U.D.O. Albums (15)
'Good Things Coming'
Release Date 3/25/2008
Tracks 13
Label Ariola Germany
See Album Tracklist and Review
What The Critics Say
Many, many things have changed in the world since Udo Dirkschneider first belted out Accept's theme song, "Balls to the Wall," back in 1983. Communism was abolished all over Eastern Europe, apartheid ended in South Africa, Rudy Giuliani enabled Times Square to become a lot like Disneyland, and the Internet created a whole new generation of technology-minded entrepreneurs. Then there are all the musical changes that took place -- thanks to the Nirvana/Pearl Jam/grunge upheaval that occurred in the early '90s, alternative rock became rock's primary direction. But some things haven't changed much since 1983, and Dirkschneider is a prime example. Mastercutor is a 2007 release that parties like it's still 1983; Dirkschneider remains firmly, stubbornly committed to old-school power metal, and this 50-minute CD is totally oblivious to post-'80s developments in metal. But if Mastercutor sounds dated, that doesn't make it any less inspired. While few surprises occur, Dirkschneider has no shortage of passion on melodic but hard-driving tracks like "Vendetta," "The Instigator," "Walker of the Dark," and "Crash Bang Crash" -- all of which sound like they could have appeared on an Accept album back in the day. Some veteran headbangers have changed with the times; Tommy Lee, for example, embraced alternative metal and rap-metal after leaving Mötley Crüe and launching his Methods of Mayhem project in the late '90s. But on Mastercutor, Dirkschneider refuses to leave the '80s behind -- and given how solid this album is, that is probably just as well. Dirkschneider sticks with the type of metal he does best, and the result is an enjoyable disc that falls short of essential but will please the German headbanger's die-hard fans. ~ Alex Henderson, All Music Guide
What The Critics Say
Those who only know Udo Dirkschneider from his German metal band Accept, which (via "Balls to the Wall") enjoyed a shimmer of success during the '80s metal heyday in the U.S., won't find any surprises with his newer project, U.D.O. The latter group's genesis actually goes back to the late '80s, after the split of Accept (who would reunite in the mid-'90s). Many '80s metallers had a tendency to dismiss their lumpen roots in later years; Rob Halford explored Trent Reznor-like industrial music in the wake of Judas Priest, while Tommy Lee went all indie rock and emo on 2005's Tommyland. Dirkschneider is woefully unbound by the tides of taste, however: the gargled, glassy shriek and power chords you hear on Mission No. X ("mission number ten") are precisely the same flourishes he employed when "Balls to the Wall" was on the lips of fashion-challenged headbangers everywhere. Tracks such as "24-7" and "Mean Streets" seem suspended in hard dollops of '80s amber, right down to guitar tone and production value. The former track also displays one of Dirkshneider's lyrical tendencies: using his English skills to glory in opaque, youthful clichés: "You're going to live it, 24-7...24 hours, seven days a week!/You're going to give it, 24-7...24 hours, seven days a week!" (The other tendency would be inscrutability: witness the confounding call to "Put your balls to the wall!"). This album is clearly and unabashedly for that shrinking clutch of metalheads still trying to feed their jones for '80s power metal. ~ Erik Hage, All Music Guide
What The Critics Say
Upon the final demise of German metal legends Accept in 1998, the man who was its voice, the unmistakably shrill Udo Dirkschneider, pretty much stepped into the breach with his self-named band U.D.O. and sought to carry on with a sound and style that, like a saber-toothed cat of some sort, remains frozen in time. Not that what worked in 1984 will necessarily work in 2004 -- but most U.D.O. fans also happen to be semi-frosted relics (sorry!) from the same time period, Thunderball's carefully orchestrated nostalgia pieces may prove to be just what the doctor ordered. Truly, later day Accept rarely sounded as authentically '80s as Thunderball's title cut and subsequent offerings "Fistful of Anger," "Hell Bites Back" and "Tough Luck II" -- all of them packed with precisely jagged guitar riffs, thundering gang-choruses, and of course Dirkschneider's vocal power-drill slicing everything to tatters. The co-songwriting presence on all of these tracks of original Accept drummer, now guitarist Stefan Kaufmann (the man responsible for many of their greatest hits of yore) is of course crucial to their remarkable time-erasing accomplishments, and its fair to assume that the absolutely incredible "Pull the Trigger" is guaranteed to have everyone's Balls to the Wall. Now, for those who have had enough of the Accept comparisons, let it be known that not every track here sounds like a carbon copy of another band's gimmick. Slower selections such as "The Land of the Midnight Sun" and "The Magic Mirror" aren't nearly as obvious; the string-laden power ballad "Blind Eyes" rips off Demon's "Into the Nightmare" instead; and the hilariously absurd polka-metal of "Trainride in Russia" is certainly unique -- ridiculous, but unique. All in all, and easy comparisons notwithstanding, Thunderball's not a bad Accept -- I mean U.D.O. -- album at all. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
U.D.O. is the first name of the lead singer of this outfit. Udo Dirkschneider is best known for his work with the metal band Accept and presents here a solo album featuring a band composed of himself, Igor Gianola, Stefan Kaufman, Fitty Weinhold, and Lorenzo Milani. The album certainly rocks out with the best of them and showcases Dirkschneider's unique vocal style. That vocal style is part of the problem with the album, though, as it really can take some getting used to. The other shortcoming here is that the band seems not to do such a good job on mellower material. They should stick to the harder-edged songs. Interestingly enough, when the group chooses to rock out, which is most of the time, the style is often far more in the vein of '80s Judas Priest than Accept. On that mellower side, there is one true ballad, a duet between Dirkschneider and Doro Pesch (of Warlock). That cut, "Dancing With an Angel," has its moments, but definitely gets a bit overblown. ~ Gary Hill, All Music Guide
What The Critics Say
To the delight of '80s-era headbangers, it's good to know that the vocals of former Accept frontman Udo Dirkschneider sound as "sandpapery" as ever (nearly 20 years later), as evidenced by his 2001 solo release Live from Russia. Although not as well known to the metal masses as Rob Halford and Ronnie James Dio, Dirkschneider's vocals are certainly as instantly identifiable, and Accept recordings must have sold well on the black market in the Soviet Union, as evidenced by this double-disc set. While the set does indeed include several "Accept-era tracks," except for "Midnight Mover" most of the Accept classics you'd expect ("Fast as a Shark," "Balls to the Wall," etc.) are nowhere to be found. But taking their place are headbanging tracks that will certainly please leather-jacketed Accept/U.D.O. fanatics: "Animal House," "Raiders of Beyond," and "Break the Rules." While it may not be as strong as an Accept live recording from their artistic/commercial peak (such as the German group's 1985 live EP Kaizoku-Ban), if you're an admirer of tough '80s metal, Live from Russia should certainly warm your ear holes. ~ Greg Prato, All Music Guide
What The Critics Say
Fans of Accept should enjoy the first solo album from lead singer Udo Dirkschneider, which employs all the crushing power of that band's Teutonic metal sound without the latent pop influences. Udo's unmistakable howl leads the charge on Animal House, while his backing band do an uncanny job of copying Accept's immaculate metal crunch. Of course, the fact that all the songs were written by Accept and producer Deaffy may have something to do with the familiarity of the sound. ~ Andy Hinds, All Music Guide
