on 29 March 2007
A blast from back in the days when guitars were called axes, fans wore denim and leather, and the song title 'Son of a Bitch' was considered offensive and rebellious.
If that makes you smirk, perhaps this isn't a record for you. If, on the other hand you have just come over a little nostalgic and misty-eyed, you should have a closer look.
This is a classic 80s HM release, with rasping, high vocals, simple riff-based song structures, and that innocent, basic, rock guitar sound from pre-Metallica days. You can certainly hear a bit of early Iron Maiden in there. It is amazing to think that this sort of music used to send parents into despair.
Breaker and (particularly) Son of a Bitch are the standout tracks, and if you ignore the 2 ballads (which Germans in general have always been quite good at), the rest rock more than respectably too. As a bonus, Axe fans will drool at the vintage twin-axework and excellent twiddly solos.
This is one of those albums, which when you play them, you wonder why you don't play them more often. Undemanding and very enjoyable.
on 21 January 2011
I was already familiar with Accept when i first heard this third album round at a friends house back in autumn 81. The first two albums were the sound of a band finding itself and being influenced by record company pressure. The anger and frustration poured itself out on Breaker. As soon as the stabbing riff of opener Starlight kicked in we new this was going to be something special. Accepts new mandate was simple, rock first ask questions later. 'Starlight', 'Breaker' and 'Run If You Can' barely allow you to come up for air before things are taken down a notch with 'Can't Stand The Night'. Side one finished with the venoumous no holds barred damning endictment of the record industry that is 'Son Of A Bitch'. The good time rock 'n' roll feel of 'Burning' kicked off side two and was given an appropriate live feel by adding a touch of crowd noise at the begining. Where as 'Son Of A Bitch' puts up two fingers 'Feelings' asks for a little more understanding as Udo pleads 'accept what we do'. Midnight Highway is the most commercial track on the album briefly bringing to mind 'You Shook Me All Night long', Breaking Up Again is a plaintive ballad sung by bassist Peter Baltes whose voice though rarely used i always liked as a nice counterpoint to Udos' gutteral howel. The album finishes with the driving rocker 'Down And Out'. Throughout, the playing is excellent and while being mostly heavy still retains a great sense of melody as well as some classical overtones which gave rise to the phrase 'Teutonic Metal'.
Although produced by Dirk Steffens the other thing that gives this album it's edge is ace rock producer Michael Wagener [anybody else got the carrere records version of Dokkens first album 'Breakin The Chains' before Tom Werman and W.E.A. got their hands on it and ruined it?] who engineers and mixes this album.
Not long after hearing this album i was surprised to see them supporting Judas Priest on the Point Of Entry tour. I say surprised because they were billed as 'Attack'. Everything was going fine as the cords to 'Starlight' kicked in, then it was all down hill as Udo appeared on stage looking like a mullet wearing thyrotoxic dwarf from the village of the damned, all dressed up in sequined pink top, silver strides and stackheeled boots, you could hear the howels of derision and laughter from an unforgiving rock audience and no matter how well they played they were going to get laughed off stage, all thanks to Udos' ill judged Gary Glitter in pink tribute.
A year later i was listening to 'Restless And Wild' and at the time i thought that was even better. Other people will site 'Balls To The Wall' as the best album, i like it but to me it is the sound of a band becoming aware of it's popularity and has a more considered approach. If you want gut wrenching power and a feeling of spontineity 'Breaker' and follow up album 'Restless And Wild' are easily Accepts best two albums.