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Accept in it's formative years - 59%

MetalReaper, August 28th, 2004

The Solingen's pride Accept finally recorded it's debut album in the late 1978. This can be recognized as a Accept album, although it doesn't sound like one. Some Accept traditions were already formed at this time. Guitar attacks are brutal, but not brutal as they were meant to be. Udo Dirkschneider's vocals are nasty, but there isn't that classic screaming what were on future albums. Udo tries to sing, what he obviously can't do. You can't call that growling singing. He sounds much like that he's sick.

Some people love this album and some people hate this. The lack of production makes this album sound poor and light. Promising songwriting saves this piece of shit. There are some classic material here which are mostly forgotten. No songs like "Balls to the wall" or "Fast as a shark" are featured on this album. Actually only one song appeared on later tribute albums (Therion covered "Seawinds"). This was also the last album to feature original drummer Frank Friedrich, who didn't wanted to be a professional musician.

After some ambient noise, raw guitars explode in the start of "Lady Lou". After I played the record for the first time, this was the only song I remembered. It has a good chorus and singing melodies. If you can't hear any kind of solo, keep looking, it is there. "Tired of me" is a average song with good melodies, but too ordinary to be remembered for long. Accept saw bassist Peter Baltes to be a better person to sing ballads (Udo can't sing, he screams). So he sings on the third track, a gentle ballad "Seawinds", which was later the only song to be covered on a tribute album, by Therion.

Clumsily named "Take him in my heart" is not a ballad, although it has that kind name. It's fast, maybe too fast for Udo's sniffly vocals. It also has very annoying chorus, and there's nothing to be grateful for a simply riff. Anyway, there's some nuances on Udo's vocals, nuances of that kind what made him special. But this is probably the worst of the album. "Sounds of war" starts quietly, rising volume. Song has probably the best guitar riff of the album, combined with Peter Baltes's crushing vocals and screams. One of the best songs of the album.

"Free me now" is fast and guitar riff is clever, but Udo's vocals aren't a nice thing to hear. "Glad to be alone" is a power ballad with fucking catchy guitar riff. There's plenty of solos too. The idea of Udo singing beautifully a ballad, is doomed. Imagine Udo getting drunk and then singing karaoke in some dirty bar, but with a good band on his back. This is exactly it. Udo screams in his own way, saving the rest of the song. Still this a good song of the album, mainly thanks to it's guitar riff and solos.

"That's rock 'n' roll" has actually nothing to do with ordinary and mostly boring rock 'n' roll music from the fifties. It's fast, happy and full of arrogance, with line "hey little woman Accept tonight", which can be accepted in this case, because that is more like an requirement in this kind of music. "Helldriver" is powerful with it's crushing riff, loyal to it's name. One highlight of the album is also the shortest one. The ending track "Street fighter" is very much alike to "Helldriver", with power and brutality.

Accept's first one is a potential debut. Mostly accomplished songwriting saves a lot, but there are also some tracks which shouldn't have been released. Overall promising debut, if it were produced better.