965. Accept / Breaker. 1981. 3/5

In interviews with the band both at the time of this album’s release and at times since, this is the point where Accept decided to make the music they wanted to without an outside influences. There is little doubt that for at least half the album it can be heard that the direction of the music has gone up a notch in speed and aggression, and yet there is enough there that harks to the past that suggests that there were still a few tendrils holding them to that previous period.

The album kick starts on a great note with “Starlight”, with Udo reaching the heights with his vocals from the beginning, signaling that a new Accept appears to be in motion. This is followed by the faster paced title track “Breaker”, which continues the reimagining of the music, with Wolf Hoffman and Jörg Fischer’s guitars here giving an insight to a future sound of Helloween’s guitar sound. “Run If You Can” expands on this again, looking for the catchy chorus to endure the time between guitar riffs. “Can’t Stand the Night” does tend to begin reigning in back to a previous version of the band’s songs, with Udo stretching to maintain the dignity of his output in what is trying very hard to sound like a ballad like rock song.
“Son of a Bitch” is a classic, if only for young kids who want to release some pent up anger. The expletive-laced vocals, according to all reports having a crack at record companies, make for easy repetition after a few beers and this turned up loud. Probably not as effective at age 47 as it was at age 17, but still enjoyable in the right company. “Burning” jumps straight in with that AC/DC-like fast paced guitar and drums, evoking images of Bon Scott and Angus Young performing it. That’s not meant to be a derogatory comment, just a comparison of what is a great rocking track with similarities between styles. “Feelings” drops back a notch with a heavier riff, but is still driven along by Udo’s vocal power.
“Midnight Highway” is the first real change up the band throws at us here on this album. It moves back to a very 1970’s commercial rock tone which is immediately noticeable in the guitar sound, and then the bridge being sung by Peter Baltes, changing the tone of the song completely. It isn’t bad as such, but it is very noticeably different from everything that has come before it on the album. I don’t get good vibes from it whenever I put the album on, it tends to distract me.
And then… oh my god… what the hell is “Breaking up Again” doing here?! Seriously! I thought we were going in the new direction, taking on the mob and making a serious move towards that heavy sound that would make them the success they should be! Now, I am a renowned deplorer of ballads of most varieties and in most circumstances. But this is just vile. I cannot believe – still! – that this was allowed to make the album.
The album then concludes with “Down and Out” which while it doesn’t fully recover from the insanity of the previous track, at least allows the listener to finish the process with a slightly less bitter taste in the mouth.

This could have been an absolute top shelf album, apart from three things – “Can’t Stand the Night”, “Midnight Highway” and “Breaking up Again”. Those three songs drop this album back a full star in rating, and more is the pity. Take those out (which in the modern age you can do) and it really does have the right energy throughout. Put them back in, and you have a promising album that points to a promising future.

Rating:  “Icicle brains, bicycle chains”.  3/5