U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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Following his 1987 exit from the German power metal band Accept, vocalist Udo Dirkschneider formed U.D.O. with guitarists Peter Szigeti and Mathias Dieth, bassist Frank Rittel, and drummer Tomas Franke. The group's debut album, Animal House, was in fact written by Dirkschneider's former bandmates in Accept, and by the time of the 1988 follow-up Mean Machine, Szigeti, Rittel, and Franke had all been dismissed, replaced by guitarist Andy Susemihl, bassist Thomas Smuszynski, and drummer Stefan Schwarzmann. Susemihl himself was out of U.D.O. for 1990's Faceless World, replaced by guitarist Wolla Böhm; the same roster recorded 1991's Time Bomb, although the band split in the wake of a subsequent tour, with Dirkschneider rejoining Accept from 1992 to 1996. He re-formed U.D.O. with Dieth, Schwarzmann, guitarist Stefan Kaufmann, and bassist Michael Voss to contribute a track to the Judas Priest tribute album Legends of Metal; only Schwarzmann and Kaufmann remained on board for 1997's full-length Solid, which featured new guitarist Jürgen Graf-Biardi and bassist Fitty Weinhold. No Limits followed a year later, and in 1999 U.D.O. resurfaced with Holy.

~ AMG

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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An almost-classic…

Udo Dirkschneider releases an Accept album under the name "U.D.O." (the entire album was written by the Accept crew for the man as they was heading off to "bigger and better" things with with new singer David Reese) and launched one of the more entertaining and consitent solo careers in the history of German metal. This CD is a sweet production job with all the knobs twisted in the right places and a band that matches the intensity of Accept in all but the lead guitar work. Udo sounds like Udo always has making the vocals classy and catchy. So why is this an "almost classic" despite having all the right elements?

It's the songs. This CD has very few classics in comparison to what the early Accept years had. Thankfully though, Udo saves the day by delivery a few classics in the old-school Accept style. The frantic "Animal House" rates up with anything else Udo has done, the scathing "Go Back to Hell" may be the greatest backup song ever and "Lay Down the Law" is a cruising rock and roll event. While not a rocker, "They Want War" is a somewhat tacky but also uplifting number that bears a rousing chorus that even features a children choir (!!!). It may sound a bit dated in these cynical times…but it's got one of the biggest choruses in rock and roll and deserves a listen.

Udo would write some better albums than this ("Holy" and "Faceless World" come to mind) but overall "Animal House" is a successful first step for a man that has become the genres "ironman". Udo has never sold out, never stopped and despite many heart attacks has refused to tame his sound. Good or bad - Udo is Udo and is hopelessly dedicated to metal.

Enjoy this with a six pack and a heart full of pride for the genre…oh yeah…skip the crappy filler and indulge in the classics to keep faith in the great concept that is Udo.

by Snxke

од 1987. Сокрушительный мировой тур одной из самых знаменитых хеви-металлических групп Accept закончился. Музыканты приступили к работе над новым студийным альбомом. Поклонники ждут и предвкушают. Ждут нового шедевра, но тут происходит неожиданное событие, которое раз и навсегда решит судьбу группы Accept и их вокалиста Удо Диркшнайдера, чья группа U.D.O. и по сей день продолжает выпускать высококлассные металлические альбомы. Что же случилось?

А случилось то, что коллеги Удо решили прислушаться к бизнесменам, твердившим, что с таким певцом им ничего не добиться в будущем. Более того, им захотелось играть коммерческую музыку, ориентированную на широкий американский рынок. Удо же хотел и дальше играть бескомпромиссный heavy metal, не подверженный никакому инородному влиянию. Так произошло расставание герра Диркшнайдера и его коллег по Accept. Расставание, надо сказать, мирное. Никаких эксцессов не происходило, просто каждый пошел своим путем. А к чему это привело, знают все металлисты.

У "акцептовцев" дела, мягко говоря, не заладились. Чего стоило только найти достойного вокалиста, способного хоть как-то заменить Удо. На их концерты приходило максимум по 500 человек. С Удо же они собирали десятки тысяч. Ощутимая разница? Естественно.

А вот сколотивший свою собственную банду Удо добился практически невозможного: он не только "переплюнул" своих старых коллег, но и подтвердил свою композиторскую состоятельность и талант, прочно окопавшись на самой вершине металлического музыкального Олимпа. Примечательно то, что все песни для "Animal House" были написаны Удо в соавторстве Accept еще до распада группы.

По сравнению с Accept звучание U.D.O. резко отклонилось в сторону тяжести и мощи, а не драйва, который, в общем-то, тоже никуда не делся. Но звук стал намного мощнее и объемнее. Темп, в основном, слегка замедлился, придавая общей картине какой-то статный и монолитный характер. Вошедшие на альбом песни хороши до безумия. Так хороши, что на концертах песни с "Animal House" звучат в обязательном порядке. Еще бы, ведь это один из лучших (если не самый лучший) альбомов U.D.O., долго удерживавший в том далеком прошлом лидерство в именитом металлическом журнале Metal Hammer. Лучшими песнями я считаю ''Animal House'', ''Go Back To Hell'', ''They Want War'', ''In The Darkness'' (бесподобная баллада!), ''Black Widow'' и ''Warrior''. Но выделять наиболее удачные вещи здесь не совсем верно, ибо это дело вкуса, а не качества. Тут уж, говоря просто, "кому как".

Вряд ли можно здесь выделить единую концепцию, но тематика антивоенного характера доминирует над всеми остальными. Есть еще нечто вроде "этот мир безумен" и, конечно, "слава металлу". В дальнейшем именно эти направления и будут определять тему лирики U.D.O.

Этот альбом классика уже по определению, ибо фурор он произвел неимоверный. Да и если судить объективно, то одиннадцать песен шикарного heavy metal в исполнении признанного классика и одного из отцов этого великого жанра, наполненных глубоким смыслом, заслуживают только наивысшего балла. Классика, какой она должна быть.

by Leatherhead

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"Mean Machine", despite being the second album in U.D.O. discography, can be in fact considered the very first Dirkschneider's solo recording. That's because the previous CD released by U.D.O., "Animal House", was entirely written by Udo's bandmates from Accept, as a kind of a nice goodbye gift when he decided to left them in 1986 to establish his own band. But it turned out that Udo was able to make a very decent album on his own.

"Mean Machine" is a logical continuation of what we experienced on "Animal House". This CD may be a little more speedy than its precedessor, but it still contains all things that were remarkable on AH: great melodies, catchy choruses and, above all, very characteristic vocals by Dirkschneider.

What we get here is quite traditional heavy metal, so don't expect untypical song structures, surprising tempo changes or other innovative solutions. Most songs are built in a standard way and the only really astonishing thing here is the last track: "Still in Love with You", which is not, as the title might suggest, a tearjerking ballad, but a truly strange, short instrumental piece, consisting of a very chaotic drum- and guitarwork and some inarticulate shouts. But it is surely included as a kind of a joke or curiosity.

As for the "normal" songs, there are ten tunes, all with no exception on a very decent level, so melodic and catchy that each of them could have been chosen for a single. Video was made for "Break the Rules", but "Don't Look Back" or the title track are surely not worse. They are fast, energetic songs in a vein of Accept's "Fast as a Shark", "Aiming High" or U.D.O.'s "Go Back to Hell". We also get a ballad, "Sweet Little Child", which manages not to be totally cheesy in spite of not the best lyrics.

All instrumentalists, while not being particularly outstanding, do a good job. Mathias Dieth's solos are rather nothing exceptional, but they fit the songs quite well. Dieth may be not as good as Wolf Hoffmann from Accept but he knows how to play the guitar and is probably the best guitarist U.D.O. ever had.

Udo himself is such a type of a vocalist that if you like him on one of his records, you'll like him on all the others as he always sings in the same, harsh, screeching way. But in choruses he is often supported by his bandmates, whose clean voices create a nice contrast with him in songs like "Painted Love" or already mentioned "Don't Look Back".

Overall, "Mean Machine" clearly isn't a classic masterpiece or a breakthrough in heavy metal. Nevertheless, it's a really decent, well-written and enjoyable record. If you like other Accept or U.D.O. albums or if you just like traditional, melodic heavy metal in general, you shouldn't be disappointed with this one.

by Lewton

Год 1989. Группа Accept, по собственной глупости лишившись своего лица - Удо Диркшнайдера, теряет позиции. Найти достойного вокалиста было, как минимум, проблематично, да и сами музыканты понимали, что сойти за Диркшнайдера мог мало кто, если вообще мог. Ситуация осложнилась еще и тем, что Удо успел двумя годами ранее записать отвергнутый акцептовцами материал - альбом "Animal House". Этого творения было для собравшего собственную группу металлиста достаточно, чтобы переманить на свою сторону (не путать с Темной Стороной Силы) почти всех поклонников некогда сильнейших немецких Accept. Можно было тогда уйти в отставку и радоваться жизни, не заморачиваясь больше над музыкой. Но святой человек, этот Удо!

Он и сейчас следует единожды выбранному пути, ловко используя свои способности для создания классной музыки. Конечно, пришлось тогда немного попотеть, чтобы собрать достойную команду, которая бы отвечала своими способностями запросам железного немца. Главным напарником Удо стал тогда гитарист-виртуоз Матиас Дит, который своей жесткой, быстрой и тяжелой игрой не просто подходил - он подходил для дела идеально. Жесткие риффы и порой сумасшедшие по скорости и мелодизму соло - его конек. Еще одним важным человеком стал ударник Стефан Шварцманн, ныне играющий в возродившемся с Марком Торнильно Accept. У этого человека стальные мускулы и титановые кости. Так вот, солидно вооружившись и хорошенько подготовившись, музыканты записали тогда новый альбом "Mean Machine".

Шикарный хэви-метал с ловко и весьма уместно вплетенными в него чертами панка и рока - первый альбом, написанный и записанный именно Удо и уже его новыми коллегами, в отличие от вышеупомянутого "Зверинца". Понятно, что возникает логичный вопрос - смог ли Удо удержать планку высочайшего качества? Ответ - однозначно, да! В этой музыке заключен весь дух старых добрых восьмидесятых годов: красота мелодий, напор и драйв гитар и нахальный, бескомпромиссный голос солиста - что еще надо, а!? Одной "Break The Rules" хватит, чтобы адреналин закипел в жилах, а все земные проблемы улетели прочь из головы! Кроме разнообразных супербоевиков есть баллада "Sweet Little Child", где Матиас Дит играет на пианино - красива донельзя! Все это подкреплено, разумеется, идеальным качеством записи. Ну а тексты песен - сплошная свобода с вкраплениями сенти… металльного настроения.

Альбом смотрится, как дерзкий вызов грядущей эпохе девяностых годов, когда большинство металлюг понесет черт знает куда в поисках новизны. Это породит много новых стилей, что станет выгодно для молодых групп того периода, а вот уже признанным авторитетам будет как-то не очень хорошо под давлением растущей молодежи. Но классикам это не грозит даже сейчас, ведь Удо с его музыкой - вечен!

by Leatherhead

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While UDO may never contain an album that gives some of Accept's classics a run for their money, Udu's side project has almost always proven to be a gold mine of great traditional metal that's just all around fun and extremely easy to get into. Faceless World comes off as one of UDO's slowest albums especially when compared to their next release, Timebomb. While speedier stuff has always been more my cup of tea, there was just something special about this album. It pulled me in quicker than any other UDO release, the consistency and catchiness is completely through the roof here.

Throughout this album there is some minor use of synths along with the rhythm's / riffs and so forth, it works extremely well and usually manages to add some atmosphere to the music. The production itself is practically flawless and everything is crystal clear, the drums are hardly drowned out and aren't wimpy at all while the guitars tend to stick to a razor sharp style. This tends to make a lot of the solo's here stand out quite a bit and its worth mentioning every single solo on this album is absolutely incredible and compared to say, Judas Priest at the time, this just blows them away. Beyond all this there's the bass that is pretty heavy throughout but seems to lack a little character, it isn't nearly as memorable as the rest of the instruments here. Then of course there's that odd and lovable (or should I say gurgley?) Udo Dirkschneider on vocals. Its hard to say anything about this guy because you're either going to really love him or hate him, but for those who give things a fair chance he could become someone that really grows on you. Its undeniable that his performance is at %110 as always and he really gives this album a lot of its flavor.

Among a lot of the great things about this album, there seems to be two big things that really stand out here: The solo's and the choruses. When the solo's come flying in they usually go for some harmonizing and after that it sometimes turns into a pure shredfest. Some of these solo's here almost sound out of place because of how insanely awesome some of them are. Then there's the choruses that'll stick to your mind after hearing the majority of these songs for the very first time. Is it Udu's majestic attitude? The generic yet ever so catchy lyrics? The uplifting pace of the songs? Who knows, but the fact of the matter is even if you hate catchy sing-along choruses such as these, you just may find yourself singing along with tons of these tracks.

As I stated earlier this album tends to be slower than most of UDO's releases, its mostly made up of mid-paced tracks with a huge melodic focus. The majority of these tracks tend to stand out pretty well and are extremely memorable, while I found only Living on a Frontline and Trip to Nowhere to be the only real lackluster tracks here. UDO nails it with the mid-paced structure and at times I hear a ton of ideas and patterns that would later be repeated in bands such as Gamma Ray, Iron Savior, etc. Fans of traditional metal especially from the German side absolutely cannot miss out on this one and if you're an Accept fan I'd imagine you'd get an enjoyable experience out of this. Highly recommended, Timebomb would take things to a much faster level (the track on here Can't Get Enough is a good example) and is definitely worth hearing after this one as well.

by Xeogred

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I am in a unique position among most U.D.O. fans. As a fan of the earlier Accept output, I was much more interested in tracking down the U.D.O. albums that bore the strongest resemblance to the sound showcased by Accept throughout their storied - if all-too-brief - Heavy Metal career. As such, I tracked down 'Animal House' first,as it was actually written by Accept, then 'Mission No. X' and other such albums that have that classic, catchy, groove-laden Accept songwriting approach at the forefront.

Then, somewhere in the last year, I finally picked up the one album that every U.D.O. fan had been recommending that I purchase - Timebomb. I knew that no matter what, U.D.O.'s vocals and musical sensibilities would be present, so the album couldn't possibly be a dud. In retrospect, the fact that I even momentarily entertained the possibility of Timebomb - one of Heavy Metal's best-kept secret classics - being a dud is more than slightly comical.

Timebomb is an opus.

From beginning to end, it is a relentless assault of Speed Metal-infused Classic-style HEAVY Metal, and not one song isn't worth multiple spins. Even the intros and the brief guitar solo that leads into 'Burning Heat' at the halfway point warrant repeated listenings. ANYONE who can respect the sound of Judas Priest's 'Painkiller' can latch onto U.D.O.'s sound on Timebomb immediately. Given that this record was released a year after the J.P. album in question, and given that Udo Dirkschneider was not shy about publicly declaring his love for the album in the early 90's, it should come as no surprise that the album flows in much the same manner, and some of the songs bear a more than passing resemblance to much of the material on 'Painkiller'.

But the link between the two albums is more of a spiritual one, rather than an overt ripping off of Priest. Timebomb has strengths that Painkiller didn't have. No ballads, for one. Although 'Touch of Evil' is far from a stagnant track, U.D.O. doesn't slow down their murderous Metal rampage for nearly long enough to even consider a ballad like the song in question. I imagine that after the slow, catchy, poppy approach of 'Faceless World', Udo and company had their fill of this type of saccharine buffoonery, and arrived ultimately at a far more brutal style.

The production quality - particularly on the remastered, digipak version - is top notch. I could have done with perhaps a bit more low end, but the vocals cut through it all like a knife, and the overall production never seems too treble-drenched for its own good. Producer and drummer Stefan Kaufmann really outdid himself on this one, and whomever was turning the knobs did an absolute bang-up job.

Standout tracks? This album has several. But choosing one is like choosing a favorite child. It's that good.

by ExMachina

Перед нами четвертый по счету полноформатный альбом Патриарха хэви-метала, вышедший в 1991 году и ставший символом временного конца группы, за которым последует возрождение Accept. Самый экстремальный и смелый альбом Удо Диркшнайдера, производящий очень неожиданное впечатление. При первом прослушивании вообще не понимаешь, что это - так сильно музыканты закрутили вихрь костяка своего стиля. В совокупности с идеальным качеством записи здесь присутствует атмосфера, производящая впечатление полного уничтожения окружающей действительности через повышение температуры воздуха до небывалых высот.

"Timebomb" - некий портал в мир температур настолько высоких, что в таких условиях плавится даже тяжелый металл, а само прослушивание напоминает путешествие по лавовому потоку, несущемуся черт знает куда, то ускоряя, то замедляя темп движения - в зависимости от внешних и внутренних условий окружающей среды. Слушатель, попав в этот поток, теряет контроль над своим рассудком и телом, уходя в состояние полного безумства. Вокруг рушатся скалы, обломки которых с грохотом падают в поток кипящей металлической жидкости - и это лишь начало путешествия! Путешествия, эффект которого создают ударные Стефана Шварцманна, разрушающего Земную Твердь, режущего схлестнувшимися в стальной трос струнами гитариста-виртуоза Матиаса Дита (все гитарные партии были исполнены исключительно им, а для концертов пришлось звать на помощь еще одного гитариста Энди Сюземила), басиста Томаса Смузцински (костяк каменистой почвы Планеты Бурь) и сами знаете, Кого.

Несясь по реке лавы, можно услышать вездесущий нечеловеческий голос - сухой хрипло-рокочущий рык. Откуда он - неизвестно, но слышен он на мили и мили вокруг, даже в те моменты, когда падаешь в лавопад, и тебя засыпает Герр Шварцманн камнями. Но строго по графику откуда-то издали доносится небольшой хор. Чем дальше несет поток, тем понятней становится, что все это раздается там, куда мчится расплавившийся от страха металл. То есть, встреча с производящими этот нечеловеческий горловой звук существами неизбежна. И вот, когда десятый трек заканчивается, ждать можно чего угодно, но концовка путешествия оказывается очень умиротворенной, приятной и даже грустной, ведь захочется все повторить заново, нажав "play". "Metal Maniac Master Mind" - замедление потока лавы, переходящее в полное его торможение. Через какое-то время начинает рассеиваться металлический пар (как все накалилось!), а потом медленно открывает глаза тот самый череп с обложки.

Именно здесь, пожалуй, были заложены основы кибернетически-футуристических мотивов оформления обложек группы, ведь обложки двух последовавших альбомов будут выполнены в аналогичном ключе. А "Бомба замедленного действия" смотрит на нас раскаленным докрасна черепом, в глазницах которого отражается несущийся к нему поток. Этот череп - пожиратель металла, основа основ, а когда все лавовые реки мира стекутся к его пасти, сдетонируют припрятанные сзади боеголовки, но еще не время. Альбом заканчивается полубалладой с очень интересной ритмикой и величественными риффами, украшенными акустическими вставками в соло. Завершение действительно достойное, особенно для такого экстремального путешествия…

by Leatherhead

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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There are many reasons that Germany’s Accept is a hallowed and legendary band in the pantheon of Heavy Metal. A monolithic beast that influenced, and continues to influence, everything from European Power Metal acts like Hammerfall and Blind Guardian, to Thrash bands like Kreator and Destruction, and even Metalcore acts like Trivium and Machine Head. A large and significant part of the legend of Accept is original, powerhouse vocalist, Udo Dirkschneider. His vocals combined the histrionic highs and growling lows of Rob Halford, with the rough and ready approach of AC/DC’s Brian Johnson.

It was strange then that, when Udo and Accept parted way for the first time in 1987, Udo’s first few solo albums (Under the moniker U.D.O.) did not really live up to his legacy. That’s not to say that they weren’t solid releases in Heavy Metal. I’d have a hard time finding anyone who has any big issues with rock-hard albums like “Animal House“, “Mean Machine“, and “Timebomb“. In fact, the latter is easily the equal of Accept’s ’93 reunion album “Objection Overruled”. Both albums are easily two of the best traditional Metal records of the early 90s. But nothing that U.D.O. had released up to that point could come close to matching the lofty heights reached by classic Accept albums like “Breaker”, “Restless and Wild“ and commercial and critical magnum opus “Balls to the Wall”. Accept would dissolved again in 1997, and Udo returned to his solo act with a seemingly renewed fire. U.D.O. would release 3 albums between 1997 and 1999, each one better than the last. The culmination of this creative win streak would be the 1999 album “Holy“, the subject of this review.

The album gets things kickin’ immediately with the instantly memorable title track. Lyrically, it’s somewhat clichéd, but still very powerful, painting Metal as a religion, and Udo as a high priest. The riff is an immaculate, mid-paced monster, which makes it impossible for you to not bang your head. It’s far from a complicated song musically, but it doesn’t need to be, U.D.O. having that innate ability to turn simple songs into crushing tank columns of Heavy Metal thunder.

Track 2, “Raiders of Beyond” is nothing to write home about, but still keeps the flow going from the amazing first song. There are a couple of songs on the album that work similarly: Not standing out, but not breaking the flow either.

Track 3, “Shout it out” is the album’s second anthem. Ironically, this one is more of a correlation to the album’s title than the title track itself, with a powerful, choir-like, stadium-ready backing vocal in the chorus, and a riff that overlaps with it giving it even more power. The song sounds like a thousand Metal fans bowing at the altar pictured on the album’s cover, on which the phrase “Metal is our Religion” is engraved.

“Recall the Sin” is a game changer in the album, bringing a bit more melody into the game, and just a touch more speed. Udo’s vocals really stand-out on this track, the melody allowing him to get away from his usual gruff-and-tough style, and be a little more emotive. The following track, “Thunder in the Tower” is somewhat repetitive, and merely another one of those “keeps the flow going” tracks. If you came here looking for speed metal, following track “Back off” certainly has you covered, the track being pulsing, driving, and ALMOST thrashy. The rhythm work from drummer Lorenzo Milani is nothing short of excellent.

“Friends will be friends” picks up nicely from where “Back off” picks up. It’s a little more melodic and cheerful, but still fast and grooving. Definitely a good times metal drinking song. Following track “State Run Operation” is one of the weaker tracks on the album for the same reason that “Friends will be Friends” actually works relatively well. It just takes it a little too far.

“Danger” brings the speed back down a little and makes things a little heavier again. The central riff using a grooving, flowing construct that will delight air-guitarists everywhere, and a chorus line that’s catchier than malaria. “Ride the Storm” amps up the formula making one of those classic tunes you should never listen to while driving. A little lacking in the chorus, but the verse will undoubtedly make you put your foot down. Unfortunately, the last track, “Cut Me Out”, is just… odd… and that’s really all that can be said about it. It’s really up to you whether like this one or not… but the piano intro does it no favours.

All in all, the album was one 0f the best traditional Metal albums since Accept’s ’85 offering, “Metal Heart“. It set U.D.O. up to conquer an audience and continue to create excellent material within their niche. And continue they did; even if it was not as successful as “Holy” and its two predecessors were (save perhaps for 2005′s “Mission No. X”). Ultimately, this is a fantastic German Metal album, and easily THE a stand-out album in U.D.O.’s catalog. Pick it up, order it, download it, and spread the word about this fantastic release.

by VoiceofHell

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U.D.O. - 8 Albums Anniversary Edition (1987-2002) [2013, AFM Records] Re-up

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