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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! Teach Us To Survive is the most proggy entry, with plenty of energy and a jazzy bass line. The lyrics are still utter nonsense but it matters less when the music is at least interesting.
Accept took their classical influences (mainly as a result of Wolf Hoffman's affinity for the big Teutonic composers), and incorporated it into songs with strong riffs, pounding rhythms and absolutely nonsensical lyrics (they're German - who cares?). Rivadavia, Eduardo. "Accept Metal Heart review". AllMusic. Rovi Corporation . Retrieved 31 January 2013. 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. 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?Mark Mellberg: Metal Heart is a blitzkrieg to the senses. There's no doubt that Dieter put a little sheen to Accept, but the album is still fairly heavy. There's a hell of a lot of tasty riffs on Metal Heart, and they should have at least got them to Gold status like Balls To The Wall. They didn't. 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. Popoff, Martin (1 November 2005). The Collector's Guide to Heavy Metal: Volume 2: The Eighties. Burlington, Ontario, Canada: Collector's Guide Publishing. pp.8–9. ISBN 978-1894959315.
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! 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! All told, Metal Heart just comes across as a collection of recycled Scorpions and AC/DC riffs and Van Halen solos and it has never really grabbed me, I'm afraid.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").
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 .Hoffmann recalls Dieter Dierks as a very demanding producer: "We would do some pieces several dozen times trying to capture what he had in his mind for a specific section," adding: "Each song we tried different combinations of guitars, mic'ing and even strings!" [5]
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