HELLOWEEN — Keeper of the Seven Keys Part II (review)

HELLOWEEN — Keeper of the Seven Keys Part II album cover Album · 1988 · Power Metal Buy this album from MMA partners
4.5/5 ·
Vim Fuego
Say you’re a German heavy metal band, and in 1987, you released an album called “Keeper of the Seven Keys Part 1”. It is a melodic metal tour de force, spawning the band’s debut single, garnering great critical acclaim, and racking up immense praise from fans. What do you do next? Simple. You release “Keeper of the Seven Keys Part 2”, and completely blitz the previous album.

Helloween intended to release the two “Keeper of the Seven Keys” albums as a double album, but the band’s record company forced them to split the release. It hardly matters now, because no self-respecting Helloween fan would be without both albums. However, it made “Keeper of the Seven Keys Part 1” seem a little silly, because the title track wasn’t on it. The record company interference has also long been thought to be a key factor behind Kai Hansen’s departure from the band after this album’s release.

Helloween were often unfairly compared to Iron Maiden during their early career. The similarities were pretty superficial. Yes, both bands had two guitarists, a great singer, an ear for melody, and a penchant for crafting epic masterpiece songs. But that’s where the similarities end. For anyone whose ears aren’t painted on, it’s quite obvious both bands play different styles of metal. Iron Maiden redefined what was meant by heavy metal, taking Judas Priest’s British steel and Black Sabbath’s never say die attitude to new heights. Helloween, heavily influenced by The Scorpions’ animal magnetism, injected melody into thrash metal like no other band before them.

Some of these songs are among the greatest examples of melodic thrash you will ever hear. Yes, this style of metal now gets the label power metal, but back in 1988, it was still called thrash. The brief instrumental “Invitation”, a bombastic military march, replete with brass, and an angelic choir, leads into the muscular main riff of “Eagle Fly Free”, and the album is off and running! The choppy rhythms of Hansen and Michael Weikath are driven by drummer Ingo Schwichtenberg’s double kick drum barrage and Marcus Grosskopf’s virtuoso bass. Over it, Michael Kiske weaves an allegoric tale, with a soaring eagle chorus.

“Rise and Fall” follows the same formula, except the chorus is even more magnificent, more sing-a-long-able, and Kiske hits some glorious high notes. “Dr Stein” was released as the album’s first single, and on the surface seems like a song about Dr Frankenstein. A closer examination of the lyrics however, reveals a more political theme. Musically, it is a cheerful, bouncy thrash/power-pop song, and even offers a pipe organ break Dr Phibes would be proud of. “We Got the Right” changes the pace somewhat, a driving, serious power ballad with stratospheric vocals.

For some strange reason, Helloween seem quite adept at writing memorable songs, but their titles are far from inspiring. “You Always Walk Alone” is a great song, with incredibly strong vocal melodies, a variety of very different guitar solos, and a stunning percussion performance by Schwichtenberg, but has such a forgettable, bland title. “March of Time” and “Save Us” all suffer similar fates- damn fine songs, but ditch-water dull titles.

The Kai Hansen penned “I Want Out” was the album’s second single, and to this day, remains Helloween’s biggest and possibly best song. The opening riff is instantly recognisable. The chanted chorus is powerful, and the refrain of “I want out/to live my life and to be free” speaks volumes to so many people on so many levels about so many situations. It could have been speaking of the political situation of the still divided Germany, to a teen weighed down by the angst of his age, a prisoner or slave desiring freedom, or perhaps Kai Hansen’s desire to untie himself from the band.

So how do you follow a career defining single? With a career defining saga of course! The scope of the multi-faceted, near-14-minute fantasy “Keeper of the Seven Keys” rivals Iron Maiden’s “Rime of the Ancient Mariner” (there’s that comparison again!) for scope, if not quite for execution or composition. While somewhat shorter than Lord of the Rings, it is a tale of travels and treasure, and demons and deception. Whether it is to be taken at face value or there is a deeper meaning, it’s a ripping yarn told in song.

And what do you follow that with? Well, depending on the version of the album you have, either contemplative silence, which leaves you wanting to replay the album again, or “Save Us”. While not a bad song in itself, probably the closest to a conventional thrash song on offer, it doesn’t work at the end of the album, seeming like a tacked on left-over, or a Japanese b-side. It is neither, originally being the seventh song on the album. It has been stuck there in one of those unfathomable decisions made when the album was remastered.

“Keeper of the Seven Keys Part 2” marked the end of an era for Helloween. Founding member Kai Hansen left the band soon after its release, and forged a successful career with his own band Gamma Ray. Helloween also abandoned the fantasy driven melodic thrash the band had pioneered, instead committing near career suicide with the post-modern silliness of “Pink Bubbles Go Ape”, and the radio rock infused “Chameleon”, before returning to their power metal roots. The Keeper of the Seven Keys legend was eventually revisited in 2005 with “Keeper of the Seven Keys: The Legacy”, but the band has never quite recaptured the magic. It matters not, because “Keeper of the Seven Keys Part 2” still exists, and expecting Helloween to better it is the definition of insanity.
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Vim Fuego wrote:
more than 2 years ago
It wasn't actually on the original vinyl version at all, but it was on the other formats.
Unitron wrote:
more than 2 years ago
Didn't know that about Save Us originally being the seventh track on the album. It's always been one of my favorites, but it does make more sense as the seventh track rather than the last song.


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