This was considered to be Accept's breakout album in Europe, and there are some strong points, but overall the band still seems to be searching for an identity at this point. There are a number of different styles evident, and fans of this German band's best -known album, 'Balls to the Wall,' will likely be somewhat disappointed in this offering. There's a very clear Judas Priest influence, especially on the first half, and a touch of Scorpions, but early Def Leppard is probably the closest comparison, at least musically. Vocalist Udo Dirkschneider wails in the higher ranges more consistently than on later releases, sounding a bit like a higher-pitched Bon Scott. Marc Storace of Krokus is another good comparison, but again, not nearly as high as Udo on most of this album.
The first three tracks are all catchy, uptempo NWOBHM-style metal, and the first changeup is "Can't Stand the Night," a Scorpions-style power ballad that builds nicely to some excellent twin-guitar work near the end. "Son of a Bitch" has buckets of attitude with a chanted chorus and solid leads. It's closest to the sound of 'Balls to the Wall,' and holds the distinction of being perhaps the most profanity-laced song of the '80s.
Then things get strange... "Burning" and "Down and Out" both have a definite '70s-vintage AC/DC feel, while "Feelings" sounds like a cross between Dio's "Holy Diver" and more blues-tinged AC/DC. "Midnight Highway" is awful, and not just because it's poppy; some of the chorus vocals border on painful. "Breaking Up Again" is an acoustic ballad sung by bassist Peter Baltes that sounds like it was accidentally put on the wrong album.
Taken as a whole there are some nice moments, but things will definitely get better on later releases.

TRACK LIST:
1. Starlight
2. Breaker
3. Run If You Can
4. Can't Stand the Night
5. Son of a Bitch
6. Burning
7. Feelings
8. Midnight Highway
9. Breaking Up Again
10.Down and Out

Review by Dave Sobecki