Happs Richards: There’s a bit of rose-tinted nostalgia about this album, as I bought it after seeing Accept for the first time on the Metal Heart tour at Hammersmith Odeon, so yes, it’s different from their earlier stuff and the production does hint they were trying to break into the USA, but... Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1sted.). Helsinki: Kustannusosakeyhtiö Otava. ISBN 978-951-1-21053-5. Chris Downie: While the Scorpions deservedly hold the accolade of German metal's finest exponents, there is a compelling case to be made that Accept deserve the proverbial honourable mention, not only on the strength of the Udo-fronted era, but the late career renaissance of the last decade, for which the contribution of impressive frontman Mark Tornillo cannot be overstated.

Hoffmann recalls Dieter Dierks as a very demanding producer: "We would do some pieces several dozen times trying to capture what he had in his mind for a specific section," adding: "Each song we tried different combinations of guitars, mic'ing and even strings!" [5]James Praesto: Ugh. I have been trying to get to this all week, and now I am out of time, so forgive the incoherent rambling. (It's bed time for this old fart.)

Side two is marginally better. Opener Too High To Get it Right has a decent groove and a hint of Steve Harris in the bass playing. The contrast between the gravel-gargling squeals of the lead and the melodic harmony work better than they should . Oricon Album Chart Book: Complete Edition 1970–2005 (in Japanese). Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9. With its faux classical intro, generic riffs and cliched dystopian sci-fi lyrics about metal hearts, Accept set their stall out with an entirely safe ‘Metal of the Road’ album from a competent Headbangers Ball filler band.The small rift sac can hold 46 of each rift collection item and crux, the medium can hold 422, and the large can hold 6102. Metal Heart would see Accept achieve the perfect fusion of the fast, furious, aggressive style they pioneered on Breaker and the more anthemic chant-along style they brought out on Balls To the Wall, yielding a true classic which seems less beholden to their influences like Judas Priest. If there is a distinctive, definitively 'Accept' sound, it is to be found here." ( Metal Music Archives) Mark Alaimo: This is Accept's attempt to breakout into the US market. So they brought in producer Dieter Dierks. It was the right move.

The rest of side one is slightly better but never gets out of second gear. The riffs are stale, the singing is a cross between 80s Rob Halford and Brian Johnson and the solos don’t catch the attention. The voice of Udo is another acquired taste, but I arrived to it after enjoying equally brilliant vocalists like Mille Petrozza, Rolf Kasparek and Chris Boltendahl. It was never going to stop me enjoying the music! There’s the songs, of course, but it was more than that," Saboton's Joakim Brodén told us. "The vocals were different,Wolf Hoffmann’s guitar was different. And you can see that these guys, along with Judas Priest, were shaping what heavy metal is today. They represent the essence of this music.” Offiziellecharts.de – Accept – Metal Heart" (in German). GfK Entertainment Charts. Retrieved 27 May 2023.I loved Accept from the first up until this release. Russian Roulette seemed to fade a bit, but I was surprised to find on fresh listening that I still love this. Got the vinyl when it came out and still sounds pretty darn good to me. Is it big dumb fun which will probably make King Crimson aficionados tut patronisingly? Well, yeah, sort of the point isn't it?

Popoff, Martin. "Accept - Balls to the Wall". Martin Popoff.com. Archived from the original on 6 May 2006 . Retrieved 30 January 2013.The production on Metal Heart is excellent. Much more polished that any of their first four albums. Many sing along hooks throughout the record and so much fun to listen to. The heaviest song on the record is Wrong Is Right, you just gotta crank it all the way up. I mean, Wolf Hoffman just goes off here. They even went a little jazzy with Teach Us To Survive. Love it! It's just all... less than, compared to what came before. While the songs aren't softer, they're somehow simpler - and not in a good stripped down way. Just not a lot of nuance. The title song sets the template with verses punctuated by title-shouted choruses, then solo, chorus again and out. Album closer Bound to Fail starts out promising but ends up feeling like a rewrite of their massive hit Balls To Wall with the gang "Oh-oh-ohs" meant for chanting in arenas.