What? I sense the puzzled look on your face. Let me explain. Bit of musical bait & switch (or maybe just something lost in translation), but was asked to participate in a listening session for the new U.D.O. (periods between the letters). Seemed odd, with Game Over just a few months old, but that was for a different label. The legendary singer's new home, Atomic Fire, issued a press release, touting the signing of U.D.O. (the band), along with the invite to hear some music. Since the label is the creation of many longtime industry friends/key ex-players at Nuclear Blast, including founder/head honcho Markus Staiger, decided to give the fledgling organization the benefit of the doubt and go along for the ride. Aside from Dirkschneider, several Nukie bands have migrated to the new platform (still based in Deutschland). For several decades, overseas and here in North America, have witnessed the camouflaged, ex-Accept vocalist under many guises, including his surname outfit, as well as the band with the apparent abbreviation/acronym. Now add his full name, Udo Dirkschneider, as a third musical entity, albeit as a solo artist. For that was what this international, weekend hook-up was all about. 

Even before the pandemic, the idea of jetting global journalists to a listening session (typically in some Germanic host town/label home office) was so pre-Y2K. Now, in the throes of the pandemic, who wants to make a reservation for an increasingly unreliable airplane, to attend a gathering of various (possible) variant carriers? No matter the magnitude of band/music in question, still too many variables! Not to mention the moral/legal ramifications for labels (should it become a super-spreader event), who have seen much of their income dry up (thus no cash forked out for transportation, lodging, refreshments/entertainment, etc.) So, in the middle of January, like countless other industries over the last 2+ years, BraveWords was part of a glorified Zoom meet & greet with the man, to hear his forthcoming cover tunes album, My Way. Honestly, on paper, the premise of another Covid Karaoke platter was about as appealing as a new mandated lockdown. Totaling 17 choices, from the Seventies, or earlier, most are well known, if not outright hits for their originators: plenty of contemporary acts (although many no longer around) and most inhabit the rock (if not metal) vein. That said, there ARE a few surprises, although fans are well aware that the last track on many U.D.O. discs offers something, ahem, different. 

Unlike most listening sessions, here the artist had to sit (in silence), where everyone could stare at him (alone, with headphones on). Must be a little nerve-wracking. Afterwards, he confirmed that the U.D.O. band played on the album, apart from bass, which was handled by his former Accept mate, Peter Baltes. Speaking of old friends, Stefan Kaufmann was involved with the production, and the odd musical note. The running time is 64 minutes, with only a few exceeding four minutes, and "Jealousy" the lone inclusion to break the five minute mark. As mentioned, quite a few numbers are ubiquitous, but the opening salvos are less so. 

Not familiar with the original Alex Harvey rendition of "Faith Healer", but doubtful it has this Teutonic metal feel, gritty guitar riff and prominent staccato drumming. Apparently Baltes suggested Udo record it. Ends with a cappella titular chorus. Speaking of spoken word passages, as soon as Udo squeals the "I am the god of hellfire" intro, you know what's coming: fairly faithful take on the oft covered "Fire", by Crazy World Of Arthur Brown. Really only about one line of lyrics in the whole song. From the Uriah Heep canon, there's "Sympathy" a straight ahead rocker than afford the guitarist a chance to strut his stuff. Supposedly once a fan of Ike & Tina Turner (especially her voice), Dirkschneider chose to stun his fans with an acoustic begun, southern twang of "They Call It Nutbush," which graduates to a jazz (brass horns) section. "We always covered this song during Accept rehearsals in the early days,” he says. "It was one of the mainstays of our Accept rehearsal repertoire for years." Damn shame no tapes of that exist.

Taking on what might be Ronnie James Dio's signature performance, "Man On The Silver Mountain", is ballsy, for the best of singers. Guitar, on that one, was handled by Kaufmann. With gang chorus (his son/drummer, Sven, Baltes, Kaufmann, etc.) and some extra voices throughout, the short, poppy version of The Sweet's "Hell Raiser" retains the urgency/charm of the original. At a mere 2:39, the Motorhead staple "No Class" is not the shortest (that honor belongs to the aforementioned "Nutbush", completed in 25 seconds less). Plenty of snare featured in the revved up "Rock And Roll” (Led Zeppelin). Always thought of this as a guitar showcase song, but got to hear Udo snarl "open your arms, open your arms." Dirkschneider talks through the narration inherent in Billy Squier's "The Stroke". Again, not much of singer's song, but the guitar break and drum rolls (towards its conclusion) benefit the musicians. Regardless of his career accomplishments, does the world need another rendition of the Rolling Stones' "Paint It Black"? 

In a nod to countrymen, albeit the Uli Roth-era, Scorpions, there's "He's A Woman, She's A Man". Musically un-altered, the gravelly Dirkschneider voice is far removed from Klaus Meine.  Whereas, his throat is much more at home aping the like-minded, rough Bon Scott vocals required for shouted AC/DC classic, "T.N.T." Stepping outside the rock realm (and not for the last time), there's Frankie Miller's "Jealousy", a meander, long winded ballad, built around sporadic, jangly guitar notes. In a similar (but less effective) boat as Accept's "Seawinds" or "Winter Dreams". Stepping back into a leather jacket, there's Judas Priest's "Hell Bent For Leather". Tackling another of metal's Mt. Rushmore of vocalists (aka Rob Halford), the aggression of this song is more befitting of his voice, than say the Dio cut. 

Scanning the setlist, initially had some misgivings about the inclusion of "We Will Rock You." Boy was I wrong. Rather than "compete" with Freddie Mercury (Queen's legendary frontman), the tune has been totally reworked (apart from the namesake titular chorus). No longer a pop anthem, it's a start-stop riffing, guitar driven headbanger. If recorded during his days in Accept, couldn't sound any better. Best track & biggest surprise of the album. If you do nothing else, seek this one out. A must hear! The original only a few years old, the German lyric "Kein Zurück", from clean-cut duo Wolfsheim, marks the time Udo has sung in his native tongue. As to why he selected this particular track, he offers, “I immediately felt like the words understood me. It seemed to me that the lyrics were telling the story of my career, of my highs and lows and all the good and bad experiences that life has."

Like countless others, especially in the karaoke bars of Japan, Dirkschneider takes a stab at the Sinatra signature piece "My Way" to close the album. Once more, an atypical ending, complete with orchestral strings arrangement and double tracked vocals. The man originally bristled with a few exceptions, a DJ could just throw this fun little exercise on at a party and not have to segue to anything else, for the next hour.