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Accept
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| By
Vinnie Apicella
An all-time classic,
Accept's "Balls To The Wall" was the defining moment for this
German
Metal original-forget the fact they'd already released four albums
leading up to this 1984 breakthrough, this was the one album that had it
all-though a few could make a strong case for their "Restless &
Wild"
predecessor and receive little argument. But the powerful anthemic title
track is synonymous with anything this band's gone on to do, yet they
would continually impress with their tightly constructed rhythmic
foundation and classically-inspired instrumental prowess. Not quite in
the same category with the "Big Hair Big Hits" billing being
currently
imposed on this latest wave of Legacy reissues, Accept was in a look and
league of their own. Fronted by the inimitable and sometimes indefinable
Udo Dirkschneider, a striking presence of all of some five feet tall
adorned in army fatigues and closely cropped blonde hair, he of the
glass-shattering pipes stood far out in an overcrowded populace bent on
mirror image and eye shadow. lest we forget however that even Udo and
the band had a bout with such the history, though we'll go no further on
that here-not a particularly striking image in any event. Accept took to
an extreme, opting for a less refined technique than would a Scorpions,
their million-selling countrymen, creating no less inspiring
instrumental masterpieces but with a measure of power and might more
closely related to a Judas Priest or Motorhead of the time. "Balls
To
The Wall" is the quintessential Accept record and one of the best
of its
kind, earning them great respect amongst their peers as musicians and
performers, all of which says much considering the wealth they would
continue to add to their catalog for the greater part of the eighties
and parts of the nineties. From one to ten every song is a masterwork of
definition and dexterity, each song possessing its own strength of
character-from the opening force that was the politically charged title
track, to the sex-driven impulsiveness of "Turn Me On," to the
beautifully done "Winterdreams," showcasing quite an opposite
side to
the bands' sincerity, a conscientious ballad like no other. In between,
the band settled for nothing less than maximum volume, playing to the
fullest potential, driving power chords, twin-toned melodic breaks and
harmonic endeavors and of course Dirkschneider's ever-present, ever
piercing vocals, leading a charge bent on seriousness and sin, against
the grain and by their own rules. The reissue contains vintage band
photos, nice write-up and full lyrics, a wondrous discovery for the
likes of someone seemingly destined to rely on uncooperative age-old
cassettes. Also featuring two additional live cuts, "Head Over
Heels,"
and "Love Child," both of which first appearing on the rare
"Kaizoku-Ban" EP a year later, "Balls To The Wall,"
needless to say, is
a must have for both the Metal connoisseur and casual fan alike.
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