Artist: Helloween Genre(s):
Rock
Metal: Power
Metal
Metal: Heavy
Discography:
Gambling With The Devil Year: 2007
Tracks: 12
Light The Universe (EP) Year: 2006
Tracks: 3
Mrs. God Year: 2005
Tracks: 3
Keeper of The Seven Keys: The Legacy Year: 2005
Tracks: 13
Rabbit Don't Come Easy Year: 2003
Tracks: 12
Rabbbit Don't Come Easy Year: 2003
Tracks: 17
Treasure Chest (Buried Treasure) Year: 2002
Tracks: 11
Live In Moscow Year: 2001
Tracks: 17
Live at CSKA Ice Palace, Mosco Year: 2001
Tracks: 17
The Dark Ride Year: 2000
Tracks: 14
Rares CD2 Year: 2000
Tracks: 15
Rares CD1 Year: 2000
Tracks: 15
If I Could Fly (EP) Year: 2000
Tracks: 3
Metal Jukebox Year: 1999
Tracks: 12
Lay All Your Love On Me (EP) Year: 1999
Tracks: 3
Karaoke Remix Cd2 Year: 1998
Tracks: 14
Karaoke Remix Cd1 Year: 1998
Tracks: 8
I Can (ep) Year: 1998
Tracks: 3
Hey Lord (ep) Year: 1998
Tracks: 3
Better Than Raw Year: 1998
Tracks: 12
High Live-2CD Year: 1997
Tracks: 7
High Live-1CD Year: 1997
Tracks: 9
High Live Cd2 Year: 1997
Tracks: 7
High Live Cd1 Year: 1997
Tracks: 9
The Time Of The Oath Year: 1996
Tracks: 3
The Time Of The Oath Year: 1996
Tracks: 14
Power (ep) Year: 1996
Tracks: 4
Forever and One (EP) Year: 1996
Tracks: 3
Sole Survivor Year: 1994
Tracks: 4
Perfect Gentleman Year: 1994
Tracks: 4
Mr Ego Year: 1994
Tracks: 4
Master Of The Rings (US Bonus CD) Year: 1994
Tracks: 7
Master Of The Rings Year: 1994
Tracks: 11
Chameleon Year: 1994
Tracks: 12
When The Sinner (Ep) Year: 1993
Tracks: 3
Step Out Of Hell (EP) Year: 1993
Tracks: 4
I Don't Wanna Cry No More (Ep) Year: 1993
Tracks: 3
Kids On Party (bootleg) Year: 1992
Tracks: 11
The Best - The Rest - The Rare Year: 1991
Tracks: 13
Pink Bubbles Go Ape Year: 1991
Tracks: 11
Number One (EP) Year: 1991
Tracks: 3
Kids Of The Century (Ep) Year: 1991
Tracks: 3
Live In The UK Year: 1989
Tracks: 7
Live In The U.K. Year: 1989
Tracks: 7
Keeper Of Seventh Keys Part I Year: 1988
Tracks: 10
I Want Out (Ep) Year: 1988
Tracks: 3
Dr. Stein (Ep) Year: 1988
Tracks: 4
![[1988] Keeper Of The Seven Keys II](http://img.mp3fiesta.com/covers/32/321/alb_82646_th.jpg)
[1988] Keeper Of The Seven Keys II Year: 1987
Tracks: 11
Monster Of Rock (Bootleg) Year: 1987
Tracks: 7
Keeper Of The Seven Keys Part I Year: 1987
Tracks: 9
Future World (Ep) Year: 1987
Tracks: 3
Walls Of Jericho Year: 1986
Tracks: 8
Judas (Ep) Year: 1986
Tracks: 5
Helloween Year: 1985
Tracks: 5
Keeper Of Seventh Keys Part II Year:
Tracks: 13
Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential great metal band to fall out of Europe during the eighties. By pickings the hard riffing and minor key melodies handed down from alloy masters like Judas Priest and Iron Maiden, then infusing them with the fastness and energy introduced by the burgeoning thrash metal cause, Helloween crystalised the sonic ingredients of what is now known as power metal. Sadly, exactly as they were on the verge of breakage to a wider audience -- fifty-fifty toying with American success -- the band's meteoric rise was rudely interrupted by intragroup discord and a string of bad job decisions. These blunders kept them from ever restitution their original momentum, just Helloween took their hard-knock lessons in pace and continued to thrive in the international metal scene of action on their have damage. More importantly, they remained the benchmark by which most every power metal band is still calculated.
Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist in front morphing into Helloween in 1982, they sign with Germany's have fledgling Noise International two days subsequently. With Hansen besides treatment vocals and the majority of songwriting duties, the foursome recorded its self-titled debut mini-album in early 1985. The uncut
Walls of Jericho and the
Judas Iscariot maxi-single followed the class subsequently, and the media was before long buzzing over the band's thrash-fueled interpretation of classical great metal. Countless fans crosswise continental Europe were besides fast converting to the band's cause, simply Hansen remained dissatisfied with his tattle ability, and mat Helloween needful a proper frontman in order to reach their full potential difference. Enter teen singer Michael Kiske, whose high-pitched delivery followed in the footsteps of previous backbreaking metal banshees like Rob Halford and Bruce Dickinson.
The young chemistry proved as explosive onstage as it did in the studio, and with their classical lineup now intact, Helloween were ready for the adult clock time. Returning to the studio in early 1987, the band emerged in May with
Keeper of the Seven Keys, Pt. 1, a turning point recording that remains arguably the single nigh influential power metallic element record album to date. Its volatile combination of might and melodic phrase would inspire an intact generation of alloy bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., fifty-fifty making probationary inroads into America at the time. The band toured relentlessly for the rest of the yr and into 1988 (including a prolonged opening stint with Iron Maiden), merely despite this frenzied work schedule, they still found time to record the aptly titled
Keeper of the Seven Keys, Pt. 2. Released in September 1988, the phonograph recording was another blockbuster that crashed the U.K. Top 30, merely its odd songwriting (particularly from longtime loss leader Kai Hansen) revealed the beginnings of a major ring crisis.
Helloween's watershed functioning at that year's Donington Monsters of Rock Festival proven to be their crowning glory, simply for Hansen, his dreaming derive true too represented the closing of his ambitions for the radical. Shockingly, the guitar player soon announced his release from the band he had helmed to the big top, claiming that Helloween were now also big a fauna for him to control. (He would shortly make a fresh begin with a novel turnout called Gamma Ray, which, to no one's surprise, sounded signally like Helloween.) But the left over members of Helloween weren't around to lease their stroke at stardom slip away, and after drafting late Rampage guitar player Roland Grapow, they got right back to work with a sold-out turn of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, combat injury up igniting a legal difference of opinion that would by-line Helloween for most deuce years. Several live albums (
Live in the U.K. for Europe,
Keepers Live for Japan, and
I Want Out: Live for the U.S.) were released to distract the fans during this suspension, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to iron boot.
Confident that they'd accrued little, if whatever rust from their prolonged layoff, Helloween in conclusion returned to action with the peculiarly coroneted
Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could redress for the scattered, unfocused songwriting that henpecked the album. Furthermore, the band's way-out attempts at humor had full-grown so forced that fans weren't sure what to make of furious metal anthems with names like the title caterpillar tread and "Heavy Metal Hamsters." The record bombed in no unsettled footing, as did its even more schizoid follow-up,
Chameleon. Recorded in 1993 by an obviously shell-shocked stripe, its short screening only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to plunge a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary as well distinct to geld their losings at this time, going away the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in modern vocalizer Andi Deris and drummer Uli Kusch to record 1994's
Master of the Rings, a small merely determined measure in the right direction. Then cataclysm struck, when previous drummer Ingo Schwichtenberg -- a diagnosed frenzied depressive whose deterioration condition had been partly to blame for his sack -- took his have life, throwing himself in front of a train approximate his aboriginal Hamburg.
Jolted to the sum, only as compulsive as ever so, Helloween dedicated 1996's
The Time of the Oath to their fallen champion, and, coincidentally, the album sour extinct to be the strongest since their glory age, doing very much to resurrect their life history. The ensuing tour spawned the double-disc set up
High Live and confirmed the band's render to manakin as major players in the international alloy arena (in Europe and Japan, they were arguably bigger than e'er). Helloween continued to fly high with 1998's
Better Than Raw, 1999's celebratory
Alloy Jukebox covers album, and 2000's
The Dark Ride, and not even the deviation of longtime members Grapow and Kusch could dull them for long. Now regarded as elder statesmen of Euro-metal, Helloween far-famed their achievements with 2002's
Gem Chest greatest-hits set. This was followed by 2003's
Rabbit Don't Come Easy, which introduced modern guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent substitute could be constitute in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more).
