Interview with bassist Peter Baltes
Interview conducted by Luxi Lahtinen
Date online: March 27, 2025
In 2025, Dirkschneider embarks on a monumental journey across Europe to celebrate four decades of the iconic album Balls to the Wall with an epic 40th anniversary tour. Kicking off at the end of February, this tour is a testament to the band's unwavering energy, their profound influence on the heavy metal landscape, and their deep connection with fans who have 
followed their musical odyssey for generations.
Since its release in 1983, Balls to the Wall has become one of the most revered albums in the history of metal, capturing the raw power and relentless spirit of Dirkschneider's sound. The title track, a worldwide anthem, has resonated with fans for decades, cementing Dirkschneider's place in the annals of heavy metal greatness. To celebrate this monumental milestone, Dirkschneider has pulled out all the stops with a setlist that promises to thrill, featuring not only the unforgettable tracks from Balls to the Wall but also a mix of classics from the band's legendary catalog.
A standout feature of this 40th-anniversary tour is the addition of bassist Peter Baltes, who joined U.D.O. in 2023. Baltes, best known for his work with Accept, brings his decades of experience and unmistakable style to the lineup, adding another layer of firepower to the band's already potent chemistry. His inclusion marks a new chapter in U.D.O.'s evolution and injects fresh energy into an already unstoppable force.
From February to mid-April 2025, Dirkschneider will traverse Europe, bringing their signature thunderous metal sound to fans old and new. This tour isn't just a celebration of a single album, it's a testament to a legacy, a love letter to the fans, and a powerful reminder that the spirit of true heavy metal is alive and kicking. Get ready for a ride that will be as electrifying as it is unforgettable.
The Metal Crypt managed to meet a very friendly and good-humored Peter Baltes at the backstage of The House of Culture in Helsinki, Finland, on March 10th just a few hours prior to showtime, inquiring things about the ongoing European tour, his memories of the classic Balls to the Wall album, how he got to play in an all-star lineup in the early nineties, etc.
BALLS TO THE WALL - 40TH ANNIVERSARY TOUR
You started this tour at the end of February this year and it won't be over until mid-April. How's it been going so far?
Peter: Pretty much as expected, I have to say. It's pretty much sold out everywhere so far. People are really embracing this. Basically, it's an Accept show, really very authentic with Udo's voice and me being there. It's quite 
something. It really feels like you're back in 1986 or something. It's really cool, really cool. A lot of fans are talking about it. Sometimes I see people crying in the audience. Maybe they think it's the last time they'll see us. You never know. But it's been a lot of fun, I have to say.
This tour is a bit more special for you guys because you are playing the classic Balls to the Wall album from start to finish, which is celebrating its 40th anniversary at the same time. How has it felt to return to the Balls to the Wall album in its entirety, after 40 years?
Peter: I was very young then. We were all very young. We were at the start of our career. Then Balls to the Wall created this international interest. We went to Sony Records in New York, went to America and the whole story. It was the door we opened to the world. Here we are 40 years later playing the same songs, although a couple of them we never really played live. It's really for the fans. For us too, but for the fans, it's something that they haven't seen, and that makes it special.
Has it brought up some great memories from the days when you were touring for that album for the first time some 40 years ago?
Peter: Yes, it does. I remember we were at Dierks Studios in January doing some videos for Dirkschneider & The Old Gang, the other project we have. We did the videos up in a big room. When we recorded Balls to the Wall, that's where Stefan and I recorded drums and bass, and the place was not finished. When we left, we left white footprints all the way down. We got yelled at by Dieter's mother, "You got footprints all over!" We had white dust everywhere because it was flying. It brings back a lot of memories touring-wise and what we learned from KISS.
When we came to America, we had 128 radio stations playing "Balls to the Wall." At our first show opening for KISS, nobody knew who we were except that one song. They all knew. That was enough. That song is very special.
That song got a lot of radio play back then, right?
Peter: Yes, it got a lot of radio play. Back in the day, that's all there was: radio play. There was 
nothing. There was no phone. MTV had just started. This video was on MTV the second week MTV started. It's quite a treat to play this again, I have to say.
What about the lyrics on Balls to the Wall? There's a song called "Turn Me On" on this record and when I was reading the lyrics the other day while playing the album, I found there was a pretty hilarious twist to it, actually.
Peter: Yes. Back then Gaby would write the lyrics, and she wrote them from a woman's standpoint. We didn't care. We didn't have to do the work. We just wanted to create riffs and stuff. Later in life, we realized what they were about. Now we're singing it today, but who cares. Back then people cared. Nobody cares now...
How highly would you personally rate that album in your career, keeping in mind you've been involved in so many albums during your career as a musician?
Peter: I think to me it's probably number one. I think Balls to the Wall went double platinum in America. It's the highest-grossing album we ever had. Metal Heart is second. These two go back and forth.
DOWNSIDE OF THE DIGITAL AGE
Both albums did really well everywhere in the world, I guess...
Peter: Yes, they did well, yes. People would buy albums and then came CDs and then it all ended.
It's sad, due to the digital age.
Peter: It is. It's progress. What are you going to do? It's hard enough for young bands. We have opening bands here. It's harder for young bands to really make a career, make a living because of what happened. We were fortunate enough we lived in the greatest era there was in the 1980s for several reasons. For rock and metal, it was the best.
Nowadays, it seems like many bands have lots of merchandise available at their shows.
Peter: That's the only way, I guess. I remember living in Nashville during the pandemic and 90% of the 
musicians in Nashville are hired guns. They play for some country star. They don't have any royalties coming in from albums that they created. They all lost everything. There I saw the difference between somebody who creates and somebody who just plays. Creating is the most important thing. That's why when I'm at home, I write music for film and television. I get royalties. It's like making a record. It lives forever. It's on a TV show, on a movie and comes out in Japan, South Korea. That's nice.
TEAMING UP WITH UDO AGAIN
What inspired you to rejoin the U.D.O. band in 2023, and how have you enjoyed being back in the band since then?
Peter: It was Udo and Sven that called me. Basically, they had an accident the second day of the tour. It was a big three-month tour. They couldn't find anybody who could learn 16 songs in three days. I had to learn the songs. They called me and my wife, and we were having dinner because I live in Florida and there was a time difference. It was after the pandemic. She said, "Go, go, go." She had enough of me for two years. I went in. I wanted to help them out.
It worked out so well. I liked it. We all liked it. It clicked. It just made sense. I had such a great time. I wasn't really the happiest of my life at the end of my days with Accept, where I was before. This feels like how it should feel. That's why I stayed.
Can you tell what has been the most rewarding part of being with U.D.O. again?
Peter: I think it's being on stage with him because we've been friends forever. You start something when you're 16, 17 years old with somebody else and you're still together somehow. We have so many memories. These things are very special. To me, they're worth more than rockstar cars. I never cared about those things anyway. This is the true essence of a friendship. That's the only thing you have left in life. The older you get, the more you look for things like this that have substance and not just stuff.
SOLO ALBUM BREWING
On a more personal level, is there still something personal or specific you'd like to achieve with the band or on your musical journey?
Peter: Yes. I want to finish my solo record that I've been working on for a thousand years.
Really? Tell me more about it.
Peter: I've been working on it for a long time. I want to make a record that reflects me. I'm a very progressive player. In Accept, my role was to be the one that holds the beat. That worked well and I became famous for it. I have 
other things in my head and in my heart that I like to do. I've been working on it off and on. It really takes complete dedication for quite a long period of time. I was just ready when Udo called. Now it's like two or three months before I'm home for a couple of weeks. I want to spend time at home with my wife. I'll do it when I have time, but that's something I'd like to finish.
Will it be more like rock-orientated stuff?
Peter: Yes, it's a little prog-rocky. It's like Dream Theater meets Emerson, Lake & Palmer meets Rainbow. Something like this. Old school but with a twist.
With a twist of proggy stuff.
Peter: Correct.
What about the other musicians for your solo project?
Peter: I want Don Airey to play the keyboards. I talk to him, but we're always so busy. I have a couple of drummers. I don't know if I'm going to sing myself. Probably not. I'd like Glenn Hughes to sing.
Oh, wow...!
Peter: That would be nice. Something like this, but who knows?
Have you already sat down and talked more seriously about the whole thing?
Peter: I met him when I played with John Norum. I played on his solo records. I wrote a ballad and John came in and he sang that. These things happen because you are always talking and everybody is everywhere. It's really hard nowadays. You have to send files back and forth. That's how it works. You don't go to a studio anymore.
Musicians tend to work from their homes nowadays when it comes to recording stuff. It's way easier that way.
Peter: It makes it easier when people are scattered in different locations around the world.
Besides your solo album being on your bucket list, is there anything else that you would like to achieve in your career?
Peter: I would like to do a score for a movie. That's something. Yes, a real score, beginning to end. That's what I'm working on. That's a very different type of musician to handle that. I would just love to. It's something of a challenge. I'm always up for a challenge. It's easy to do the things you know well. It's hard to jump into cold water and you have to do it. If you fail, well, but at least you tried.
I'VE BEEN TO EVERY CITY THERE IS
Is the experience of touring and performing different for you after all these years?
Peter: Absolutely. When you're very young, you're excited about everything. It doesn't matter what it is. 
Now, I've been to every city there is. I don't have to walk around anymore. I know the castle. I've been there. I mostly enjoy watching the people in the audience react to what we do, that we are still able at this age to perform and create something. Other people like it. They come out on a Thursday night. They have to go to work on Friday. They have to get up real early and they're like, "Urgh, we go." That makes me proud that we offer something that is worth people coming out for.
Then, if we deliver, which hopefully we do, it just makes a great evening. At this point in my life, all I care about is that we have a good time together.
You have been involved with Dirkschneider & the Old Gang since 2020. Are you guys going to breathe some new fire into it any time soon, or is that project deep-frozen for time being at least?
Peter: Yes. We actually finished an album. It's absolutely incredible. It's going to be this year. It's going to be a surprise. I don't want to say more because they're working on it. It's going to be really nice.
You don't want to spoil it for the fans too much?
Peter: No, then I get [*makes cutting sound*]
You played bass both on Dokken's album, Breakin' the Chains, in 1981 as well as Don's solo album, Up from the Ashes, released in 1990. Were there some other plans to continue further with him after that latter album?
Peter: No. Yes, I played on the first Dokken album, Breakin' the Chains, so we were friends. Then just before that, Accept broke up, and he put in the supergroup with Mikkey and John Norum. He wanted me on bass. He wanted the best musicians on the planet and he got them. We made a great album (Up from the Ashes). We had everything you could think of. We had Geffen Records. We had everything. Then as a lot of super groups have, you have roots to something else as a musician. In the end, the Hollywood life wasn't for me. I'm German and I lived in America. That's not the point. I lived on the East Coast, so Hollywood was strange for me. We had to live there for two years, on the ocean.
Now I live in Florida on the ocean, but now I'm old. Then I was young and Mikkey went to Motörhead. That made perfect sense. John Norum went back to where he belongs with Europe. We all went back to where we needed to be. I think he went back with Dokken for a while and then they fought again.
BIG EGOS
Have you ever tried to work with musicians that have way too big egos and thought, "I can't be involved in this because this guy's ego is way too big"?
Peter: There's a lot of them. You just stay away. Sometimes it happens to your own band. That's just the way it goes. I don't blame anybody. I really don't. If that's how you're wired, if that's what you need in life to be in control and run this way, that's okay. It doesn't mean that everybody else has to go along. There is collateral damage if you react this way. If you are this way, there's collateral damage and people leave and do something else. That's just normal.
It's different than marriage. In a marriage, you make a promise. You wear something because you have a promise. You don't have that in a situation. In the beginning, it's friends making music. Then it becomes business. Now you're in a company, basically. The trouble starts slowly. At the end, it's the same in almost every band. You can see it. Just the way it is.
It's sad to deal with big egos...
Peter: It is very sad.
... and when money gets involved, that's when things can get even more complicated, ripping bands apart because everybody wants to get their share. It's just the fact that money starts many fights inside bands...
Peter: It happens. Everybody knows, if you have a business, don't do business with family. Don't bring people from the family in because it creates trouble, jealousy. You have more than I do. I work more than you. It doesn't work. 
That's the same in bands. Then the ego is-- God, egos, guitar players. That's a whole different world.
Not everybody can be like Yngwie Malmsteen, for example.
Peter: Yngwie just said yesterday, he said, "I am the boss. Take it or leave it." I like it that way. It makes sense. If it's that way, say it that way. Don't pretend to be something else on the outside. That's always the trouble.
Alright. What about your expectations about tonight's gig as far as your Finnish crowd is concerned?
Peter: I don't know.
Are your fans here in Finland somehow crazier than some other nationalities in this world? I mean, we as shy people also know how to get drunk and put up quite a party.
Peter: Haha! You know, it's so hard to measure. Honestly, it's hard to measure because none of you guys compare with people in South America, for instance. Europe is strange anyway. Europe is reserved. It's cold. Everybody is bundled up and you just stand there. It's just a different mindset, I think. Europeans don't go all out. They're very cautious. We're used to it and the songs usually speak for themselves and the songs do all the work. This one is particularly easy because all the songs are well known. It's like a hit parade that rolls down.
It's going to be great, but every night is great. I keep saying that. I don't know what else to say. Last night was great. You look at people and then you see a father with his son, and he keeps pointing at his son. I say, "I see your son," and then the son is intimidated, so I go give him a guitar pick and then he smiles. These little things, where the generation's now turning over and the father says, "I have T-shirts you can have," and records and stuff. Kids take over the collection and that's a lot. We have that a lot.
It's always cool to see parents bringing their kids to concerts; different generations get united for the love of metal music.
Peter: Yes. It's great that they bring them. It's better than sitting at home or doing this. Right?
Exactly. OK, that's it from my part. Thank you for this conversation and I also want to wish you all the best for tonight's show and for the rest of the tour.
Peter: You're welcome. Thank you for having me.
| Other information about Dirkschneider on this site |
| Interview with drummer Sven Dirkschneider on December 10, 2017 (Interviewed by Luxi Lahtinen) |
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