In 1983, Accept was coming off the tour to promote their fourth album, “Reckless and Wild”. Though it had been released in October 1982 in Europe, it had a delayed release in the US and UK which meant a delayed catch up in those regions to the album. Accept’s initial albums had been a bit of a formula, mirroring th sound and structure made popular by AC/DC at the time. And it’s fair to say that the first three albums are not overtly exciting. But from the opening track of “Restless and Wild”, you notice the change, that this is Accept’s moment. The energy and passion of “Fast as a Shark” is what sets this album apart from its predecessors and sets it up perfectly. And from here, the album barely takes a backward step. It’s not all as fast as the opener, but this is where the band comes together and finds its mojo.
This then was the momentum that the band took into the writing and recording of the follow up, “Balls to the Wall”. Herman Frank had come on board as an official member of the band, having been credited as guitarist on “Restless and Wild” even though he had not contributed to it. It was to be a watermark for the band, though one that was divisive on its release and still the bone of contention in some areas even today.
From the very beginning there are unmistakable homages to Judas Priest throughout, sometimes just a vocal or a guitar lick, but they are there, nonetheless. You can also catch stretches of AC/DC both lyrically and musically and given that Accept are of a similar vintage to both of these bands it shouldn't come as such a great surprise. These had been with the band since its inception, and still formed the basis of their music into their fifth album.
The album follows a solid hard rock/metal line in most of these songs. The anthemic qualities of the opening title track "Balls to the Wall" were alluded to in the opening of this episode, and they have helped to make it a crowd favourite since the album was released. It is pretty much the one song anyone can name if they are asked to name a song by Accept. The basic time format and chanting vocals make it a perfect song live. This is similarly true of songs like "London Leatherboys" and "Fight It Back" and "Losing More Than You've Ever Had", where the double chorusing on vocals lends the song that air of singing along with fists pumping the air. In regards to song writing the album included lyrical themes about politics, sexuality and human relationships. "Balls to the Wall" refers to slaves revolting against oppressing masters, while "Fight It Back" is about social misfits fighting against conformity. Drummer Stefan Kaufmann was quoted as saying "London Leatherboys" about bikers, but: "They're normal people, they just look different and they behave different. But they're normal people, another minority”.
One of the bigger minor controversies from the album was the song “Love Child”, which referenced people being gay, something that was seen as taboo in many circles in 1983. Kaufmann again was quoted in regard to this kerfuffle, stating: "It's a phenomenon that should be taken into consideration. Because it exists on a wide scale and should be demystified. In fact, this is a phenomenon of society that needs to be taken as such. For a long time gay people have been considered as sick or insane. And yet, it's time to respect these people, open our minds which are often closed”. Guitarist Wolf Hoffman played down the controversy, while adding that the media coverage was great for the band’s profile and album sales, while band manager and lyrics composer Gaby Hauke, who is married to Hoffman, also suggested it was the interpretation from certain circles that caused the controversy and not the lyrics themselves.
Returning to the album proper, and there are some other terrific songs here. The fabulous melodic lead breaks in the middle of "Turn Me On" really highlight that song, and amke it one of the best to listen to on the album. "Losers and Winners' is perhaps the paciest song of the album with a tracking drum beat and gunning guitars matched by Udo's vocals. This and “Losing More Than You’ve Ever Had” showcase the two halves of the Accept music tangent.
However, I need to raise my issues with the closing track, for regrettably typical reasons. "Winter Dreams" for me is a very strange and undesirable way to conclude the album. All those who listen to this podcast on a regular basis will know that I am not a fan of the power ballad at the best of times, but I especially find it a bit strange to end an album with one. Sure, you can't slow the momentum of an album if there is nothing to come following that song, but you can kill the mood the album is giving you by doing so. And I believe that is what “Winter Dreams” does. It softens what was a perfectly good album with a weak finish. Not a fan.
The album follows a solid hard rock/metal line in most of these songs. The anthemic qualities of the opening title track "Balls to the Wall" were alluded to in the opening of this episode, and they have helped to make it a crowd favourite since the album was released. It is pretty much the one song anyone can name if they are asked to name a song by Accept. The basic time format and chanting vocals make it a perfect song live. This is similarly true of songs like "London Leatherboys" and "Fight It Back" and "Losing More Than You've Ever Had", where the double chorusing on vocals lends the song that air of singing along with fists pumping the air. In regards to song writing the album included lyrical themes about politics, sexuality and human relationships. "Balls to the Wall" refers to slaves revolting against oppressing masters, while "Fight It Back" is about social misfits fighting against conformity. Drummer Stefan Kaufmann was quoted as saying "London Leatherboys" about bikers, but: "They're normal people, they just look different and they behave different. But they're normal people, another minority”.
One of the bigger minor controversies from the album was the song “Love Child”, which referenced people being gay, something that was seen as taboo in many circles in 1983. Kaufmann again was quoted in regard to this kerfuffle, stating: "It's a phenomenon that should be taken into consideration. Because it exists on a wide scale and should be demystified. In fact, this is a phenomenon of society that needs to be taken as such. For a long time gay people have been considered as sick or insane. And yet, it's time to respect these people, open our minds which are often closed”. Guitarist Wolf Hoffman played down the controversy, while adding that the media coverage was great for the band’s profile and album sales, while band manager and lyrics composer Gaby Hauke, who is married to Hoffman, also suggested it was the interpretation from certain circles that caused the controversy and not the lyrics themselves.
Returning to the album proper, and there are some other terrific songs here. The fabulous melodic lead breaks in the middle of "Turn Me On" really highlight that song, and amke it one of the best to listen to on the album. "Losers and Winners' is perhaps the paciest song of the album with a tracking drum beat and gunning guitars matched by Udo's vocals. This and “Losing More Than You’ve Ever Had” showcase the two halves of the Accept music tangent.
However, I need to raise my issues with the closing track, for regrettably typical reasons. "Winter Dreams" for me is a very strange and undesirable way to conclude the album. All those who listen to this podcast on a regular basis will know that I am not a fan of the power ballad at the best of times, but I especially find it a bit strange to end an album with one. Sure, you can't slow the momentum of an album if there is nothing to come following that song, but you can kill the mood the album is giving you by doing so. And I believe that is what “Winter Dreams” does. It softens what was a perfectly good album with a weak finish. Not a fan.
While for many who grew up with this album it has become an all-time classic, one which they will judge all other albums in history against, having first come into this album in the early 1990's I don't have the same stars in my eyes it regards to its attachment. These kinds of albums are the ones that, if you grew up when they were released and listened to them hundreds of times, over and over, you will rate at the top echelon of the scale, because they are catchy songs, which will inevitably remind you of those days. However, if you came into these kinds of albums after this stage of your life, you are more likely to think it is a solid album, but more in the mid-range kind of rating. In other words, the same album, but grabbing onto people at different times in their lives. I find for me this is especially true with “Balls to the Wall”. I can see myself loving this album to death had I been listening to it since 1983. However, having found it about a decade after this, I don’t have that true out and out love for it, the love you get from buying an album on its release, and loving it from that moment on. There is a real power to that, and while you can certainly get that from albums years after their initial release if you come into it of your own devices, I don’t for this. I still think it is a great album for the era, one with a lot of positives. Interestingly though, I am drawn to other Accept album more than this, such as “Restless and Wild” and even “Metal Heart”, but certainly the albums since the reformation of the band 15 years ago with Mark Tornillo on vocals. Those albums are far heavier than the 1980’s albums, and draw me in more than this album does.
All that aside though, don’t get the wrong impression, because I still enjoy this album a lot. I have had my vinyl copy spinning in the Metal Cavern over the last couple of weeks, and still enjoy it just as much as I ever have. Yes, it is tied to its era, and you have to enjoy the music of that era to enjoy this. But – who DOESN’T enjoy early 1980’s heavy metal?! Isn’t it what we are all here for, after all?
All that aside though, don’t get the wrong impression, because I still enjoy this album a lot. I have had my vinyl copy spinning in the Metal Cavern over the last couple of weeks, and still enjoy it just as much as I ever have. Yes, it is tied to its era, and you have to enjoy the music of that era to enjoy this. But – who DOESN’T enjoy early 1980’s heavy metal?! Isn’t it what we are all here for, after all?
No comments:
Post a Comment