On September 19, 1985 "Accept" recorded their first live EP "Kaizoku-Ban", released later that year.
Though it's an official live EP, the title "Kaizoku-Ban" translated from Japanese is "Pirate Edition" or "Bootleg".
This album captures the raw power of "Accept" at the height of their career. A compact live album, recorded in Nagoya, during their "Metal Heart" tour in Japan. It presents six tracks that showcase the band’s fierce energy and powerful stage presence during the mid-'80s. Though brief, with a runtime of under 30 minutes, this release offers a tantalizing glimpse into the German heavy metal band’s commanding live performances.
The EP opens with "Metal Heart," a cornerstone of "Accept’s" catalog and the title track of their 1985 album. This song is a perfect opener. The band immediately sets a high-octane tone. Udo Dirkschneider's raspy, unmistakable vocals pierce through the crowd noise, with Wolf Hoffmann’s neo-classical guitar solo inspired by Beethoven’s Für Elise and a guitar work that delivers sharp, melodic riffs with precision. The mix captures the immediacy of a live show, with Peter Baltes’ bass thundering alongside Stefan Kaufmann's pounding drums. The live version retains all the studio track’s drama and intensity, but with an added edge that only a live setting can provide.
"Screaming for a Love-Bite" follows, offering a catchy melody and infectious hooks. The band’s performance here is tight, as the interplay between Hoffmann’s guitar and Peter Baltes’ bass keeps the song driving forward. The chorus, a classic Accept sing-along, sounds even bigger in the live environment, giving the crowd something to latch onto.
"Up to the Limit" takes things into more aggressive territory, showcasing the band’s speed and precision. This track, with its galloping rhythm and scorching guitar work, thrives in the live setting. Stefan Kaufmann’s drumming provides a relentless pace that pushes the song along, while Hoffmann delivers another scorching solo.
The EP also features two cuts from their 1983 album "Balls to the Wall", starting with "Head Over Heels." A fan favorite, this track comes to life with Dirkschneider’s gritty vocal delivery and Hoffmann’s signature riffing. The live version captures the song’s raw energy, with the band feeding off the crowd’s excitement.
"Love Child," also from "Balls to the Wall", is another highlight, driven by its mid-tempo groove and powerful vocals. The band’s chemistry is on full display here, as they navigate the song’s dynamic shifts with ease, giving it extra punch in this live rendition.
The EP closes with "Living for Tonite," a rhythmic anthem that showcases the band’s energetic, no-frills approach to live performance. The song’s upbeat tempo and catchy chorus make it a fitting closer, leaving the audience on a high note. This track is a testament to "Accept’s" ability to write simple, effective metal songs that translate perfectly to the stage.
For those of you who bought the cassette of this album in real time (yes we are old...), you might remember that it featured all six songs on both sides, Because of the duration of the six songs.
"Kaizoku-Ban" is not meant to be a definitive live album, but it serves as a concise and powerful showcase of "Accept’s" live prowess during a peak period in their career. While it doesn’t feature their full catalog, it remains a strong snapshot of "Accept" at their aggressive best, capturing the spirit of the "Metal Heart" era.
For Listening: Youtube
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