Artist: Accept
Genre(s):
Rock
Metal: Heavy
Rock: Hard-Rock
Metal
Other
Discography:
Bestseller
Year: 2000
Tracks: 18
All Areas - Worldwide Disc 2
Year: 1998
Tracks: 9
All Areas - Worldwide Disc 1
Year: 1998
Tracks: 11
Predator
Year: 1996
Tracks: 12
Best Ballads
Year: 1996
Tracks: 15
Death Row
Year: 1994
Tracks: 15
Objection Overruled
Year: 1993
Tracks: 11
Staying A Life
Year: 1990
Tracks: 15
Eat The Heat
Year: 1989
Tracks: 11
Russian Roulette
Year: 1986
Tracks: 10
Hungry Years - Digital Remix
Year: 1986
Tracks: 9
Metal Heart
Year: 1985
Tracks: 10
Kaizoku-Ban: Live In Japan
Year: 1985
Tracks: 6
Best Of
Year: 1985
Tracks: 10
Balls To The Wall
Year: 1984
Tracks: 10
Breaker
Year: 1981
Tracks: 10
Accept
Year: 1979
Tracks: 10
With their brutal, dim-witted riffs and aggressive, fast tempos, Accept was one of the top metal bands of the early '80s, and a major influence on the development of thrash. Led by the unique outspoken stylings of shrieking banshee Udo Dirkschneider, the isthmus bad an instantly recognisable effectual and was infamous as one of the decade's fiercest live acts of the Apostles. Despite recording two of the topper sullen metal albums of the ten in Restless and Wild and Balls to the Wall, Accept remained besides intemperate and extreme for American audiences to embrace -- even when they tested to look down their behave with more melodic songs. Ultimately having conquered the catch one's breath of the world, simply with their career stalled in the U.S., Accept fell apart, and by the time they reunited old age later there was cypher leftfield for them to read.
Singer Udo Dirkschneider formed Accept in his hometown of Solingen, Germany, in the early '70s, merely it wasn't until rather a few years later that the striation colonised on a more or less stable card, including guitarists Wolf Hoffman and Gerhard Wahl, bassist Peter Baltes, and drummer Frank Friedrich. A well-received functioning at the Rock Amrhein Festival in 1976 brought them national attention, and they finally obtained a recording contract after replacing Wahl with guitarist Jorg Fischer deuce old age later. Issued in 1979, their eponymous debut was bad produced, featured for the most part subpar songwriting, and did absolutely cypher for the radical. But with the arrival of new drummer Stefan Kaufmann prior to eighties much-improved I'm a Rebel, the isthmus had the concluding constituent they were looking for, and their popularity began growing by leaps and bounds.
1981's regular more accomplished Breaker was engineered by Michael Wagener (wHO would go on to develop such major hard stone acts as Motley Crue, Alice Cooper, and Ozzy Osbourne, among others) and continued to develop Accept's stylemark sound, featuring the massive crunch and tight precision of Hoffman and Fischer's guitars egg laying the origination for Dirkschneider's inimitable screeching -- kindred to Bon Scott on atomic number 2. They as well sign-language a oecumenical manage with CBS Records foot soldier Portrait, and secured professional management from Gaby Hauke, wHO, under the Deaffy nom de guerre, would help the dance orchestra write most of their English lyrics from this full point forward. Despite Fischer's sudden departure later on a successful European tour supporting Judas Priest, the band was now poised to suppress Europe with their powerful Teutonic heavy metal.
All the elements were falling into station, and with the release of 1982's Restless and Wild, Accept finally stamped their passports to stardom. A heavy metal milepost, the album broke the band's life history spacious open, naturalized their touch sound for old age to come, and in the unbelievable "Fast as a Shark," featured possibly the outset true thrash metal strain always recorded. Guitarist Hermann Frank was brought in for the ensuing hitch, which, thanks to their ferocious live shows (including choreographed headbanging level antics), turned the band into true stars all across Europe and the U.K. 1983's every bit revered Balls to the Wall was an even greater commercial-grade wallow, and qualified as unitary of the nigh obsessive, sexually explicit albums of all time. Led by the controversial title running, it stone-broke the band universal and earned them their first magazine headlines in America. Fischer was invited punt into the folding at this time, and the band embarked on a yearlong word hitch that took them as far as Japan and culminated in a triumphal show at the 1984 Castle Donington Monster of Rock Festival.
With America at present looming in their slew, the dance orchestra distinct to hire producer Dieter Dirks (of Scorpions renown) to give 1985's Metal Heart a more than commercial-grade edge and supernumerary sense of tonal pattern. Also with U.S. audiences in mind, they abandoned the epicurean fetishes of releases past in favour of a much flatboat sexual tint and typical labored metallic element subject matter care the title track's apocalyptic vision. The results were sundry, for patch the record album for certain helped to further their cause in the States -- where they embarked upon a very successful tour sharing a double bill with Swiss hard bikers Krokus -- it tarnished their report among some of their loyal following back home. A unrecorded EP recorded in Japan entitled Kaizoku Ban kicked off the unexampled year, as the band fain to start work on their one-seventh record album, Russian Roulette, over again with Michael Wagener at the controls. A more or less rushed, half-hearted attack to double back into more belligerent alloy territory, the album lED to a serious chipping within the group, and subsequently headlining a sold-out European tour with Dokken in support, Accept proclaimed that they were 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 in reality written and performed by his erstwhile bandmates. But when .D.O. released a minute album, Hateful Machine, in 1988, backed by a new band, the left over members of Accept (Hans Fischer had left hand erstwhile over again) began trying tabu new vocalists, finally subsiding on American David Reece for 1989's Eat on the Heat. A lightweight metal album, it eager little resemblance to classical Accept, and the band's subsequent U.S. circuit (with secondment guitarist Jim Stacy) was first fitful when Kaufmann suffered a back wound (he was replaced by House of Lords' Ken Mary, so cut short due to poor just the ticket gross sales and increasing personality differences with Reece). The grouping eventually disbanded and, exclude for the spillage of 1990s Staying a Life (a live album featuring the original lineup in their prime), aught was heard of Accept for the next three days.
To everyone's surprise, Dirkschneider, Hoffman, Baltes, and Kaufmann eventually reconvened in 1992 to record Objection Overruled, which fared comparatively well in Europe simply didn't regular gouge the alternative rock-dominated U.S. securities industry. The stripe continued to enlistment Europe and recorded periodically over the next few age, releasing Decease Row in 1994 and Predatory animal (featuring Damn Yankees drummer Michael Cartellone) in 1996. Their final world enlistment included swings through North and South America and terminated with a bit of sold-out engagements in Japan, after which Accept officially called it a day.
