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Happs Richards: There’s a bit of rose-tinted nostalgia about this album, as I bought it after seeing Accept for the first time on the Metal Heart tour at Hammersmith Odeon, so yes, it’s different from their earlier stuff and the production does hint they were trying to break into the USA, but...
This is Accept looking to branch out and looking for new fans. Not being as intense, yeah it's much more commercial that their previous albums, but once you put the needle down on this one, you just want listen to it at a very high volume all the way through. Worry about the tinnitus at a later time. Midnight Mover", about a drug dealer, is one of the more commercial songs on the album and was selected for a memorable music video that anticipates the bullet time filming technique by a full decade. "Just ahead of our time again!" jests Hoffmann. [5] Rivadavia, Eduardo. "Accept Metal Heart review". AllMusic. Rovi Corporation . Retrieved 31 January 2013.
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Side two is marginally better. Opener Too High To Get it Right has a decent groove and a hint of Steve Harris in the bass playing. The contrast between the gravel-gargling squeals of the lead and the melodic harmony work better than they should . Metal Heart would see Accept achieve the perfect fusion of the fast, furious, aggressive style they pioneered on Breaker and the more anthemic chant-along style they brought out on Balls To the Wall, yielding a true classic which seems less beholden to their influences like Judas Priest. If there is a distinctive, definitively 'Accept' sound, it is to be found here." ( Metal Music Archives) In conclusion, although it’s not Accept’s best album I still have fun singing along to Metal Heart while directing an imaginary classical ensemble of electric guitars. It’s a great album and will receive a high score from me. The small rift sac can hold 46 of each rift collection item and crux, the medium can hold 422, and the large can hold 6102.
James Praesto: Ugh. I have been trying to get to this all week, and now I am out of time, so forgive the incoherent rambling. (It's bed time for this old fart.) Even though it sold less in the US than Balls to the Wall, it became bigger on the other side of the Atlantic. Half the bands I later came to love may not have been around, had it not been for Accept in general, or the commercial success of Metal Heart in particular. They paved the way for a younger generation that realized it was OK to be metal, but still write melodies and not compromise on the quality or integrity of their sound. The production on Metal Heart is excellent. Much more polished that any of their first four albums. Many sing along hooks throughout the record and so much fun to listen to. The heaviest song on the record is Wrong Is Right, you just gotta crank it all the way up. I mean, Wolf Hoffman just goes off here. They even went a little jazzy with Teach Us To Survive. Love it! I loved Accept from the first up until this release. Russian Roulette seemed to fade a bit, but I was surprised to find on fresh listening that I still love this. Got the vinyl when it came out and still sounds pretty darn good to me. Is it big dumb fun which will probably make King Crimson aficionados tut patronisingly? Well, yeah, sort of the point isn't it? The voice of Udo is another acquired taste, but I arrived to it after enjoying equally brilliant vocalists like Mille Petrozza, Rolf Kasparek and Chris Boltendahl. It was never going to stop me enjoying the music!Downhill from here on in really, until their more recent renaissance, and now we have both UDO and Accept. Win for us in my book. I love this and will score it highly! It's just all... less than, compared to what came before. While the songs aren't softer, they're somehow simpler - and not in a good stripped down way. Just not a lot of nuance. The title song sets the template with verses punctuated by title-shouted choruses, then solo, chorus again and out. Album closer Bound to Fail starts out promising but ends up feeling like a rewrite of their massive hit Balls To Wall with the gang "Oh-oh-ohs" meant for chanting in arenas. With its faux classical intro, generic riffs and cliched dystopian sci-fi lyrics about metal hearts, Accept set their stall out with an entirely safe ‘Metal of the Road’ album from a competent Headbangers Ball filler band. Gary Claydon: I've always thought that if ever a German version of This Is Spinal Tap were made they wouldn't have to look any further than Accept for inspiration for the titular band. It's all there really, the album covers, the song titles, the lyrics (Exhibit A: " Son of a bitch, Kiss my ass"). The rest of side one is slightly better but never gets out of second gear. The riffs are stale, the singing is a cross between 80s Rob Halford and Brian Johnson and the solos don’t catch the attention.
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