Folks Listening toThis Artist With their brutal, uncomplicated riffs and aggressive, quick tempos, Accept had been one of the many best metal bands for the early '80s, and a big influence about the development of thrash. Led by the unique vocal stylings of screeching banshee Udo Dirkschneider, the band forged an instantly recognizable sound and was notorious as one of the decade's fiercest live acts. Despite recording two of your very best heavy metal albums on the decade in Restless & Wild and Balls to the Wall, Accept remained too heavy and extreme for American audiences to embrace -- even when they tried to tone down their act with more melodic songs. Ultimately having conquered the rest of the world, but with their career stalled within the U.S., Accept fell apart, and by the time they reunited years later there was nothing left for them to say.
Vocalist Udo Dirkschneider formed Accept in his hometown of Solingen, Germany, inside the early '70s, but it wasn't until quite a few years later that the band settled on a somewhat stable lineup
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Windows 7 Ultimate Key, their eponymous debut was badly produced, featured mostly subpar songwriting, and did absolutely nothing for your group. But along with the arrival of new drummer Stefan Kaufmann prior to 1980's much-improved I'm a Rebel, Accept had the final ingredient they had been looking for, and their popularity began growing by leaps and bounds.
Released in 1981, the even more accomplished Breaker was engineered by Michael Wagener (who would go on to produce such serious hard rock acts as M"otley Crüe, Alice Cooper
microsoft Office 2010 Serial, and Ozzy Osbourne, amongst others) and continued to develop Accept's trademark sound, featuring the massive crunch and tight precision of Hoffman and Fischer's guitars laying the foundation for Dirkschneider's inimitable shriek -- akin to Bon Scott on helium. They also signed a worldwide deal with CBS Records subsidiary Portrait, and secured professional management from Gaby Hauke, who, under the Deaffy pseudonym, would help the bandmembers write most of their English lyrics from this point forward. Despite Fischer's sudden departure after a successful European tour supporting Judas Priest, the band was now poised to conquer Europe with its powerful Teutonic heavy metal.
All the elements have been falling into place, and together with the release of 1982's Restless & Wild
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With America now looming in their sight, Accept decided to hire producer Dieter Dierks (of Scorpions fame) to give 1985's Metal Heart a more commercial edge and extra sense of melody. Also with U.S. audiences in mind, they abandoned the hedonistic fetishes of releases past in favor of a much lighter ######ual tone and typical heavy metal subject matter like the title track's apocalyptic vision. The results had been mixed, for while the album certainly helped to further their cause inside States -- where they embarked upon a rather successful tour sharing a double bill with Swiss hard rockers Krokus -- it tarnished their reputation between some of their loyal following back home. A live EP recorded in Japan entitled Kaizoku-Ban kicked off the new year, as the band prepared to begin work on its seventh album, Russian Roulette, again with Michael Wagener at the controls. A somewhat rushed, halfhearted attempt to backtrack into more aggressive metal territory, the album led to a serious splintering within the group, and after headlining a sold-out European tour with Dokken in support, Accept announced that they had been taking an open-ended break so that Dirkschneider could record a solo project.
Simply called U.D.O., the singer's first album, Animal House, was actually written and performed by his former bandmates. But when U.D.O. released a second album, Mean Machine, in 1988, backed by a new band, the remaining members of Accept (Fischer had left once again) began trying out new vocalists, eventually settling on American David Reece for 1989's Eat the Heat. A lightweight metal album, it bore little resemblance to classic Accept, and the band's subsequent U.S. tour (with second guitarist Jim Stacy) was first interrupted when Kaufmann suffered a back injury (he was replaced by House of Lords' Ken Mary), then cut short due to poor ticket sales and increasing personality differences with Reece. The group eventually disbanded and, except for your release of 1990's Staying a Life (a live album featuring the original lineup in its prime), nothing was heard of Accept for the next three years.
To everyone's surprise, Dirkschneider, Hoffman, Baltes, and Kaufmann eventually reconvened in 1992 to record Objection Overruled, which fared pretty well in Europe but didn't even dent the alternative rock-dominated U.S. market. The band continued to tour Europe and recorded sporadically over the next few years, releasing Death Row in 1994 and Predator (featuring Damn Yankees drummer Michael Cartellone) in 1996. Their final world tour included swings through North and South America and concluded with a number of sold-out engagements in Japan, after which Accept officially called it a day until, 14 years later, they came out of retirement to release their 12th studio album, Blood of Nations, in 2010. ~ Eduardo Rivadavia, Rovi
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