The producer Dieter Dierks was brought in to do the album, who had been involved with producing the Scorpions albums in the past. It is therefore no real surprise that you can hear that Scorpions influence again seeping into Accept's music, this time not necessarily from following in their fellow Germans footsteps, but in a stylistic way in the recording studio. Not hugely, and not overpoweringly, but there are nuances there to be picked up on. It has been said that there was a push to try and change the sound of this album to a more commercial side of metal, in order to try and crack the American market. If that is the case, I really think it is minimal. They may have changed the songs styles such that the guitars are not such a crunching heavy riffs, but everything else seems to be in order. "Screaming for a Love-Bite" is a song where the case could certainly be made for a change in direction. It sounds like a single, and was subsequently released as the second from the album, after "Midnight Mover". This is looking for a market, trying to hook in people through its repeated chorus line, and while I think the song is OK I think it turns out to be one of the weaker ones on the album. Such is the way generational changes can come across. "Midnight Mover" too does have a softening chorus, looking to be the radio song that it was released as a single for. To me though, it is only the chorus that changes in its style for this purpose, the rest of the song is pure Accept. Maybe I've got it wrong, that there was no intent to make this more commercial friendly. maybe this is just a progression. No matter, both songs are still fine to listen to.
The songs are probably even faster than on Balls to the Wall, which to me makes them more endearing to their heavy metal roots rather than trying to unshackle them. "Up to the Limit" and "Wrong is Right" show this off perfectly, rushing along at speed with squealing guitars and Udo's distinctive vocals. Great songs.
I love how the first time my daughter, who is learning to play the piano, heard "Metal Heart" which kicks off the album, she immediately recognised the theme of "Fur Elise" in the riff and solo of the song. It's a nice insert, and because that tune is so recognisable it draws in the interest of those who may not necessarily be Accept fans, and at least induces them to have a listen.
Some of the songs seem to have choruses that are reminiscent of AC/DC, looking for that anthemic quality so the listener will chant along and be all the more memorable. "Dogs on Leads" is an example of this, and while the song overall is good, sometimes it can just grate a little too much. "Living For Tonite" also possesses that almost-anthemic quality. However, "Bound to Fail" is a great closing track, and leads out with a Queen-like guitar solo to finish the album.
Metal Heart has a lot to like about it. The production is slicker, the songs are strong, the musicianship is top class. I still like this album a lot, and yet there is something that just deprives it of something that - for me at least - doesn't allow it to jump into a higher category in regards to rating. And it may well just be as simple as the fact that, if I had this in my teenage years when it was released, it would probably be a classic to my ears. The fact that I didn't find Accept until much later means their albums don't have that starry eyed love that other albums from that era have for me, because I actually had them at the time and I have grown up with them. That should not stop anyone from taking on this album, because it still holds up wonderfully well today, and is one of the best that Accept has released.
Rating: Who knows when the new game starts. 3.5/5
No comments:
Post a Comment