Scorpions - Taken by Force
- FaceOff - עימות חזיתי
- 6 hours ago
- 3 min read
On December 4, 1977 “Scorpions” released their fifth studio album “Taken by Force”.
What erupted from the band that winter was far more than just another record. “Taken by Force” captured the moment when the raw, exploratory spirit of the early years collided with the sharper, harder, and more melodic identity that would soon define “Scorpions” on the world stage. It is an album forged through tension, shaped by evolution, and ignited by creativity.
By the time the group entered the studio, they had already traveled through several musical phases. The atmospheric mysticism of “Fly to the Rainbow”, the emotional focus of “In Trance”, and the sharper aggression of “Virgin Killer” had all hinted at a shift in direction. Inside the band, that transformation was accelerating. Klaus Meine and Rudolf Schenker were steering the group toward a heavier, more powerful hard-rock approach, while Uli Jon Roth leaned deeper into spiritual, expressive, and free-flowing guitar artistry.
This creative friction is the pulse of “Taken by Force”.
Producer Dieter Dierks pushed the band toward precision, conviction, and louder impact. His approach began shaping the sound that would later turn “Scorpions” into arena giants. Roth, on the other hand, poured color, atmosphere, and emotional fire into every solo. The clash between these two visions gave the album its heat, its energy, and its unmistakable identity.
The album opens with “Steamrock Fever”, a fast, sharp, electrifying statement that the band was ready for the world’s biggest stages. It is confident, direct, and built with arena instincts the band had yet to fully realize.
“We’ll Burn the Sky” elevates the record into soaring emotional territory. Meine’s voice reaches dramatic heights while Roth’s guitar adds depth and longing, turning the track into one of the album’s most moving moments. The lyrics were initially a poem by Monika Dannemann, the last Jimi Hendrix girlfriend as a tribute to him after he's death.
The urgency within the band’s dynamic comes through in “I’ve Got to Be Free”, a track that reflects personal struggle and artistic independence. It’s tense, restless, and driven by conviction.
Then comes the album’s crown jewel: “The Sails of Charon”. A dark, exotic riff. A haunting atmosphere. A guitar solo that inspired an entire generation of metal and neoclassical players. This is Uli Jon Roth at his absolute peak, and one of the defining guitar moments of the 1970s. The song was covered by "Testament" on their compilation album "Signs of Chaos" (1997) and Yngwie Malmsteen cover album "Inspiration" (1996).
“He’s a Woman, She’s a Man” delivers the opposite side of the band’s evolving identity — fast, heavy, aggressive, and filled with the attitude Rudolf Schenker would soon weaponize on upcoming releases like “Lovedrive”.
The album closes with “Born to Touch Your Feelings”, a heartfelt ballad shaped by atmosphere and emotion. It foreshadows the melodic instincts that would later bring “Scorpions” some of their greatest worldwide successes.
The album cover for “Taken by Force” was photographed by Michael von Gimbut, his third collaboration with “Scorpions”. Like the previous two album covers, it sparked controversy and was replaced in many countries with a safer alternative featuring band photos. The original artwork showed children playing with guns in a military cemetery in France, which some viewers found offensive.
Upon release, “Taken by Force” did not yet propel the band to global superstardom, but it signaled the end of one era and the beginning of another. It would become the final Scorpions studio album with Uli Jon Roth, whose departure made way for the classic lineup that would go on to dominate the 1980s.
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