Balls to the Wall
| Balls to the Wall | ||||
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| Studio album by Accept | ||||
| Released | 1983 | |||
| Recorded | Recorded and mixed at Dierks Studios, Cologne 'West Germany July/August 83 | |||
| Genre | Heavy metal, speed metal | |||
| Length | 45:13 | |||
| Label | Lark Records (Germany) Portrait (US) |
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| Producer | Accept for BREEZE Music Gmbh | |||
| Accept chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   [1] |
Balls to the Wall is the fifth album by the German metal band Accept. European label Lark Records released the album in December 1983, but its US release was delayed until a month later as to not compete with the band's then-current album Restless and Wild, which had arrived in the US in early 1983. It is the band's best known and highest-selling album, selling about two million copies worldwide,[2] and is Accept's only record to attain Gold certification in America. The album's lead single, "Balls to the Wall", became Accept's signature tune and remains a metal anthem and trademark in the genre.
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[edit] Album information
Some of the album's success can no doubt be attributed to the publicity generated from the minor "gay metal" controversy that broke out upon its American release, due to the record's title and front cover being deemed by some as homoerotic, as well as the lyrics to "London Leatherboys" and "Love Child" appearing to concern homosexuals.[2] Guitarist Wolf Hoffmann was dismissive of the controversy, saying years later that "You Americans are so uptight about this. In Europe it was never a big deal...we just wanted to be controversial and different and touch on these touchy subjects, because it gave us good press and it worked fabulously, you know".[3] Drummer Stefan Kaufmann explained that many of the themes on the album were about oppressed minorities in general. "London Leatherboys" was really about bikers, for example: "They're normal people, they just look different and they behave different. But they're normal people, another minority. And 'Love Child' was about gays, true, but it's basically about people who are suppressed."[2] Concerning the homosexuality issues themselves, Kauffmann said in an interview with French magazine Enfer (n°7, 1983):
“It’s a phenomenon that should be taken into consideration. Because it exists on a wide scale and should be demystified. In fact, this is a phenomenon of society that needs to be taken as such. For a long time gay people have been considered as sick or insane. And yet, it’s time to respect these people, open our minds which are often closed."[4]
Hoffman's wife and lyricist Gaby Hauke also denied these controversies and accusations concerning the gay issue:
"Let me answer this and (the next) question in one, ok? I have been very rebellious and by no means I would have written anything "normal"! Never! The sexual question about the context of certain lyrics are mind games and pure interpretation from outsiders. This is a band who has as individuals -so little to do with controversy and absolutely nothing in particular with anything but being VERY straight"[5]
Critic Martin Popoff has declared Balls to the Wall the greatest metal album of the 1980s,[6] praising the combination of smooth production, powerful guitar riffs and strong melodies that are found throughout the record. Professional wrestler Chris Jericho's band, Fozzy, did their own cover of the song Balls to the Wall, as well.[2] Amon Amarth also covered the song as a bonus track for their 2011 album: Surtur Rising.
[edit] Track listing
- All titles composed by Accept
- All lyrics written by Accept + Deaffy
- "Balls to the Wall" - 5:45
- "London Leatherboys" - 3:57
- "Fight It Back" - 3:30
- "Head Over Heels" - 4:19
- "Losing More Than You've Ever Had" - 5:04
- "Love Child" - 3:35
- "Turn Me On" - 5:12
- "Losers and Winners" - 4:19
- "Guardian of the Night" - 4:25
- "Winter Dreams" - 4:45
There are 2 different remasters of this album. The first one is part of Sony's 'The Metal Masters Series' & the 2nd one is part of the 'BMG Remastered Edition'
2001 Remaster
- Head over Heels (live)
- Love Child (live)
2002 Remaster
- Up to the Limit (live)
- Head over Heels (live)
Both sets of songs are taken from Kaizoku-Ban.
[edit] Credits
- Udo Dirkschneider - Vocals
- Wolf Hoffmann - Guitar
- Herman Frank - Guitar
- Peter Baltes - Bass guitar
- Stefan Kaufmann - Drums
[edit] Production
Engineered by Louise Austin
Mixed by Michael Wagener
Published by BREEZE Music Gmbh/Oktave Alfred K.Schacht Musikverlage Hamburg
Management: Gaby Hauke
Design: Jean Lessenich
Photos: Dieter Eikelpoth
Cover Idea: Deaffy
[edit] Charts
Album - Billboard (North America)
| Year | Chart | Position |
|---|---|---|
| 1984 | The Billboard 200 |
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[edit] Notes
- ^ Allmusic review
- ^ a b c d http://www.martinpopoff.com/html/yeold_archives/accept.html
- ^ http://www.fullinbloommusic.com/wolfhoffman.html
- ^ Original quote in french : « C’est une chanson qui traite de l’homosexualité. C'est un phénomène qu'il faut prendre en considération; car il existe à une grande échelle et il faut démystifier. En fait c'est un phénomène de société qu'il est nécessaire de prendre comme tel. Pendant longtemps les homosexuels ont été considérés comme des fous et des malades. Or il est temps de respecter ces gens là, d'ouvrir nos esprits qui sont souvent obtus » . Touchard Philippe, "Interview avec Stefan kaufmann", Enfer magazine, n°7, 1983, p. 9. Archives of Enfer Magazine issues and of the said interview can be found here : [1]
- ^ interview with Gaby Hauke
- ^ Popoff,Martin. The Collector's Guide to Heavy Metal Volume 2: The Eighties. Toronto: Collector's Guide Publishing, 2005. p.429.
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