As Germany's most famous metal-export, after the Scorpions, the mentioning of this band should bring a warm feeling to many and most old-schoolers. A classic band of NWOeuroHM-fame, not much less influent than the British monsters of the same period. Accept's music is characterized by undyingly strong riffs and macho-singalongs, outstanding rhythm-section and Udo Dirkschneider's insane Donald Duck-belching, very similar to that of AC/DC's Brian Johnson. In my (and many other people's) opinion, Accept's guitars are some of the finest the world has ever heard, surpassed by few if any. The long-time core and driving force of Accept was the song-writing trio of Udo, axe Wolf Hoffmann and Pater Baltes on the low-end, plus the drummer Stefan Kaufmann. Funniest thing about this band is all the rubbish they've been accused of being, like nazis (after Restless and wild) and gays (after Balls to the wall - indeed has its suspicious moments). Haven't heard of homosexual nazis, but such typical ridiculous media assaults always crack me up. Udo left the band in the late '80s to concentrate on a fairly successful solo project (U.D.O. - still going on!), leaving questionable result (Eat da heat) from the remaining 'Cepters. He returned again five or so years later to release three more albums with the band, which now is laid to rest. Still, they made some brilliant music back then, which undoubtedly never will be forgotten.
Discography
ACCEPT
Oh my... For a band of this calibre - which I evidently put in my top 5 of all time, and came to admire endlessly for their defiance to aging - this debut album is almost ridiculously unrepresentative and dated. Honestly, I think it fuckin' blows. All the things Accept are known for - catchiness, pervasive choruses, killer riffs, rhythms and lead guitars - are hardly hinted anywhere, and the band sounds exactly like the Scorpions garage-clone they aim to be (and this comes from someone who'd rather burn everything Scorpions did outside of 1977-1984). In the same fashion, and unlike both band's classic mid-period material, this will only sound worse with every year - and I can barely even listen to it today. Believe me, this sounds really awful - grooveless, hysterical and with shitty vocals by Peter and Udo, who doesn't exactly favour from the "production" here. But you gotta love Udo's stereotypical German accent ("She's got my back to ze wall!" and "There's nassing at all!"), even if I doubt he ever took a singing lesson in his whole life. No song here I care for in the faintest as a whole track, although there are some mildly entertaining sections sparkled out with unpredictable judgement. Tired of me, Sounds of war and Free me now ain't awful, and I guess they pole out worthless crap like Glad to be alone, Helldriver and Street fighter for an average somewhere in the "forget and it may fade away"-regions. Supplementary study to the extreme. Scroll down.
Best songs: Free me now
I'M A REBEL
This follow-up is not really an improvement over the self-titled debut soundwise, as much as another album where the band seems to just try out the vibes of the times, rather than creating something fresh. Still mostly ground-bound early-Scorpions/Saxon/Kiss type rockers 'n' ballads, overall considerably better written, but still wing-clipped due to a performance with no focus or direction, and a production job for the (dark) ages. The adoption of drummer Stefan Kaufmann now encloses the classic setting that would later conquer the earth with their timeless loyalty to the art of metal, but this one is still lost somewhere in the decade swap. Again, some mike duties are delegated down to Peter Baltes, something that only happened again once between this album and Predator. And for the better, if you ask me. I mean, he is a fine, fine thunder-boy - as proven on several tracks here - but his voice sounds just like the next man's, and is not interesting enough for anything more than a break from Herr Dirkschneider and his sore throat. Udo has much more emotion and character (then again, Peter only sings through the most cheese-driveling of ballads, where Udo's famous banshee screams may sound a tad bit out of order). About the songs, well, there aren't enough of them, and only the title track is IMO worthy the true Accept greatness of the mid-career albums (certainly the only song as catchy as we expect from these guys). Damned a party classic for all eternity it is, very similar to Burning on the next record with its simple booze-along chorus. The rest is your typical set of pedestrian rockers, and The king, Save us and No time to lose are the kind of good songs that you enjoy here, but would skip half the time on, say, Balls to the wall. That is, if you bother with this album at all. I wouldn't recommend it to the uninitiated, because it might just as well scare you off forever, and that's one millstone I don't want around MY neck. Keep scrolling.
Best songs: I'm a rebel; The king; Save us
BREAKER
This is it. The first truly killer Accept album in a seemingly endless winning streak. Breaker is, simply put, a feast in classic guitar-based metal. Churning riffs, pretty heavy for this day and age, and I can easily see how Accept were so influental in the early '80s. Production is better than before. Not great, but certainly okay (also better than on Restless and wild, I think), and overall a less obscure soundscape than on the first two relatively isolated offerings (Udo begins to sound like his most famous self). Musically, this is also one of the most balanced 'Cept slabs, since practically every track here is a standout in its own way. Top faves are a trio in the middle, peaking with track 6, Burning - quite possibly the definition of MOSH. Cheesy, but oh - OH! - how it rocks! There's also the formidable ballad (one of the most touching I've ever heard) Can't stand the night, and a venomous declaration of war in Son of a bitch (thought Guns N' Roses was the first profane band in metal? - Then you've got another thing comin'!). The Steel glove-compilation - which I used to own, but got rid of for some reason (I recall I didn't even like Accept back then) - has a censored version on it, but that's not half the fun. Come to think of it, Guns N' Roses' most profane song, Get in the ring, starts out almost EXACTLY like Burning - and inherits the lyrics in Son of a bitch! Both aimed at the music industry (at least I THINK that was the case with Son of a bitch). Feelings and Midnight highway (only wish the didn't include that gay "Danger danger"-chant) are also spectacular. And of course I haven't forgotten the classic title track with its mindblowing main riff - a forerunner to Fast as a shark, in that it's OTT speed metal. Nothing wrong with Starlight, Run if you can or Down and out either. So what's left? Boring Breaking up again, cheesily vocaled by Peter Baltes, is not up to par - but that's it! Six to nine tracks rule, simple as that. I can't say enough good about this band. They have the ability to make fairly commonly built songs (which would sound uninspired and forgettable by anyone else) rock like hell and back - almost without effort! Brilliant.
Best songs: Burning; Son of a bitch; Breaker
RESTLESS AND WILD
This was the album that started those pathetic rumours and insinuations. Because the intro to Fast as a shark apparently was played by German forces during WWII, or something equally far-fetched, Accept was immediatly labeled "nazis" (then again, who hasn't been?) and a bad influence. Fast as a shark is no less than one of the most influental speed metal - and for its time OTT - songs ever recorded. Back in those days the only band who'd written songs like that was Priest, and it sure as hell gives Screaming for vengeance a good run for the money (oh man, just listen to that lead break!). The title track is just as cool, with great rhythm guitars and a "raise your fist"-type refrain that sticks at the first listen. Shake yer heads, Demon's night and Don't go stealin' my soul away are strong tracks without perhaps overloading. But the rest... Ahead of the pack, Neon nights (INCREDIBLE - has nothing in common with the Sabbath pronounce-alike though), Get ready and Flash rockin' man all rock my boat with the utmost conviction, and concluding enchantress Princess of the dawn is one of metal's finest moments, a truly masterful piece. The main riff in this song is the most perfect simplicity I've ever heard, causing me I don't know how many sleepless nights. If you need proof of Accept's guitars, here it is. You got the main riff, the rhythm guitars, the leads, the licks, the acoustics, the mandolin (?) at the end, all perfectly arranged and executed to create the enchanting mood Blind Guardian are still searching for. I say: Learn from the masters! Last one-thirty are absolutely stunning, and well worth the price of the album (perhaps not Bound to fail-divine, but up there somewhere in the "I can't find the words"-regions). Only downside with this song is the idiotic cut-off ending! What the HELL is up with that!? Production is perhaps a bit shoddy in places, but it doesn't matter that much here, and in many cases it only makes the music feel ever more genuine. Metallically speaking, this is possibly THE most uncompromising and "true" album ever recorded, by any band. It displays the very essence and definition of heavy metal. Pure Marshall power that will not so much split your ears - as cut off your head and leave it spinning in the clouds! In other words: Buy it and consider yourself one of the normal beings.
Best songs: Princess of the dawn; Neon nights; Fast as a shark
BALLS TO THE WALL
Another year, another album, another media label. This time Accept has taken the step from being Hitlerists to homosexuals. This is something I can actually understand, starting right from the album cover, and in context, the title. Now, songs like London leatherboys (apparently about "bikers" and not leather "studs", but you get the picture) and Love child does little to wash away the gay, and neither does "Spurting in the dark!", whatever that is referring to... Hearing Udo whisper "...plug a bomb in everyone's ass" in the title track is truly sickening. Alright, apart from that stuff (which, btw, was never Accept's intention, only that the lyrics was written by a woman, "Deaffy" - now married to Wolf Hoffmann), this album is a steelworks of ages - and don't you ever forget it! This is the record I would recommend to you who would like to try out Accept, but don't know where to start. It combines the aggressive riffs from Restless and wild with the crystal-clear production and more majestic songwriting from Metal heart. If you like it (you WILL like it), you'll like their other albums too. If you want your metal pounding like a sledgehammer AND catchy, I am deaf to any excus you might have for not owning. This is typical Accept with all that applies - superb choruses you can't resist singing along to and astonishing (I really mean that, it's back-breaking) guitarwork by Wolf and substitute axe Hermann Frank. It's the simplicity of the artform that kills. The title track is of course its excellent classic self, and so is Head over heels (another legend hacked to pieces by Hammerfall's so-so-ish musicianship). The other songs are also great, especially Losing more than you ever had (now there's an unconventional song title), Love child, Losers and winners (another favourite - incredibly catchy!) and the emotional Winter dreams. Black horse on this album is definitely Fight it back, almost as brutal as the "big 'uns", with a pre-chorus guitar line more addictive than addiction itself...I adore it. The chorus is so simple, yet so uncompromising a battlecry: "Now if you hate it - you gotta fight it back!". One of Accept's most underappreciated songs, after Aiming high. Guardian of the night is funny, because the line "Man of the dark!" sounds just like "Man or a duck?", especially hilarious since Udo is often called the "Teutonic Donald Duck". Only aforementioned London leatherboys I don't like. As a matter of fact, it sickens me. But everything else is just...swish, and if you don't own it, you're not METAL! METAL!
Best songs: Balls to the wall; Head over heels; Losers and winners
METAL HEART
Accept just keeps improving their sound, and here we have what many call their golden hour. The apocalyptic title track is of course a metal classic, which should need little introduction to any serious, uh...metal heart. You all know the moody Tjaikovsky intro, the hell-pounding chorus, Udo screaming his lungs out, and of course, the lead. A lead which is nothing short of a legacy unto itself. If you haven't heard it - shame on you - I leave it up to your self-respect to discover it. I tell you this much - it won't let you down! Everything else is just as viciously Acceptish. Furious, riff-smoked monsters like Too high to get it right, Living for tonite, Up to the limit and Midnight mover, with outstanding drumming by Stefan Kaufmann throughout (I consider him one of the greatest drummers on the planet). Screaming for a love-bite is kinda boppy and with a Twisted Sister feel to it, but I love it nonetheless - just so damn catchty! And as if that wasn't enough, Metal heart includes perhaps the ultimate album-ender in all metal, Bound to fail. The actual song (i.e. first half) may be little more than average, but the concluding 2-minute lead break/macho-chorus/singalong is one of the mightiest and most unifying sections in music ever, per se. When played at appropriate volume, it will leave you absolutely speechless (not to mention yer neighbours). It's just beyond words, and if you haven't heard it, you are yet to live. Some people may be right when they say this album is a has more "commercial" elements than before (Screaming for a love-bite, Midnight mover), but it doesn't suffer from it one bit, I think, and on the other hand the production is the best so far. Actually, I wouldn't use the word "commercial", because it's not true about the album as a unit. "More accessible" would perhaps describe it better. I'd strongly recommend this album for Bound to fail or Metal heart alone, but EVERY other song here is a keeper as well. I'd say five of them ("best" + Screaming for a love-bite and Too high to get it right) are absolute masterpieces. Nectar of the Gods, this is.
Best songs: Bound to fail; Metal heart; Living for tonite
RUSSIAN ROULETTE
The "forgotten" Accept album, and the last such of the classic period, with Udo fronting. I bought this album for one reason and one reason only, the incredible powerhouse Aiming high. Nothing else I had heard before, and would be a bonus. There sure was "else"! T.V. war (about fence-sitting - a shredder), Monsterman, Another second to be, Man enough to cry, hell, this album is full of the good stuff. Raw, energetic, full-throttle metal in the classic Accept school of thought, with animal riffs and one-click refrains, thank you. First two songs are instant classics (Monsterman has THE coolest chorus), and the title track doesn't quit by a mile (kinda similar to Balls to the wall, the song). It's hard to find a way is somewhat corny-rocking, but then it comes - my favourite Accept-song (after Princess of the dawn and Bound to fail, of course), Aiming high. Self-expressing anger - poorly controlled such - to perfection, brilliant use of the trademark macho-choir and some of the most menacing riffage (and leads!) ever put on record. I tell you - if that song doesn't make you raise fist, bang head, and everything in between, you are either paralyzed, dead, or have no taste in music whatsoever. Thrashing all around indeed! The second half is also pretty good, but without the clear standouts of the first. I don't think there is a single weak track on the album, yet some may be quite average. Not much have changed in the music department from Metal heart, groove-blasted mid-tempo songs utilizing Udo's famous "whisper" mixed with unbound collision-course rockers. Unfortunately it lacks the same masterful conclusion, although Stand tight is a good song in its own right. One thing you have to admire Accept for is their ability to churn out album after album, year after year, by the exact same formula, and STILL manages to sound fresh and revitalizing every time! Just an extension of times passed, but that's what we love Accept for, isn't it? Russian roulette is rock solid, and shouldn't disappoint neither older nor potential fans. Dag nab it, I almost like this album as much as the hallowed foresome that came before it, but then again, I am an odd SOB, ain't I? Tip: Avoid the 1992 RCA reissue, because it has a mastering error 30 seconds into Aiming high (as Udo would put it - YAAARGH!!!).
Best songs: Aiming high; Monsterman; Russian roulette
EAT THE HEAT
Here it is, the only Accept album without Udo Dirkschneider. New vocalist David Reece swings a shriek by all means plausible for an unknown replacement singer, and I'm not gonna trash his competence like you would expect me to (see? I CAN be a good boy :) ). Funnily enough, his voice reminds me slightly of Tim Owens (Winter's Bane, now playing Rob Halford in Judas Priest), especially in the lower registers - which admittedly aren't used that much. No, it's the songs and attitude that ruin this album for me. Questionable titles (ok, so what else is new?) drooling with cheese, and I really have to draw the line at the Prince-influenced X-T-C and Stand 4 what U R. I can't for my life figure out what the hell they tried to do with this album, because there is nothing here that indicates Accept, or the qualities that follow. The trademark macho-choruses are now not all that macho, as the putrid attempts in Love sensation, Turn the wheel or I can't believe in you sound like they could've been done by Def Leppard or Kiss during their trend-peaks... Yep, this reeks of sellout all the way. Riffs are uncrunchy, leads mixed to outer space, and the heat they expect us to eat is no more than a vegetarian soup full of HAIR. This album lacks character and sounds like a hundred other albums around this time, which is even more disappointing, considering Accept has always been trend-defying lone rangers. Fillers to the left and to the right - I don't know where to start! Well, as far as this album goes musically, I'd start and end with track 2, Generation clash, the only song with either soul or groove (or both!). However, this song was re-recorded with Udo on Death row, which in that shape renders this album completely unnecessary from start to finish. As much as I do believe the instrumental core of this band are some of the finest and tightest musicians in the world, I also believe they need Udo to be that "something else". Chemistry just doesn't grow on trees, and that little power-pack of a Kraut is matched by few when it comes to putting strength to the words. But, but, neither Reece nor the new Malcolm Young here lasted beyond this record, as Udo later returned home and Wolf took over all rhythm duties himself, above chopping the usual historic leads. No less, Eat the heat remains a disgraceful blot in Accept's annals of thunder. Ya know I would normally not saying anything unfavourable about this waste-laying posse, but this one kinda blows chunks.
Best songs: Generation clash
STAYING A LIFE
One of the greatest live albums of all time. This baby was recorded in Osaka 1985, but for some reason withheld until the days when Udo was a goner and metal was no longer the "thang". But believe you me - this one was worth the wait! Two full-smacked CD's, and all tracks from the four albums Breaker, Restless and wild, Balls to the wall and Metal heart - which is not only their four best, but also a string of albums perhaps only bested by Metallica and Iron Maiden in their heydays. The song selection here is simply not human, claiming EVERY classic, and just for good measure squeaze in all the semi-classics too. The only track I miss here is the personal favourite Losers and winners, and perhaps a longer, liver version of Bound to fail, since the existing one is just part of the studio version overdubbed with a crowd outro. Nearly perfect as far as the songs go, classy production, and as the booklet states (well, surprise!), it's in the live setting Accept's razor-sharp metal masterminds truly come to the boil. Maybe not the most technically or creatively superior band in the world, but with NO doubt one of the most devoted. Wolf Hoffmann proves to be quite the showoff on stage, and J�rg is here even MORE subdued than in the studio, if you can believe it! Udo also rules the recording, and I think his voice is as made for crowd control (especially when doing some dubious "Scream for me's" :) ). The arrangements are kept relatively true to the originals, which makes it a natural place to start for the potential Accept-fan, but also in some cases just takes a completely unexpected turn and send you on a different journey for a couple of minutes, by adjusting the songs to a better live mood with crowd interaction and such. The band keep their incredible tightness on stage, absolutely smoking through both discs, with a fresh, experimental sound that makes the concert come alive above a sheer routine performance WITHOUT ruining groove and/or plain butchering classics a la Manowar. Staying a life is one of the VERY rare live records that succeds in BOTH maintaining the original studio perfection AND give it new life in the exemplary concert atmosphere. Astounding.
Best songs: Princess of the dawn; Neon nights; Metal heart
CD 1
OBJECTION OVERRULED
Ever questioned if Accept could make it back to the top after the long absence (first Udo-album in seven years, and only one altogether in between), play the title track once and your question will be answered. You know you can't go wrong with an Accept album-opener - and it sure doesn't end there! All or nothing is another instant classic, brilliantly anthemic in a way very few bands can do without sounding too pushy or cheesy. This is the natural continuation of Russian roulette, and it almost seems like the band wishes Eat the heat never happened (if nothing else, they realized it wasn't them and did another U-turn), because this album is back to the same basic killer metal that made them great in the first place. No commercial cravings here whatsoever. I love these guys, it's just fantastic to have someone playing unfancified and down-to-earth metal with no particular aim at the million-markets. They still do it with such unmasked energy. They still love playing true metal, and the sheer power these guys possess is just impossible to resist! Solid, if not perhaps brilliant, rockers in Don't wanna be like you, Protectors of terror, Sick, dirty and mean (I love the feedback-to-drum passage from Winter dream-ish Amamos la vida) and Donation. The latter must be an AC/DC tribute of some sport, with obvious references to both C.O.D. and Shake your foundations, the entire music, and typical sexist lyrcis (which are NOT typical for Accept!). Accept could at some points be described as a metallic AC/DC, just as uncompromising about changing their sound, but without ever sounding repeatative (and honestly, Donation blows away anything out of the AC/DC camp since Flick of the switch). Bonus track kicks ass too, and then there's a neat, dreamy instrumental called Just by my own, which also is something like a Winter dreams without the vocals. Not a perfect album, but a very healthy dose of classic heavy metal in this decade of alternation and overrati. Forget Eat the heat - the 'Cept is BACK!
Best songs: All or nothing; Objection overruled; Donation
Bonus track
DEATH ROW
Now something strange has happened to these German metal warriors. Or has it? The song style is no different on the surface, we are still presented the same tightness and raise-your-fist choruses we expect. But the attitude is grimmer, more jump-on-your-face-in-the-mud rather than just "in it". Lead heavy, and also slower overall than the typical Accept work - although a few tracks will prove me wrong with a vengeance. Wolf really kills ya here. It is said this album was only written for one axe, which basically means it's more of an Ozzy-band sound (not really the sound, but the style of the playing), with a lot of fast riffing, almost soloing, during the verses, even if the actual songs aren't very fast. You will notice there aren't many layered guitars here. It's like a live sound - he plays everything once in one fell swoop. All riffs and solos at the same time with the same strings, which sounds incredible technically, but loses slightly because of the lack of nuances you get from two different guitars and/or guitarplayers. The guitar is for the most part all in the right speaker, and the bass in the left, which make for a pretty interesting sound if you're listening in headphones (and maybe that's not where this album does its best). But you better believe Wolf lays down more notes on this album than most axemen will in three - and not many of them are wasted. On average, if we are comparing the actual quality of the music, I'll have to admit this isn't QUITE up to the classic period, and some songs (i.e. Guns 'R' Us, Bad religion, Prejudice - spare me the political correctness, will ya?) are okay but may sound like grasping at straws as far as the typical Accept sound go. Still, you gotta respect them for not budging an inch from their designated style, especially in a day and age when this kind of music is outer than space. And of course, 15/71 wins over 10/45 by mere overkill. With that amount of metal, you're bound to like some of the songs, and I can personally pick out at least five tracks here that would make their way onto the fantastic mid '80s commandments with pride; Sodom & Gomorra, The beast inside (what a groove!), Like a loaded gun, Bad habits die hard, and of course, Generation clash II, which is notably shortened from the original, but just as great. Last three songs are all fairly soft (surprisingly so in the case with Pomp and circumstance), which is a smart tactical move here (you can just turn it off if you're still in a more moshing mood, but I think these snug tracks work very well after more than an hour of pure destruction). Here's one for the history books, folks: You don't get more metal than Accept.
Best songs: Generation clash II; The beast inside; Like a loaded gun
PREDATOR
"Overdue" is the first word that springs to mind here. This album didn't have to be. It's not bad in itself, just unnecessary, like a Razor's edge or Divine intervention. Scrap goods from ten yer old jam sessions, scrapped because they wrote a better version of it, or realized it wasn't very good to begin with. The good songs here are neither overwhelmingly many nor...good, really. But there are still a few minor keepers. Crossroads is the only Accept-song ever with shared vocals by Peter and Udo (apart from Sounds of war on the debut album, but it's different here, like a duet instead of "one guy does the verse and one guy does the chorus"). It's also the only half-original song on this album (one of very few that doesn't sound like "just another Accept-song"), as well as the best. Title track, Crucified and Run through the night also stand out on the positive side of the scale. Then there's the other side...ain't to hot on crappy blues like It ain't over yet or industrial/tribal-flirting Primitive - probably the shittiest song they ever did, with or without Eat the heat. It's basically the corny Prejudice-chorus with Generation clash-prominent bass and the worst vocal performance ever by Peter Baltes. Oh, and did I mention the DRUM-MACHINE?? IT SUCKS!! So you see it's not much new to gain here, just re-tooled oldies with sharp '90s production and other "kewl" features. Speaking of Baltes, he sings on quite a few tracks here, and with Udo's totally uninterested performance as alternative, I say: Let him. Overall, the band is quite a mess here, everyone seems to be pulling in different directions, without the tightness and unison of times old. Not even Wolf Hoffmann makes a great impact in his department, although there are certainly some exceptions. Unfortunately, Stefan Kaufmann is no longer in the band, after his long-term arthritis forced him to shelve the sticks for good. Michael Carellone is a decent replacement, and I sure wish they had let him play the entire record through, because a synthetic and numb track like Primitive is no way to end a career built upon cordial dedication to true metal. I hail them still, but not for this record.
Best songs: Crossroads; Predator; Crucified
ALL AREAS - WORLDWIDE
This is clearly the secondary Accept-live, mixing some of the mandatory classics with 10 newer tracks - roughly half the overall album. Since Accept uphold their high musical standards through the '90s better than most of the old giants, the idea of playing many new tracks is fine by me (even if of course the songs here are no match for Staying a life). The oldies comprise of the obvious choices - Breaker, Princess, Restless, Shark, Balls, etc. But there are also a few neat neglected tracks - Starlight and Too high to get it right. Furthermore there are four songs from Objection overruled (none of the four best!) and a decent six from Death row (three strong/three weaker). In other words: An acceptable song choice, although I just wonder why the hell they have to sneak in London leatherboys on every live album and compilation? Oh, well...this album doesn't fall because of the songs, but because of the lacklustre performance. I dunno...the feeling just isn't there. Guitar sound is muddy (Wolf still has to do all the shredding himself), Udo doesn't sound like he gives a shit anymore (negligible crowd working), and overall, something vital is lacking. There's no spark - no overdrive - and songs suffer immidiately. Princess of the dawn remains the best song ever written, but it isn't done justice here, and Fast as a shark is so fucked up, you wouldn't know it's the same song. Actually, only the Death row-songs are close to their original strength (most of them are identical to the studio versions), probably because of how they were produced in the first place. Which brings us to the most annoying part of this album - the production. Now, whoever compiled these recordings (apparently it was Stefan Kaufmann) doesn't know the first thing about putting together a live album, with absolutely annoying as all hell piece of shit fadeouts after every song!!! Ruin the live feeling of this album completely, will ya!? This isn't a live album, it's a collection of inferior live B-sides! GO TO HELL!!! Fans only, if even that, the rest should hop on Staying a life for a better representation.
Best songs: Princess of the dawn; Metal heart; Balls to the wall
CD 1