Accept – Death Row – 1994

Imagine that! Once upon a time, I dismissed Accept and Death Row as something on the decline. That the band would probably never be able to perform at the same level as before, let it be known that Accept hasn’t sounded like “before” since then; they’ve sounded even better!

So, this is the album that came between Objection Overruled and Predator, both of which I’ve written about before. Why I missed this one? I donät know. But better late than never! It’s something that appeals to me a lot today, even if that wasn’t the case at the release. The circumstances have also changed a bit, and I no longer want Udo Dirkscheider back behind the microphone. I’m not saying he does a bad job here or at any other time, for that matter. But he’s not irreplaceable. Considering what Udo himself was up to in U.D.O. until the reunion with Accept in 1992, it’s clear that Accept’s albums are far more qualitative and unique than the solo project. There’s a completely different crunch in the guitar play, and both the riffs and melodies are more elaborate.

As usual, the lyrics touch on a violent society and, at least ironically, question where we’re really headed. The whole group is credited with the compositions (with a few exceptions) on Death Row, so it’s hard to say what works so well with the Accept concept when essentially the same sound with U.D.O. doesn’t cut as sharply.

Here are 15 sharp songs that grow with each listen nowadays. It’s full-throttle with just a few ballads. In other words, it’s a lot of attitude!