Reviews

Although in recent years Accept have been thought about as a legacy act, regardless of them releasing a stream of consistent albums for decades, it is important to remember they were at the forefront of acts leading heavy metal in the early 1980s. The vocals of Udo Dirkschneider are often cited as an influence, and guitarist Wolf Hoffman was amongst the first to bring neo-classical influences into heavy metal. By the band's fifth album Balls To The Wall they were a well-oiled metal machine, and it is often the album still talked about today as their most important. Oddly enough, it has also often been discussed due to its album cover and song lyrics, both seen as being linked to homosexuality in some way. The band themselves have indeed confirmed they deliberately added some subtle references, as heavy metal was all about challenging social taboos. Whilst more open-minded European audiences saw the connection and made sense of it, American audiences just didn't get it resulting in censorship plaguing the initial U.S. release. To the censors singing about violence and Satan was regarded as OK, but gay references crossed some sort of line. Obvious hypocrisy aside, the title track opens the album nicely, and the crispness of the modern production is immediately noticeable. Dirkschneider's gravel-mouthed vocals cut the chorus to shreds, and a metal classic is born. The song has been covered more times over the decades than anyone could count. 'London Leatherboys', one of the tracks often mistaken to be about gay men (it is actually an ode to motorcycle clubs), is a similar tempo and again kicks in a big sing-along chorus. Fans by this point would notice a clear change in song writing on the album, moving from the more in-your-face metal songs from previous album Restless And Wild (1982), to an easily digestible version of the band. This was clearly an album that was written to appeal to a wider audience than just metal fans. Having said that, 'Fight It Back' makes a good play at older fans as a throwback to their earlier work. The slick production and mid-tempo songs continue throughout the album, with songs like 'Head Over Heels' and 'Losing More Than You've Ever Had' fading into each other without much to distinguish them. 'Love Child' stands out as a perfect example of 1983 heavy metal track and could be at home on any album by any band from the era. 'Losers And Winners' carries Side B best, with another punchy guitar-line typical of the era. 'Winter Dreams' wraps the album with the obligatory ballad, and is largely forgettable except for the soulful soloing. Listening to the album today brings a feeling of nostalgia, but also the realisation that most of it isn't really anything above average. It is an album that has to be heard with the history of the era in mind, and only then can it be understood why it holds a special place in metal history. It was launch-pad cited by various younger bands to leap from to evolve the genre, and that is what still makes it important - regardless of the content.

Growing up, the only exposure I had to pre-80's music really was through my dad's collection. He had some great bands, but it didn't include Black Sabbath. The other influence on my music interests growing up was AM radio, and you certainly weren't going to hear the likes of 'War Pigs' playing on a Thursday afternoon. If fact the first time I heard this song was the cover by Faith No More, which I loved. I was never one to go back and listen to the history of a band or a song once I started buying their music. There was so much new music to listen to in the 80's/90's I didn't think to go back. In any case it's clear that Paranoid is a seminal album for Black Sabbath. There might be arguments against their debut being the top of the pops, but for me, Paranoid was the one album I chose to listen to and still enjoy to this day. I kinda feel this review actually doesn't need much explaining as I believe anyone interested in the band knows this album very well. In any case I'll provide my view. Opener 'War Pigs'. Referencing what I mentioned earlier, it was great to reconcile with the original. Still blows me away that this music royalty was created in 1970. Blows me away. They lads had a knack for rhythm and Ozzy with his moody but somewhat childish vocals. Almost seem we are waiting for his balls to drop. Yeah, sue me if you don't agree. Maybe it was the production. In any case it turns into classic hit after classic hit, with 'Paranoid', 'Planet Caravan' and 'Iron Man' blowing your mind on what is just side one of the L.P. 'Panet Caravan' for me is the outliner for the first side. Only 3 tracks in you have this solemn offering with distortion of Ozzy's vocals you can hardly recognise. A really interesting interlude. The need for it at track 3, not so sure. 'Iron Man' is just so over the top. With that bass drum intro leading into a simple strum of the guitar before we get into business. Probably my fave of the record. The second side as for many bands seems to be a challenge to meet the quality of side A. Maybe just slightly Paranoid suffers from this a little. However if you invest the time you will find the intricacies that while different to side A, still offer a different attractiveness. Love the cheeky lyrics in the intro to 'Hand Of Doom'. 'Rat Salad' instrumental being the clear classic and a bold choice by the band as instrumentals aren't everyone's cup of tea. But it is a one-in-all-in by the band and all 3 of them blast out such a memorable classic. I have to point out Bill Ward on this and his incredible effort on this track. Amazing!!! Finishing with 'Faries Wear Boots'. Impressed by the band's knowledge of faries but any case, grab me a napkin so I can wipe my face after indulging such a record. I'm done. No desert for me thank you.