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ACCEPT - Breaker cover
4.30 | 37 ratings | 2 reviews
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Album · 1981

Filed under Heavy Metal


1. Starlight (3:52)
2. Breaker (3:35)
3. Run If You Can (4:48)
4. Can't Stand the Night (5:23)
5. Son of a Bitch (3:53)
6. Burning (5:13)
7. Feelings (4:48)
8. Midnight Highway (3:58)
9. Breaking Up Again (4:37)
10. Down and Out (3:43)

Total Time: 43:55


- Udo Dirkschneider / vocals
- Wolf Hoffmann / guitars
- Jörg Fischer / guitars
- Peter Baltes / bass, vocals (9)
- Stefan Kaufmann / drums

About this release

Release date: March 16, 1981
Label: BRAIN

Dirk Steffens: Producer
Michael Wagener: Engineering, Mixing
Stefan Böhle: Photography (cover)
Heinz-G. Bieringer: Photography

Arranged by Dirk Steffens & Accept.
Recorded at Delta Studio, Wilster December '80 - January '81.

Many early international pressings contain a censored version of "Son of a Bitch" called "Born to be Whipped" with tamed down lyrics.

Thanks to rushfan4, Unitron, diamondblack for the updates


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"You are down and out, when you're just being your self. We ain't down and out, MAN TAKE A LOOK AT YOURSELF!"

Like Rush did with the legendary 2112 back in 1976, Accept gave the ultimate middle finger to the record companies and producers that were pushing the band to be commercial and have hit singles. Vocalist Udo has said that the previous album I'm a Rebel was uninspired and had too many people trying to manipulate and influence the band. Biggest claim to infamy is the title track of that album which was written by Alex Young, eldest brother of Angus and Malcolm Young of AC/DC, therefore sounding like a reject AC/DC song.

After the failure of I'm a Rebel, the band said 'fuck it' and did what they wanted to do without any outside influence. They couldn't have made a better choice, as Breaker is the album where they immediately found their sound and cemented Accept as among the metal gods. Udo himself believes Breaker to be among Accept's best albums, and I completely agree with him.

There's a perfect blend of speed metal fury, hard rock swagger, metal ballad beauty, and neo-classical soloing throughout the album. Many credit "Fast as a Shark" from the next album as being the first speed metal song, but I believe this album's title track is actually Accept's first creation of that extra fast heavy metal. This and "Starlight" are fast and furious, with blistering leads that will have you air guitaring before you can sing 'He's a breaker'. Jörg Fischer's melodies and Wolf Hoffmann's solos and leads are absolutely amazing, and with the exception of Scorpions' "Sails of Charon" from '77, this was the first real taste of neoclassical metal before Yngwie Malmsteen. Just take a listen to that short but sweet minstrel sounding part in the middle of "Son of a Bitch", which is hilariously placed right before Udo screams 'COCK SUCKING MOTHERFUCKER I WAS RIGHT'

Bassist Peter Baltes does not get the appreciation he deserves, as his thick and chunky basslines really gives Breaker a heavy as hell bottom end. "Feelings" is where I think it stands out the most, and that's what I call groove. It really gives the song a mean swagger, and gives "Son of a Bitch" that extra thumping stomp. He can sing too, as he takes over the mic on the ballad "Breaking Up Again". Stefan Kaufmann's thunderous drum performance coupled with Baltes' thumping bass gives the band a fantastic rhythm section. Kaufmann really shines on the explosive "Down and Out".

Something I love about Accept is how beautiful they sound even when playing borderline speed metal, the title track and "Run if You Can" are perfect examples of such. This brings me to the voice of Accept, and one of the greatest and most unique vocalists in all of metal. Udo Dirkschneider is up there with Rob Halford and Chris Cornell, as one of the vocalists that can be screaming their heads off and create absolute tear-jerking beauty while doing such. The power ballad "Can't Stand the Night" as well as the aforementioned tracks in the paragraph, show Udo at among his finest moments. Of course, he can also be screaming his head off and just be completely pissed off and out for blood. Nothing is a better showcase than the anti-record label anthem of "Son of a Bitch".

Apart from being an absolute masterpiece and the first of many from Accept in the 80's, Breaker also stands with 2112 as an example of a band becoming bigger and better after a record label tries to meddle, proving that staying true to yourselves and your fans is the best way to go. I think the anger that the artists get just gives the performances that much more energy. It's what gives that extra edge for us to scream along as Geddy Lee shrieks about being a priest at the Temples of Syrinx and as Udo screams expletive after expletive at the labels and tells them to kiss his ass. All the beauty of heavy metal is right here. If you've missed out on Breaker, do yourself a favor and listen to an 80's classic.
This one is aptly named, because Breaker was Accept's breakthrough album - the moment where they hit on a distinctive sound, made a conscious decision to stop pandering to other people's expectations, and let rip with their own brand of metal. Their sound here may owe an awful lot to Judas Priest, but they were hardly alone in this at the time and if you're going to be influenced by someone it may as well be one of the true greats, and their fast and furious update of Priest's classic sound means that this German crew wouldn't sound out of place popping over the English channel to take on the NWOBHM bands at their own game and win.

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