HELLOWEEN
Power Metal / Speed Metal / Hard Rock / Traditional heavy metal / Non-Metal • Germany

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Helloween is a heavy/power/speed metal band from Germany founded in 1983 by members of Iron Fist and Powerfool. Helloween are known as major innovators of power metal.

Members today are Andi Deris – Vocals, Michael Weikath – Guitar, Backing vocals, Sascha Gerstner – Guitar, Backing vocals, Markus Grosskopf – Bass, Backing vocals and Daniel Löble – Drums

The original line-up featured Kai Hansen (Vocals/Guitars), Michael Weikath (Guitars), Markus Grosskopf (Bass) and Ingo Schwichtenberg (Drums). In 1984 the band had signed a deal with Noise Records and recorded two songs for a Noise compilation record called Death Metal. The two tracks were "Oernst Of Life" by Weikath, and Hansen's "Metal Invaders" which later on ended up in a faster version on the bands first full-length album.

1985 came around and Helloween then recorded their first record Helloween, a self-titled EP containing 5 tracks. The EP was successful, and during
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20h
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My God-Given RightMy God-Given Right
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HELLOWEEN Discography

HELLOWEEN albums / top albums

.. Album Cover 4.06 | 58 ratings
Walls of Jericho
Speed Metal 1985
.. Album Cover 4.23 | 82 ratings
Keeper of the Seven Keys Part 1
Power Metal 1987
.. Album Cover 4.54 | 92 ratings
Keeper of the Seven Keys Part 2
Power Metal 1988
.. Album Cover 3.24 | 35 ratings
Pink Bubbles Go Ape
Traditional heavy metal 1991
.. Album Cover 2.95 | 38 ratings
Chameleon
Hard Rock 1993
.. Album Cover 3.60 | 41 ratings
Master of the Rings
Power Metal 1994
.. Album Cover 4.21 | 39 ratings
The Time of the Oath
Power Metal 1996
.. Album Cover 4.19 | 41 ratings
Better Than Raw
Power Metal 1998
.. Album Cover 3.21 | 21 ratings
Metal Jukebox
Traditional heavy metal 1999
.. Album Cover 4.02 | 40 ratings
The Dark Ride
Power Metal 2000
.. Album Cover 3.65 | 30 ratings
Rabbit Don't Come Easy
Power Metal 2003
.. Album Cover 3.67 | 33 ratings
Keeper of the Seven Keys: The Legacy
Power Metal 2005
.. Album Cover 4.23 | 31 ratings
Gambling With the Devil
Power Metal 2007
.. Album Cover 2.83 | 18 ratings
Unarmed - Best of 25th Anniversary
Non-Metal 2010
.. Album Cover 3.98 | 31 ratings
7 Sinners
Power Metal 2010
.. Album Cover 3.72 | 22 ratings
Straight Out of Hell
Power Metal 2013
.. Album Cover 3.78 | 7 ratings
My God-Given Right
Power Metal 2015

HELLOWEEN EPs & splits

.. Album Cover 3.50 | 1 ratings
Death Metal
Speed Metal 1984
.. Album Cover 0.00 | 0 ratings
Metal Attack Vol. 1
Speed Metal 1985
.. Album Cover 4.08 | 21 ratings
Helloween
Speed Metal 1985
.. Album Cover 0.00 | 0 ratings
Mr Ego (Take Me Down) EP
Power Metal 1994
.. Album Cover 5.00 | 2 ratings
Lay All Your Love on Me
Power Metal 1999
.. Album Cover 0.00 | 0 ratings
The Sage, the Fool, the Sinner / Bring them to Light
Power Metal 2011

HELLOWEEN live albums

.. Album Cover 4.33 | 9 ratings
Live in the U.K.
Power Metal 1989
.. Album Cover 4.50 | 2 ratings
I Want Out
Power Metal 1989
.. Album Cover 3.50 | 3 ratings
High Live
Power Metal 1996
.. Album Cover 3.62 | 4 ratings
Keeper of the Seven Keys: The Legacy: World Tour 2005/2006
Power Metal 2007

HELLOWEEN demos, promos, fans club and other releases (no bootlegs)

.. Album Cover 0.00 | 0 ratings
Demo
Speed Metal 1984
.. Album Cover 0.00 | 0 ratings
Death Metal Demo
Speed Metal 1984

HELLOWEEN boxset & compilations

.. Album Cover 0.00 | 0 ratings
Pumpkin Tracks
Power Metal 1989
.. Album Cover 4.58 | 6 ratings
The Best, The Rest, The Rare
Power Metal 1991
.. Album Cover 0.00 | 0 ratings
Pumpkin Box
Power Metal 1998
.. Album Cover 0.00 | 0 ratings
Buried Treasure
Power Metal 2002
.. Album Cover 4.00 | 2 ratings
Treasure Chest
Power Metal 2002

HELLOWEEN singles (25)

.. Album Cover
4.75 | 2 ratings
Judas
Speed Metal 1986
.. Album Cover
4.50 | 1 ratings
Future World
Power Metal 1987
.. Album Cover
4.00 | 1 ratings
Dr. Stein
Power Metal 1988
.. Album Cover
5.00 | 1 ratings
I Want Out
Power Metal 1988
.. Album Cover
0.00 | 0 ratings
Kids of the Century
Traditional heavy metal 1991
.. Album Cover
0.00 | 0 ratings
Number One
Traditional heavy metal 1992
.. Album Cover
0.00 | 0 ratings
Windmill
Hard Rock 1993
.. Album Cover
0.00 | 0 ratings
When the Sinner
Hard Rock 1993
.. Album Cover
0.00 | 0 ratings
Step Out of Hell
Hard Rock 1993
.. Album Cover
0.00 | 0 ratings
I Don't Wanna Cry No More
Hard Rock 1993
.. Album Cover
0.00 | 0 ratings
Sole Survivor
Power Metal 1994
.. Album Cover
0.00 | 0 ratings
Perfect Gentleman
Power Metal 1994
.. Album Cover
0.00 | 0 ratings
Power
Power Metal 1996
.. Album Cover
0.00 | 0 ratings
Forever and One (Neverland)
Power Metal 1996
.. Album Cover
0.00 | 0 ratings
The Time of the Oath
Power Metal 1996
.. Album Cover
0.00 | 0 ratings
I Can
Power Metal 1998
.. Album Cover
0.00 | 0 ratings
Hey Lord!
Power Metal 1998
.. Album Cover
0.00 | 0 ratings
If I Could Fly
Power Metal 2000
.. Album Cover
0.00 | 0 ratings
Mr. Torture
Power Metal 2000
.. Album Cover
0.00 | 0 ratings
Just a Little Sign
Power Metal 2003
.. Album Cover
0.00 | 0 ratings
Mrs. God
Power Metal 2005
.. Album Cover
0.00 | 0 ratings
Light the Universe
Power Metal 2006
.. Album Cover
0.00 | 0 ratings
As Long as I Fall
Power Metal 2007
.. Album Cover
3.50 | 1 ratings
Are You Metal?
Power Metal 2010
.. Album Cover
3.50 | 1 ratings
Burning Sun
Power Metal 2012

HELLOWEEN movies (DVD, Blu-Ray or VHS)

.. Album Cover
3.16 | 3 ratings
Helloween - High Live
Power Metal 1997
.. Album Cover
5.00 | 1 ratings
Hellish Videos: The Complete Video Collection
Power Metal 2005

HELLOWEEN Reviews

HELLOWEEN Metal Jukebox

Album · 1999 · Traditional heavy metal
Cover art Buy this album from MMA partners
Vim Fuego
After producing the definitive speed/thrash/pop metal blend in the late 80s, Helloween disappeared into Self-Indulgence Land in the early 90s, taking the best part of 10 years to rediscover the sound their original fans appreciated so much.

And to celebrate the rediscovery, they unleashed their unique sound on some of their favourite pop and rock songs of the past few decades. "Metal Jukebox" is an eclectic little collection, to say the least. The Scorpions' "He's A Woman-She's a Man" and Faith No More's "From Out Of Nowhere" are the two closest tracks to what Helloween are normally about. They stomp along as solid rocking, good fun tracks. From there, the album steps into, well, space.

David Bowie's "Space Oddity" is given a faithful, respectful treatment here. No one does Bowie better than Bowie, but this is about as good as you'll ever hear this song done by anyone else. Andi Deris' voice is not a match for Bowie's but he gives it his best shot without sounding strained. Also having a few decades advantage over the original, in which time production techniques have improved markedly, Markus Grosskopf's wandering basslines bubble their way higher into the mix than on the old classic.

ABBA's "Lay All Your Love On Me" and The Beatles' "All My Loving" are perhaps the furthest removed from the originals, and both are pulled off with great effect- the feel of the originals is kept, while simultaneously being given a kick in the arse. Yep, Helloween still had that ear for great pop tunes, even if they didn't write 'em. And it also shows Paul and John, and Benny and Bjorn, could well have been closet headbangers - these songs translate to a metalled-up sound extremely well.

There are a few more straight rockers, like a fairly decent cover of Jethro Tull's "Locomotive Breath", and "White Room" by Cream, but it is the lesser-known songs which really make this album. The instrumental "Hocus Pocus" by, er... Focus allows Helloween's impressive guitar duo to really let strip, with solid riffing and good old fashioned guitar solos, so often neglected these days.

There are a few other little known gems hidden away here which really set this album up. It could easily have been an exercise in metallic karaoke self-parody, or an utter sycophantic tribute album. It's not. It's a well-established metal band showcasing what they can do and where they came from, and having a lot of fun while they do it.

HELLOWEEN Helloween

EP · 1985 · Speed Metal
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siLLy puPPy
HELLOWEEN debuted with this five track EP the same year as their first full album “Walls Of Jericho” and immediately made an impact on the metal world following in the footsteps of the NWOBHM. While they are indisputably the progenitors of the power metal sub genre, on their first two releases of 1985 they were very much a veritable blend of traditional metal with speedy early thrash leanings. Their sound that would fully take form on the “Seven Keys” albums is actually very close to these two early albums despite the obvious Iron Maiden gallops, Halford type high pitched vocal style and lack of bells and whistles. The band has also stated that it was their intent to keep melodic metal up to speed with the ever changing metal landscape that was seeing early developments of extreme and darkened bands that were slowly losing melodic developments in exchange for atmospheric developments and hypnotic brutality.

The eponymous EP and “Walls Of Jericho” fall into the first phase of HELLOWEEN’s lengthy career of several lineup changes and the only ones to feature Kai Hansen as not only guitarist but also as the vocalist. The only constant member Michael Weikath brings down the house with his most proficient neoclassical shredding skills which brought the band into the new higher energy metal that was developing around this time by taking it a bit further than what the NWOBHM had been dishing out. Markus Grosskopf (bass) and Ingo Schwichtneberg (drums) deliver the instantly addictive rhythm sections that results in a distinct type of rhythmic pattern that gave HELLOWEEN a distinguished drum and bass exchange. The lyrics are perhaps the darkest of the band’s career at this point as they were taking cues from the morbid visions of early Iron Maiden before heading off to the pastures of the unicorn to glean the graces of the fantastical.

While this EP isn’t as recognized as their full studio albums, the tracks on here as of equal caliber to their excellent “Walls Of Jericho” album. There are no repeated tracks as all is original and i simply couldn’t ask for a better way to start a career. All the musicians had developed an original sound and the chemistry between the members is truly stunning. While Kai Hansen may not have proved to be the best of three vocalists that the band had to offer, he certainly more than does the job and offers that rough-and-tumble air to the traditional / thrash metal hybrid that this EP exudes. While this EP may be difficult to find on its own, there is not need to worry because the later expanded version of “Walls Of Jericho” begins with the full EP and even includes “Surprise Track” on the bonus disc which originally only appeared on the picture-LP. Unfortunately it took me a while to realize that the first five tracks actually WERE the EP because they are not marked as such!

HELLOWEEN Better Than Raw

Album · 1998 · Power Metal
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adg211288
Better Than Raw (1998), also known as That Helloween Album with the Saucy Cover (Okay I might have made that up, but if it isn't then why the hell not?) is the eighth full-length album by German power metal act Helloween. It is the band's third album with the Andi Deris (vocals), Michael Weikath (guitars), Roland Grapow (guitars), Markus Grosskopf (bass) and Uli Kusch (drums) line-up. I know a lot of fans still pine for previous singer Michael Kiske but I have to say that this line-up of Helloween was probably the most consistently strong.

I'm not entirely sure what the album title is supposed to refer to, but in musical terms it's not exactly apt, as Better Than Raw actually has more of a raw sound than most power metal acts, especially melodic power metal acts opposed to USPM acts, are typically associated with. The music is not exactly under produced but sound of the guitars is heavier, grittier and overall less polished, especially on a track like Push, the first full song after the symphonic intro piece with a mouthful of a title, Deliberately Limited Preliminary Prelude Period in Z. A very guitar driven and extra aggressive track for Helloween is Push. Deris also delivers some really high register vocals on this one. I'd argue it's almost USPM. The album starts to deliver more of what you'd expect from Helloween after that, but overall Better Than Raw is still one of their heaviest releases. And that's certainly a good thing.

I'd also say it's right up there with their better known albums to be one of their best works. With great tracks such as Push, Falling Higher, Hey Lord!, Midnight Sun and the 8:24 minute Revelation it serves up a lot of highlights. It's a shame that Better Than Raw often seems to get overlooked even when the Andi Deris era of Helloween is being exclusively discussed. It's easily my second favourite with him as the band's vocalist, second only to Gambling with the Devil (2007), which coincidently is another of Helloween's heavier albums. I'd also say it was a massive step up after Master of the Rings (1994) and The Time of the Oath (1996). The more aggressive sound suits them better when Deris is up front in my opinion. They were of course absolutely awesome with Kiske on the two Keeper of the Seven Keys albums (1987/1988), but there's much more to Helloween than those two albums. The Deris era has some real gold too. 5 Stars.

HELLOWEEN Keeper of the Seven Keys: The Legacy

Album · 2005 · Power Metal
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Kingcrimsonprog
In 2005; 18 years after they changed the world of Power Metal forever by releasing their landmark album Keeper Of The Seven Keys Prt 1, the legendary German band Helloween released Keeper Of The Seven Keys: The Legacy… a lengthy double album which pays homage to that classic and its 1988 follow up.

It’s a bit of a strange move however. When people think of Keeper Of The Seven Keys 1 & 2, they usually (rightly or wrongly) think of the unique guitar work of Kai Hansen, the thunderous and unique drumming of Ingo Schwichenberg, and the unique (sensing a theme here?) vocal talents of Michael Kiske. Something about the strange alchemy of the mix of those people’s talents and their coming of age resulted in two of the genre’s most memorable ever releases.

It would make sense, sort of, that after some media people and grumpy long term fans accused the band of losing their way with the down tuned The Dark Ride and the very diverse Rabbit Don’t Come Easy albums, which weren’t to everyone’s taste no matter how good they actually were, that the band might want to recapture that magic and channel something that harkens back to those early albums which everyone enjoys. However; first of all, three fifths of the line-up were out of the picture (arguably the most memorable three members, rightly or wrongly), and secondly the band had done well finding their own sound and style ever since Andi Deris joined the band and reinvigorated them after a short identity crisis. Surely the band hadn’t spent the last decade proving themselves, and making themselves modern and credible as more than just a nostalgia act, to all of a sudden remind everyone of the Keepr era and invite more comparisons, ignite more reunion demands, and generally play down all the good work they’d been doing since Master Of The Rings?

Well; that’s the choice that the band made. So the band, with Andi Deris on vocals, Sascha Gerstner of guitars and now debuting new drummer Daniel Loeb for the first time, attempted to make Keepers music in a new millennium with a new line-up. But wait, weren’t there two Keepers albums? No problem, make it a double album. Oh, wasn’t there a lengthy semi-epic on both those albums? No problem, put one on both discs of this new double album. Wasn’t it not actually a concept album and so difficult to make a sequel to? Well… make a lyrical sequel to the title-track then…and make a the album artwork look like a sequel and its close enough.

Yes, you can see how it looks like a sequel to those records and therefore why it would make fans who’ve been ignoring the band since those glory days check them out once more. I think this was a mistake though. All you’re going to do is make people who think modern Helloween is rubbish come out of the woodwork to say “Modern Helloween is Rubbish! And this isn’t as good as the Keepers albums.” Here’s why: You can do all you want to make it look like a sequel, but it doesn’t actually sound like a sequel. Why not let those people who already jumped ship just stay away, and instead concentrate on all the people who appreciate what you’re doing now and have the album be judged on its own musical merits instead of how it feels compared to an almost two decade old masterpiece made by mostly different people?

You see the frustrating thing about it all is that the worst thing about this album is that very fact. This album is a poor sequel to the Keepers. Its not a Keepers album. Gamma Ray’s Land Of The Free album is about the closest thing anyone has done to the Keepers since (incidentally it was written by Kai Hansesn and had guest vocals from Michael Kiske), and even that was a one-off. It might be unfair to overlook the contributions of Markus Grosskofp and Michael Weikath on the origionals but realistically, it was always the other three guys people talked about the most (again I’ll say, “rightly or wrongly”).

The main reason you’ll read so many negative reviews about this album is down to that fact… it more or less says it is Keepers 3, and it doesn’t sound like Keepers 3, so automatically people will say it has failed, and will more than likely say they don’t like it too.

The thing of it is though…. Keeper Of The Seven Keys The Legacy is a damn good album. It’s a damn good modern Power Metal album with Progressive Metal leanings (like fellow Power Metal heroes Blind Guardian and Stratovarius were already doing at the time). It’s a damn fine Deris era Helloween album. It may not be a good follow-up to Keeper 1 & 2 but it is an excellent follow up to Master Of The Rings and Time Of The Oath.

The album sees the band mixing their happy, pleasant, commercial Power Metal stylings of the recent decade with pianos/choirs/strings/Theremin sounds (all made by a keyboard though), as well as samples, and guest female vocals from Candice Night.

Both discs open up with an ambitious multipart track that’s length runs past 10 minutes, and the rest of the songs are a mixture of everything the band have been doing in the last decade mixed together. You’ll find some riffs that would be at home on Better Than Raw, some solos that sound straight off Master Of The Rings, song structures reminiscent of Rabbit Don’t Come Easy and even the odd beefy mid paced bit here and there that wouldn’t be too out of place on The Dark Ride. This album is really more of a culmination of everything good about the first decade with Deris in the band, rather than a throwback to the 1980s.

Its long, dense, complex and not all that easily digestible on first listen. It might take a bit of persistence to “get” but it is a really rewarding “grower” of an album that rewards repeat listens and has plenty of variety to keep your interest going. Its an album that sounds better a month after you bought it. It sounds better six months after that.

Highlights include the bright and breezy ‘Get It Up,’ the sing-along fun of ‘Silent Rain,’ as well as the fine balance of Prog and straight ahead Melodic Power Metal that is ‘The Invisible Man.’ ‘King For 1000 Years’ is probably the biggest, most interesting and most memorable moment of the record, its chocked full of excellent parts and tells a great little story lyrically.

Overall; if you come to this album expecting anything that sounds like Keeper Of The Seven Keys then prepare to be disappointed, and really, it was a bit of a daft idea for the band to set themselves up in that situation. However, in its own right, on its own merits, judged for what it is and who made it rather than against a peerless classic, ‘The Legacy is a fine collection of catchy, memorable, well-written modern songs that grow on you more with each listen. Basically the only flaws it has are to do with the length making it difficult to get into at first, and the aforementioned sonic difference between it and the Keepers being needlessly highlighted at a point of their career where it should no longer have been an issue.

If you like Deris era Helloween, pick up a copy. If you don’t, stay away. If you are new to the band and have a fresh copy of Keepers part 1 and 2 in your hands and don’t know where to go next… in all honesty I’d say avoid this for at least a year and pick up either Walls Of Jericho, Time Of The Oath or Gamma Ray’s Land Of The Free instead.

HELLOWEEN Pink Bubbles Go Ape

Album · 1991 · Traditional heavy metal
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Kingcrimsonprog
Helloween’s 1991 album Pink Bubbles Go Ape is a difficult album to judge. It has a strange place in the band’s discography and people have very different views on it.

In one way, it is a superbly produced slick melodic Hard Rock album. It features the absolutely phenomenal vocals and drums of Michael Kiske and Ingo Schwitchenberg, two of the genre’s finest ever musicians, both of whom are full of confidence, charisma and personality. It’s a different style than the fan’s wanted or expected, but made by damn talented guys.

On the other hand, it followed up the much beloved Keeper Of The Seven Keys albums and doesn’t live up to the insanely high standards set by those one-of-a-kind (ironic, since there’s two of ‘em) gems. Its good, but its not extra special good, and how can you call it equal without that extra magic?

Then some people complain about the strange titles like “Pink Bubbles Go Ape” and “Heavy Metal Hamsters.” Or the odd album art. Honestly though, the art is by one of the most loved and recognized artist in music-related history, who’ve worked with Led Zeppelin and Pink Floyd; and the music of those two songs is pretty damn good. “Heavy Metal Hamsters” in particular is an album highlight, it’s a fun Power Metal tune almost reminiscent of Gamma Ray’s “Rich And Famous.”

With all that going on, its hard to really judge. It’s a good album, but is it the album people wanted? No. It’s a good album but is it anywhere near as good as what came before? No. Its got elements that people find off-putting, even if I don’t care should I recommend it when I know it annoys so many people? Hmmm…

The difficult thing about this album is that I want to love it on an underdog level (I do have a bit of an over-fondness for the albums in the classic run that are the least popular, like Deep Purple’s Who Do We Think We Are? or Black Sabbath’s Technical Ecstasy) so I worry that’s clouding my objectivity. Are the songs good enough or not? The tracks ‘Kids Of The Century’ ‘Back On The Streets’ and ‘Goin Home’ are all fine melodic Metal songs that have great verses. I’ve already stated ‘Heavy Metal Hamsters’ is great even if the word Hamsters annoys some people. ‘The Chance’ has some great parts too (even if its better on their Live album), even if the synths are a bit too much.

On top of that, for me personally, some of the best material from this era are the B-sides. The version of the album with bonus tracks is rewarding, because tracks like the heavier “Run With The Back” and the very summery and melodic “Shit And Lobster” are pretty great. The oddly named, slow, “Le Hamborgious Walkways” is not what you’d expect from the band who wrote “I’m Alive” and “Ride The Sky” but man, it is a seriously impressive guitar exercise. I think if these were on the original album, and if they were sequenced so the most Keepers-esque material was first, then fans and critics would’ve been a lot more forgiving.

Overall; I wouldn’t feel comfortable making a recommendation either way. I think this album has a lot to offer. I don’t know if it offers the right things though. After this, the band would go even further away from the music fans wanted (Chamelon) and then come back with some of the finest albums of their whole career (Time Of The Oath, Straight Out Of Hell), so fan’s fears that the band would go too far were both founded and unfounded. As I say, this is a tough one to judge, did it signal the end of a great era, or was it a necessary transition so we’d have both Time Of The Oath AND Land Of The Free to enjoy?

HELLOWEEN Movies Reviews

HELLOWEEN Helloween - High Live

Movie · 1997 · Power Metal
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Kingcrimsonprog
High Live is a concert DVD by the legendary German Power Metal band Helloween, recorded in Milan, Italy (and Gerona, Spain) in 1996 on the Time Of The Oath tour.

The main feature is a scorching 84-minute concert, in which an energetic and totally on-form band blast through a lot of material from Master Of The Rings and Time Of The Oath to an enthusiastic crowd. Just going off the performance, this is an absolute 5-star live album.

Songs like “Sole Survivor,” “Before The War” and “Power” sound absolutely blistering here, and I’d highly recommend checking it out on that basis. Andi’s vocals on his own material are absolutely excellent on this release, and Uli’s powerful, understated drumming absolutely kills.

There are a few downsides to the overall product however, such as the picture being a little soft and not the sharpest. The sound is pretty great in one way, and you really get that “live feel,” but you have to turn it up fairly loud for it to become clear, as things can sound a bit muddy on low volumes. Nothing show-destroying though.

The other potential downside is that at the end of some songs, it stops, when they cut to the other concert (eg. from Italy to Spain) and the transition isn’t perfectly smooth, which may interrupt the flow a little. Luckily this never happens in the middle of songs or anything outrageous like that, and for the most part isn’t actually too disruptive.

Apart from that, this is a pretty great main feature all round, and shows the band proving why they are still one of the biggest names in Power Metal. In terms of bonus features: There is a text “History” feature, a discography feature and a photo gallery. All your standard ‘90s DVD extras that don’t add too much really, but look good written on the back of the box.

There is also a five minute “review” feature by Malcome Dome, which is a brief Metal Evolution style history lesson with a mixture of archive footage of the band and talking-head footage of Dome. The dialogue is a bit stiff and the audio is a bit muffled, but as a free extra its still worth a watch.

The track-listing for the main concert is:

1. We Burn 2. Wake Up The Mountain 3. Sole Survivor 4. The Change 5. Why 6. Eagle Fly Free 7. Time Of The Oath 8. Future World 9. Dr. Stein 10. Before The War 11. Mr Ego 12. Power 13. Where The Rain Grows 14. In The Middle Of A Heartbeat 15. Perfect Gentleman 16. Steel Tormentor

Overall; If you like the band, especially if you like the Deris era, then it’s a pretty worthwhile purchase. It shows the band at their Europe-conquering best, dripping with enthusiasm and playing like they mean it. The sound and editing are a tiny bit imperfect, but the band themselves more than make up for it. Comment

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