Though the back of the album reveals 8 tracks, only six of them are actual songs. The opener, Initiation, and the closing track, Follow the Sign, are only short filler tracks that do not really serve any purpose.
Keeper of the Seven Keys Pt. Perhaps this disadvantage would not exist if this was released as a double album to begin with, but the short length is really disappointing.
Overall, Keeper of the Seven Keys Pt 1 was a very important album in the world of metal. The album helped build Helloween's legacy as one of the grandfathers of power metal, a legacy by which the band will soon not be forgotten by. Though some may shrug off the album by today's standards something I don't quite agree with, but hey , when Keeper of the Seven Keys Pt 1 was released back in , it was very fresh.
Some may ask, which is better, Pt 1 or Pt 2? To tell the truth, I like Pt 1 more, but this is mostly due to my preference of Kai Hansen's songs over Michael Weikath's writing. We definitely have an essential album here.
You don't even need to listen to any other Funeral for a Friend Conduit. Propagandhi Failed States. Tycho Dive. Megadeth Th1rt3en. Fair to Midland Arrows and Anchors. Arch Enemy Khaos Legions. Nagrarok 5 Undoubtedly the greatest power metal album ever released. Walls of Jericho. In , guitarist Kai Hansen left the band and went on to form the power metal powerhouse, Gamma Ray.
Thank goodness for that decision, as Helloween went through some rough times in the early 90's, experimenting with a more hard rock-ish sound. It was through this period that fans clutched Helloween releases such as this very tightly.
Overall, the band delivers with their third full length album, and is recommended to all. Pedro B. Funeral for a Friend Conduit. Propagandhi Failed States. Tycho Dive. Megadeth Th1rt3en. Fair to Midland Arrows and Anchors. Arch Enemy Khaos Legions. Nagrarok 2. Straight Out of Hell. Gambling With The Devil. Helloween Keeper of the Seven Keys Pt.
On 66 Music Lists. Add a Comment. The rest of the songs are equally as bad, with the cheesiness level skyrocketing to unimaginable districts. There's a fine line between epicness and cheesiness, and unfortunately after "A Little Time" the line has been crossed way too far to the realms of cheesiness. I tried really hard to like this album as a whole, but I can't lie to myself. The first couple of songs are great "I'm Alive" is a masterpiece but everything that comes later is just a fucking joke.
I have no idea why there's such an extreme difference between the level of the beginning of this album to the rest, maybe the songwriting process was rushed, but that's just the way it is.
Helloween is now one of the most famous metal bands out there, and they owe a lot from that success to the albums "Keeper of the Seven Keys" Parts 1 and 2.
Unarguably two metal classics, regardless of the subgenre, every metalhead must know these two albums. So why making a review of an album that well-known? Because there's probably some people who claim that this album is not as good as it really is, and I am willing to contribute to make clear that this is a masterpiece. The album starts with a short keyboard-based intro that makes you feel that something epic is coming, then the fast and catchy "I'm Alive" starts: a song with very fast riffs and drumming, and a lot of solos, but at the same time very melodic.
Both verses and chorus stick to your head. Another example of this formula is "Twilight of the Gods" but it's a bit more aggressive. You can find as well slower songs like "A Little Time" and "Future World" that are even catchier than the two mentioned before. The band somehow manages to stay heavy without using only extremely fast riffs and blast-beats. The bass player Markus Grosskopf is very talented as well, he's not that kind of bass player that only follows the guitars, his style is very easy to distinguish and you will hear it clearly the whole time The album contains also a ballad, but that doesn't decrease the intensity of this work, because Michael Kiske's voice astonishes you throughout the whole song, not only with his undeniable outstanding high-pitched vocals, but also his lows are very well performed.
While in the other tracks he focuses on the highs not exclusively, though , here he sounds more volatile. Lyrics are good enough to fit the singing and the music, Kiske sings mainly about being powerful and make things right, they can get very hopeful but you will find some funny verses as well. They are obviously very entertaining but that's not the highlight of the album I couldn't find any imperfections on this album, some people say there's no perfect album, but come on, it will obviously come to tastes, I mean, when you have a song lasting 13 minutes and that doesn't bore you at some point that means that these guys knew what they were doing, when you decide to write such a long song you need to be sure that some interesting passages are included, and they did exactly that.
Some of the arguments that state that this album isn't perfect is that it is too short, but it just doesn't need to be longer, the mission is accomplished within 37 minutes. During the mids, Helloween were starting to get some recognition in their home country of Germany. They were known for their fast, heavy, aggressive, yet a bit melodic speed metal that gave listeners an energetic feeling.
However, something would soon change about them. In , Kai Hansen decided that it was too difficult for him to play guitar and sing simultaneously. He chose the guitar over the vocals and they found year-old Michael Kiske.
Michael brought some influences that included more melody and classic rock. When they put their influences together on this album in , they created a sound that turned into a whole genre: the genre known as power metal! The album's mysterious intro dives into "I'm Alive", which is a fast, aggressive, yet epic and melodic.
This is what most of the music on the album really is, but this song is one of the faster ones, along with "Twilight Of The Gods". The ballad, "A Tale That Wasn't Right" would sound like this if it was fast, and it would be good, but it works just as well as a ballad.
The mid-paced songs tend to be a bit less melodic and more raw, such as "A Little Time". The minute epic, "Halloween" ties everything together, having fast and souring sections, raw, mid-paced sections, and slow, balladic sections as well. It is a very well structured song that shows that Helloween can write a long song, without letting it drag.
When it comes to the guitars, this album is dominated by Kai Hansen, due to injuries suffered by Michael Weikath that prevented him from playing on a lot of the album. He didn't spend a lot of time writing on the album either. The guitar work is quite similar to the song "Guardians" on the Walls Of Jericho album, but played more like the melodic parts, although there is quite a bit of that raw energy left which is what power metal really is.
The riffs sound good, but I enjoy the lead guitar work a lot more. The solos are virtuosic and are put together to form an epic and catchy sound. The bass is quite similar to the last album. It is quite smooth, yet if fits the music and is played with technicality. However, Markus Grosskopf doesn't get as many hooks on this album, and it focuses a bit more on keeping the music together than keeping it together and showing off.
This isn't too much of a downside and it doesn't stop this album from being an improvement over the last one. The drumming has definitely improved. Like the last album, Ingo Schwichtenberg plays with a highly energetic, machine-gun style of drumming.
However, he is beginning to show a bit more technicality. He gets a bit more hooks, and he sounds slightly more focused, which helps the atmosphere of the music on this album. This is exactly what we knew and loved about Ingo, and it's what we remember him for today. The vocals given by Michael Kiske are definitely superior to those of Kai Hansen.
He has a much better ability to shift pitches and his style of vocals are a lot cleaner. Rather than just trying to be raw and raspy, Michael has an ability to sing exceptionally well. His vocals are on perfect key, including his high-pitched screams, rather than just trying to sound "awesome" and he manages to do so anyway.
After Helloween's rather thrashy effort with Walls of Jericho, then-vocalist Kai Hansen decided to step down from vocal duties as he wanted to focus solely on guitar playing. For a singer the band found Ill Prophecy frontman, Michael Kiske. This album was their first effort with their new singer and by god did it leave in an impact. This album would quickly become a quintessential power metal album for years to come.
This album only contains eight songs, six if you exclude the intro and outro, and as such is a rather short but sweet little taste of the new Helloween. The six real songs on here are all really energetic, catchy, memorable and for the most part fast.
Songs like "Twilight of the Gods" really gets the blood pumping with a speedy drum beat, fast guitar riffs and Kiske's high vocals. That being said, there are a few deviations from the faster stuff. Kiske's voice is perfectly suited to the song, his lower and higher registers are on full display here and complimenting that is the guitars.
The melodic licks of the intro really sets up the somber atmosphere of the rest of the song. The little touches like the alarm clock ringing before the final chorus add to the song in cool ways. Last song to mention is the 13 minute epic "Halloween". With songs that run over 10 minutes, it's risky. If they aren't varied enough to keep things interesting then it's a colossal waste of space.
Not the case here. Easily a highlight of the album. The performances of the members are really well done too. Kai and Michael Weikath that is while keeping the speed of Walls of Jericho made the guitars sound more melodic and friendly rather than the razor edged and choppy thrash style of the prior album not that that's a bad thing.
Ingo is just as energetic as he was on WoJ, knowing when to go at full throttle and when to restrain himself on each song. But, of course, the highlight is the new kid in town: Michael Kiske.
His full, high, opera-like voice never fails to captivate the listener. Whether he's singing a speedy number or a tear jerking ballad, his voice is damn near flawless because of his range and his power. The band has done their best on this album by far. Keeper part 1 is easily an album worth your time, it's a genre defining album for a reason. Your time won't be wasted on this album, it's not very long and it contains a set of songs that the band themselves have yet to top.
Yes, even the intro and outro tracks. If you don't have this album in your collection yet then what the hell are you doing here reading this?! Go out right now and buy the damn thing!!! It would be blind to say that power metal as a style of music had not been around for a few years before this, but never before had the genre been defined so overtly. With that being said, it is an essential bit of metal history, and regardless of contemporary opinion positive or negative, anyone any bit interested in the speedier, melodic side of the heavy metal spectrum would do well to give it a good, intent listen.
Perhaps not so coincidentally, these are also the only two tracks that guitarist Kai Hansen did not write. Few and far between are the bands who can claim not only one, nor two, but THREE exemplary eras of output, but Helloween are one of the clear exceptions. Both the nasally fronted, filthy melodic speed of the Kai Hansen-fronted efforts and the silken, dynamic sounds of the Andi Deris records now the lengthiest epoch for these Germans have produced works of timeless wonder and entertainment, and yet it's the middle period with Michael Kiske that truly put Helloween on the map, inspiring hundreds if not thousands of other gestating musicians to follow in their anthem-driven, often corny footsteps.
Granted, Kiske was present during what I'd argue were the band's two career flops, Pink Bubbles Go Ape and the slightly less retarded Chameleon, but I don't think anyone can really disregard the sheer influence of the Keeper of the Seven Keys records, the first of which is perhaps the best solitary record of their entire career Let's get something out of the way first: Helloween are basically the 'pranksters' of the whole power metal class, known for the tongue-in-cheek approach they take to a few of their lyrics and for never, ever taking themselves too seriously.
Most of the quirkier material got shoved over to that album "Dr. Stein", "Rise and Fall", etc and what's left here would is a smattering of self affirming lyrics with a bit of sci-fi "Future World", Twilight of the Gods" and the not-so horror of the epic "Halloween" itself.
It's amusing that the band chose to bastardize the pagan holiday for their band moniker, because I've rarely found their musical and lyrical aesthetics to be the least bit creepy, borne more of fantasies and relationships and candid views of civilization. But aside from its somewhat poppy lyrics "I'm Alive", "A Little Time" , this album is one of their more straight faced. Defiantly long and meandering although a butchered five-minute "single edit" was reluctantly agreed to for the USA , "Halloween" was a career-making smorgasbord of riffs and parts, almost decadent in its indulgence, and astonishing in the sheer quality of the whole damn works.
All was not well behind the scenes, of course, but we didn't know that at the time, and it scarcely matters two decades later — this masterpiece has barely aged, and still holds its own with anything that's come since.
Absolutely mandatory metal. NET story or review, you must be logged in to an active personal account on Facebook. All songs written by Michael Weikath , except where noted. From Wikipedia, the free encyclopedia. Redirected from Keeper of the Seven Keys Part 2. Retrieved November 11, Encyclopaedia Metallum. Retrieved October 19, Retrieved October 22, Classic Rock.
Metal Hammer in German. Archived from the original on March 4,Keeper of the Seven Keys, Part 1 Import. As reminiscent of Spinal Tap as the album may be, Helloween's ambition and vigor in an era of stagnancy is admirable and enjoyable. 'Twilight of the Gods' is a monster of a track, heavy, tuneful, intricate and epic all at the same time - a true classic. Reviews: