ACCEPT: I’m A Rebel 1980 / Objection Overruled 1993 CD (2 albums in one disc) official compilation. “I’m a Rebel” is an unreleased AC/DC song
Accept: I’m A Rebel / Objection Overruled
Label: CD-Maximum – CDM 598-95
Format: CD, Album, Compilation
Genre: Heavy Metal
I’m A Rebel (1980)
1 I’m A Rebel
2 Save Us
3 No Time To Lose
4 Thunder & Lightning
5 China Lady
6 I Wanna Be No Hero
7 The King
8 Do It
Objection Overruled (1993)
9 Objection Overruled
10 I Don’t Wanna Be Like You
11 Protectors Of Terror
12 Slaves To Metal
13 All Or Nothing
15 Amamos La Vida
16 Sick, Dirty And Mean
18 Just By My Own
19 This Ones For You
Rare release made exclusively for Russia.
FORMAT: FACTORY PRESSED CD
CONDITION: LIKE NEW
ORIGINAL RELEASE DATE: 1980 & 1993
2 ALBUMS on 1 CD
I’m a Rebel is the second album by the German heavy metal band Accept, recorded in 1979 and released in 1980. It was the first of three consecutive Accept records to utilize Dirk Steffens as producer. The album finds Accept continuing to search for their musical direction, experimenting with a more commercial sound than on the début. Bassist Peter Baltes once again sings lead vocals on two tracks, the slower-paced songs “No Time to Lose” and “The King”.
The title track is credited to George Alexander, which is a pseudonym for Alex Young, elder brother of record producer and musician George Young and AC/DC guitarists Angus Young and Malcolm Young. Guitarist Wolf Hoffmann recalled the circumstances that led Alex Young to work with Accept: “He got involved with Accept through the producer. Everybody after the first record said we have to have a radio hit. ‘Guys you need a radio hit and we have just the song for you. Why don’t you try this here?'” The song became the basis for the bands first music video.
Lead singer Udo Dirkschneider believes that the album “wasn’t too inspired. I think because of some unsuccessful experiments, the band wasn’t too solid and the identity wasn’t discovered yet.” He also blamed “too many people involved trying to manipulate the band, just like on the first album.” Accept would become determined to resolve these deficiencies on their next album, Breaker.
I’m a Rebel gained international distribution in the United Kingdom and United States on the Logo and Passport labels, respectively. These international versions both depict a sword hilt on the cover, a more identifiably “heavy metal” image than the original German cover. The Passport version simply titles the record Accept, as the bands 1979 self-titled début had not been released in America.
“I’m a Rebel” (George Alexander) – 3:57
“Save Us” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann) – 4:33
“No Time to Lose” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann, Steffens) – 4:35
“Thunder and Lightning” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann) – 4:01
“China Lady” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann, Steffens) – 3:56
“I Wanna Be No Hero” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann, Steffens) – 4:00
“The King” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann, Steffens) – 4:10
“Do It” (Dirkschneider, Baltes, Hoffmann, Fischer, Kaufmann) – 4:11
Udo Dirkschneider – vocals
Wolf Hoffmann – guitars
Jörg Fischer – guitars
Peter Baltes – bass guitar, lead vocals on “No Time to Lose”, “The King” and the bridge part on “Save Us”
Stefan Kaufmann – drums
Dirk Steffens – producer for Delta-Studio Productions, arrangements with Accept
Christoph Bonno – engineer, mixing
Manfred Schunke – engineer on “I Wanna Be No Hero”
René Tinner – mixing on “I’m a Rebel”
All titles published by Oktave, Hamburg.
Cover Design by Fessel/Hoffmann
Objection Overruled is the ninth studio album by the German heavy metal band Accept, released in 1993. It is the first to feature Udo Dirkschneider on lead vocals since 1986s Russian Roulette. It was recorded at Dierks-Studios in Stommeln after pre-production at Roxx Studios.
In contrast to some of the other Accept albums, Wolf Hoffmann recalls Objection Overruled as an easy one to record: “That was great! I mean, making up and having reunions are always great in a way because you feel that sort of spirit or fresh wind again. It was great! We had a ball back then,” adding, “we just really pretty much made records like we always did and felt like we should use the old formulas with no more sort of experiments and just pretty much do what Accept is known for; and thats what we did.”
Udo concurs, calling Objection Overruled “that classic Accept sound again” as well as “a very good Accept album”. It was only after the albums release that rifts would begin to re-emerge within the band.
The uncredited cover photo was taken by Wolf Hoffmann.
All lyrics and music written by Accept and Deaffy
“Objection Overruled” 3:38
“I Don’t Wanna Be Like You” 4:19
“Protectors of Terror” 4:03
“Slaves to Metal” 4:37
“All or Nothing” 4:32
“Amamos la Vida” 4:39
“Sick, Dirty and Mean” 4:33
“Just by My Own” 3:29
“This Ones for You” 4:10
Udo Dirkschneider – vocals
Wolf Hoffmann – guitars, cover photo
Peter Baltes – bass guitar
Stefan Kaufmann – drums
Pre-production at Roxx Studios
Produced, recorded and mixed by Accept at Dierks Studios Gmbh, Stommeln
Uli Baronowsky – engineer
Steffan Bôhle Kunstfrei, Hamburg – cover design
Publisher: Breeze Music Gmbh
Year Chart Position
1993 German Albums Chart 17
Swedish Albums Chart 21
Swiss Albums Charts 22
Oricon Japanese Albums Charts 22
The three reunion-era albums with Dirkschneider behind the mic were always a bit of a tough sell, but I must admit now that this one is, upon further re-examination, pretty great. It’s solid as a tank, self-aware, and kinda hard to warm up to at times. Still, shiny and steely Germanic metal, a huge middle finger to 1993, no “Stand 4 What U R”s in sight, if U catch mEYE drift. Hard to deny a song like “Slaves to Metal,” even if I will completely forget it exists the second it stops its mid-tempo grind und stomp, and “All or Nothing” has some bright melodies amongst all the sour dour grumbling that makes up this album. “Sick, Dirty and Mean” and “Donation” make a great late-album pair of shining stars here, reminding me as things wind to a close that this album isn’t quite as impenetrable as I always think it is.