blue ocean horizon. The gradient background fades from warm yellow at the top to deep blue at the bottom, creating a sunrise effect. The Megaforce Worldwide logo appears boldly below the tree, while the Island Records logo, a minimal black palm tree inside a white circle, is placed below it. The text lists Side One track titles: Be All, End All; Out of Sight, Out of Mind; Make Me Laugh; Antisocial; and Who Cares Wins. Catalogue number ILPS 9916 is printed above, with production credit to Mark Dodson and copyright (C) 1988 Island Records Inc. The rim text states rights and reproduction warnings in English. The label exudes late-80s major label polish with a bright, summery aesthetic uncommon for a thrash metal album.

The Side One label of “State of Euphoria” immediately catches the eye with its vivid tropical motif — the iconic Island Records design featuring a tall palm tree silhouetted against a golden-yellow sky and turquoise sea. The colors flow seamlessly in gradient, shifting from sunrise yellow at the top to cool ocean blue along the lower edge, giving a calm, beachlike feel that contrasts wildly with the ferocity of the music etched into the vinyl.

Just below the horizon line, the Megaforce Worldwide logo appears in metallic gray with a bold 3D effect — marking Anthrax’s connection to their original U.S. thrash roots under Jon and Marsha Zazula’s label. Beneath it, the smaller Island Records logo — a minimalist black palm tree enclosed in a white circle — serves as the visual anchor, symbolizing the label’s global presence and iconic brand identity.

The upper section of the label contains precise black typography listing “Side One,” the catalog number ILPS 9916-A, and the five tracks: Be All, End All, Out of Sight, Out of Mind, Make Me Laugh, Antisocial*, and Who Cares Wins. The asterisk marks Antisocial as a cover version of the French band Trust. Production credit goes to Mark Dodson, with composition and publishing notes to SBK Songs Ltd. and Island Music Ltd. The label’s outer rim text reads: “All rights of the manufacturer and of the owner of the recorded work reserved. Unauthorized copying prohibited.”

Manufactured and marketed in the USA by Island Records Inc. for Megaforce Worldwide, 1988. The Island label’s tropical imagery here provides an unexpected yet memorable counterpoint to the aggressive energy of Anthrax’s East Coast thrash sound — a striking juxtaposition between paradise and pandemonium.

Island Records / Megaforce Worldwide, USA Label

This label merges Island’s trademark tropical aesthetic with Megaforce’s metallic branding, symbolizing the collaboration between mainstream distribution and underground thrash credibility. This particular label design was used by Island Records between 1986 and 1990.

Colours
Yellow to blue gradient with black text and full-color palm tree artwork.
Design & Layout
Circular center label with central spindle hole, catalog details top, track list center-right, logos bottom left.
Record company logo
Island Records palm tree set against a sunrise gradient — representing the label’s island origin and creative freedom.
Band/Performer logo
The Anthrax name appears at the top in bold sans-serif font, aligned above the album title.
Unique features
Dual label branding (Megaforce + Island), rare on 1980s thrash releases; copyright printed inside the main label area.
Side designation
“Side One” printed near the top in small uppercase letters.
Rights society
SBK Songs Ltd., Island Music Ltd. (listed publishers).
Catalogue number
ILPS 9916 / ILPS 9916-A
Rim text language
English
Track list layout
Five songs listed vertically, left-aligned with durations in parentheses.
Rights info placement
Outer rim and lower section, printed in red.
Pressing info
Pressed and distributed in the United States by Island Records Inc. for Megaforce Worldwide.
Background image
Tropical beach and palm tree illustration symbolizing Island Records’ logo heritage and global branding.

Collector’s Note: Why the Back Cover Looks Like Punk Chaos

Ever notice how the back cover of “State of Euphoria” looks more like a crossover thrash or punk record than a late-’80s metal album? That’s no accident. Anthrax always had a boot planted in the New York hardcore scene — fast, funny, and allergic to pretension. While the West Coast crowd brooded over apocalypse and justice, Anthrax were cracking jokes, jumping around in shorts, and blending mosh-pit fury with street-corner sarcasm.

Hiring Mort Drucker from MAD Magazine wasn’t just clever — it was defiant. In an era where metal bands posed like angry prophets, Anthrax had themselves drawn as cartoon goofballs with a giant grinning mascot and a chicken for good measure. It screamed: “Yeah, we’re heavy, but we’re not dead inside.” The art mocked metal’s growing self-importance and reminded fans that thrash could still laugh while it destroyed your hearing.

The result? A back cover that bridges two worlds — punk’s wild humor and metal’s sheer power. It’s messy, smart, and brilliantly self-aware, much like the band itself. Anthrax didn’t just play loud; they played with culture, parodying it from the inside out.

Index of ANTHRAX Band - Vinyl Album Gallery & Discography

ANTHRAX - Among the Living (Canadian & German Releases) 12" Vinyl LP
ANTHRAX - Among the Living (Canadian & German Releases) album front cover vinyl record

Anthrax's thrash metal landmark "Among the Living" gets the classic vinyl treatment. Explore the Canadian & German 12" LP releases, featuring iconic tracks like the title track, "Caught in a Mosh," and "I Am the Law."

- Among the Living ( Canada ) - Among the Living ( Germany )
ANTHRAX - Armed and Dangerous 12" Vinyl LP
ANTHRAX - Armed and Dangerous album front cover vinyl record

Anthrax's "Armed and Dangerous" 12" Vinyl LP Album is a classic of the thrash metal genre and an essential addition to any serious metal collector's library. The album's raw energy, aggressive riffs

Learn more
ANTHRAX - Chris Tetley Interview Rock Sagas 12" Vinyl Picture Disc
ANTHRAX - Chris Tetley Interview Rock Sagas album front cover vinyl record

"Chris Tetley Interview Rock Saga"s 12" Picture Disc is a must-have for any Anthrax fan. The interview provides a rare glimpse into the minds of two of the band's most creative members,

Learn more
ANTHRAX - Fistful of Metal 12" Picture Disc
ANTHRAX - Chris Tetley Interview Rock Sagas album front cover vinyl record

"Fistful of Metal" is a thrash metal masterpiece that showcases the band's raw energy, speed, and aggression. The album features fast and furious tracks like "Deathrider," "Metal Thrashing Mad,"

Learn more
ANTHRAX - I Am The Law 12" Vinyl LP
ANTHRAX - I Am The Law album front cover vinyl record

"I Am The Law" bursts from the speakers with an adrenaline-fueled assault of thrash metal intensity. Scott Ian's razor-sharp riffs and Charlie Benante's relentless drumming lay the foundation for an unyielding rhythm section

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ANTHRAX - I'm The Man (European & USA Releases) 12" Vinyl LP
ANTHRAX - I'm The Man (European & USA Releases) album front cover vinyl record

The title track, "I'm The Man", became an anthem of self-aggrandizing fun. Borrowing heavily from the hip-hop vernacular, Joey Belladonna rapped and boasted his way through the song over a funky, infectious beat.

- I'm The Man ( 1987, Europe ) - I'm The Man ( 1987, USA )
ANTHRAX - Limited Edition Interview Shaped Picture Disc 12" Vinyl LP
ANTHRAX - Limited Edition Interview Shaped Picture Disc album front cover vinyl record

The album consisted of interviews with the band members interspersed with excerpts from their live performances. The interviews were conducted by various radio and television hosts, and the band members

Learn more
ANTHRAX - Make Me Laugh 12" Picture Disc
ANTHRAX - Make Me Laugh album front cover vinyl record

The title track, "Make Me Laugh," is a quirky and surprisingly melodic departure from their usual thrash assault. Borrowing its primary riff from a vintage TV game show theme song, Anthrax infuse it with metal energy.

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ANTHRAX - Penikufesin 12" Vinyl LP
ANTHRAX - Penikufesin album front cover vinyl record

The title track "Antisocial" is a cover of the French punk rock band Trust and was one of the highlights of Anthrax's live shows during this period. The French version of the song adds a unique twist to the already intense

Learn more
ANTHRAX - Spreading the Disease (Germany & Canada)
ANTHRAX - Spreading the Disease album front cover vinyl record

"Spreading the Disease" is a relentless assault of thrash metal brilliance. The album opens with the electrifying "A.I.R," a blistering ode to headbanging and mosh pits. Songs like "Madhouse," "Armed and Dangerous"

- Spreading the Disease ( 1985, Canada ) - Spreading the Disease ( Germany, EEC )
ANTHRAX - State of Euphoria (German & USA Releases) album front cover vinyl record
ANTHRAX - State of Euphoria (German & USA Releases)

“State of Euphoria” (1988) captures Anthrax at their most unhinged — fast, funny, and ferociously self-aware. Bursting with East Coast attitude and satirical bite, it’s thrash metal with a grin. From the spiraling madness of its cover art to the anthemic roar of “Antisocial,” the album turns chaos into celebration — a glorious mess only Anthrax could make.

- State of Euphoria ( 1988, Germany ) - State of Euphoria ( 1988, USA )