Overview of the various music epochs of the master!

Since I belong to the younger generation, it is forgivable that I knew except for a few songs until recently none of Udo. Then I once saw a program on TV about him, and could understand from then on, why it is always said that Udo a "special position in the German rock music" held since the 70's. - With the exception of bands like "clay, stones, broken glass," where I auchnach listening to this "Best Of" - clearly prefer the latter album tape against Udo!
Nevertheless Udo seems however to have designed some ingenious sounds especially in its early stages, but they are probably remained largely on those early studio albums; since then I have found partially not (all)!
It seems to me, therefore, that not all good songs by Udo are gathered on this double disc. On the other hand, are unlikely to have someone all singles by Udo fallen. Personally, I like some singles in the early phase of the singer very well, as Udo did not play less with computers and rhythm machines, but even more with heart and original musical instruments; especially: "Cello" (here, however, in a modern, yet good version on it; there is a better, more rocking version!).
Udo is also known by catchy tunes from the 80s, such as "special train to Pankow", "horizon", "I do not love you anymore," "A heart can not fix it."
I have these songs but heavy to Schlager; a contradiction and a sign of a lack of consistency, considering that Udo originally just wanted to distinguish from the hit. I prefer clearly some of the early works of Udo, from the 70s, innovative rock and roll, blues and jazz, but come here quite short, and of which Udo unfortunately adopted much too early (for commercial reasons?); Instead outweigh then clearly Pop and Schlager. For veritable blues and rock and roll fans but that is possibly the second choice!

I was therefore somewhat entttäuscht of this double disc. Also because it seems to be here to act in many versions of the songs to "remanufactured versions". However, this effect is not always particularly successful to me!
Even some texts seem to me a little flat, so you doubt a little about the credibility of then seriously intentioned songs.
As for the "singing" of Udo, so must also not much to be said: for me had the Genuschel (can not the singer differently, or why he does it?) Always something unmotivated and bored; little involved, what me the impression of the singer as an occasional "Blödel- Barden" reinforced.

After this album, I have serious doubts as to whether Udo musical "survived long" yet. Somehow many acts quite corny and not innovative. Younger listeners are likely to have difficulty making friends with this singer. Especially since it at the present time (at last!) Better German music are as Lindenberg, which the youth can identify themselves better. For me acting Lindenberg - for all their love! - But more like a - fairly typical German (which is meant negatively!) - Relic of the '80s. For the youth, the "historical significance" of the singer will not be easy to understand, and hardly be a reason why to hear him gladly!
Since the 90s, but the quality has decreased rapidly not only on the music, but above all the texts of Lindenberg in my opinion; they act usually superficial and uninspired.

Knowing the background of Udo as a "Gesamtkunstwerk", who stood up early for the peaceful reunification, and for the music has not always been just cheap entertainment, you still need to have great respect for Master!
Overlooking the "credits" falls here also that Lindenberg has composed almost all singles itself; mostly alone; otherwise, at least as a co-author. A performance that is (with this success) nowadays hardly found!
Also like the fact that Lindenberg usually at least knows how to impress with either quite brisk rhythms, and otherwise could sing good, brilliant, soulful ballads that often deal with the "Love on walls" in the Cold War, to girls from the GDR or (Soviet ) Russia. He was in this respect a real mediator between these two "worlds", characterized accepted particularly credible and (also from the East), because he was not primarily without sympathy for socialism, but especially war, violence and lack of freedom declined.
But no matter how contradictory it seems: through the fall of the Wall and "Glasnost and Perestroika", the Lindenberg always very welcomed, Udo has lost its original function! Since the "unity", he seems a little uninspired, flat in its texts and works (despite the great success of his last album, which, however, it - has surprised - quite rightly!) Less convincing than before. For me seems constantly in Hotel living singers between East and West, who once sang: "Where I hang my hat out there is my home" now quite homeless.

Good thing about this album is still that the booklet has a story written for each song to the emergence Lindenberg's PR consultant.
Also, the double album is made quite generous, with a total of 38 songs and more than 140 minutes of playing time to music! (Which of course quality over quantity!) (I myself, however, can never hear 140 minutes Lindenberg at a time, because me sometime but then the nölende voice gets on my nerves!).

For the very high price, however, I would not buy the double album again! I am finally not "the club of millionaires"
The album is therefore probably something for absolutely convinced and inveterate Lindenberg- fans who like all (single) songs from all his musical eras, and had so far hardly any other slices of the master!