It’s as if Helloween decided to combine NWOBHM’s cliché dual-guitar leads and speed metal’s penchant for lots of melodic solos and see how far they could take it. This album is indeed a major step in metal history. "I'm Alive" was our introduction to Kiske's vocals, which seem like a natural blend of Geoff Tate and Bruce Dickinson's higher pitch, but also our introduction to the newer, 'cleaner' Helloween. And what’s more, I had the pleasure to enjoy the things Kai Hansen does with Gamma Ray (two birds in the hand). "A Tale That Wasn't Right" is the ballad of the album which is extremely refreshing after three heavy songs before it. This relatively short album starts with an intro called “Initiation” which serves as an invitation summoning us all to another realm of musical exploration. Following it would naturally be insanely difficult. This similarity in the voice style seems a bit coincidental however, as both of these singers shared the same influences, and both had a bit of vocal training. Next comes the true masterpiece of the album "Halloween", an operatic-fast-progressive-emotional power metal hymn raving over 13 minutes (which never gets long nor tiresome). The band resolves to split it into two parts and that's how this first opus saw the light of day on May, 23rd, 1987, an album that marks the real turning point of the band, coming from a heavy/speed metal sound with some melodies to what we would call later power metal. "Future World" follows, which is the most famous of the tracks, a heavy metal anthem, played in mid-tempo, comprising of one of the best twin-guitar solos of the album and vocals varying from low tempo to really high-pitched. In the department of lyrics, Helloween are bit different from most of their metal contemporaries in that at this point (Keeper's of Jericho, in my opinion, was not a power metal album and should be treated separately from the rest of Helloween's work) they have a good amount of humor in their material and a pleasant sense of satire. The answer was yes, big time yes, “Keeper of the Seven Keys” is one hundred percent about fighting and killing the devil. "A Little Time" has a more moderate pace than the former, and while it doesn't reach the epicness of the opener, it's still has a nice catchy chorus and some ballsy riffs. Of course some sections could have been slightly heavier guitarwise but that’s about all I can think of. It is the first album with new and current drummer Dani Löble and a continuation to their 1987 and 1988 albums Keeper of the Seven Keys, Parts I … Sure, it’s still rather stale, but after inhaling raw sewage fumes for the last two tracks it might as well be the smell of sizzling bacon. One of the first things to note about this album is that it is not very long in total duration. The soli even take sometimes a disproportionate place compared to the length of the other instrumental parts, such as the one in "I'm Alive", made up in several parts showing several techniques, that reminds "Ride the Sky" from the previous album. Though he has very few weak moments, songs like Halloween, I'm Alive, and A Tale That Wasn't Right showcases his insane talent level behind the mic at its best. And oh god, after those last two songs, “Halloween”, the best song on the album, is just a breath of fresh air. The intro is again deceptive, even managing to sound a bit ominous. This is not a long album, being just over 35 minutes long, and while sometimes it might just pass by in a hypersonic blur, this succinct shortness is perhaps Keeper's biggest strength. Anyway, I'm not a huge power metal guy but this album is consistent and fun. Of course, "Halloween" is the fucking uber-song on here. I’ve had the album for years and listened to it countless times (in the background, anyway) and somehow my subconscious managed to protect me from understanding the lyrics until much more recently. One of my favorites. 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). By combining the influences mentioned above together with very fast drumming, high pitched vocals, melodic and technical riffs with fabulous twin-guitar solos, Helloween achieved to lay the foundations for Power/Speed metal, as it is known today. Helloween have moved onto bigger and better things since, but there's no denying that Keeper of the Seven Keys holds some classic tunes. De tekst is beschikbaar onder de licentie. This is a true story of a young nurse Nadine, who came to work in a state mental institution in California. The production? In fact, I would argue that the NWOBHM exists today mostly in the Power Metal genre, though they took the speed of Motorhead (rather than Lemmy's raw vocals) and the quasi-operatic vocals of Dickinson and Halford. But surprise! There is virtually nothing you can complain about with the song, save for the sketchy lyrics which don't look like they have much to do with each other. 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. The aforementioned Halloween, a 13 minute long track, is quite possibly the best song the band has ever written, with only Keeper of the Seven Keys even remotely close. However, he is beginning to show a bit more technicality. This album was their first effort with their new singer and by god did it leave in an impact. Anyway, after a short yet bombastic intro with some synth pads in the background, comes the first song, "I'm Alive". “Phantom of the Opera” this isn’t. With thirteen minutes and eighteen seconds, this was Helloween’s first epic, and it is in my eyes the best. All in all, this classic record has some very great tracks that are the reason for its popularity. In 1987, the band released the first half, Keeper of the Seven Keys Pt 1. The riffs sound good, but I enjoy the lead guitar work a lot more. Unsurprisingly, superb melodic leads can be found all throughout the album. Alas, Helloween had none of those things. The song is very dark and sparse, and lines are delivered primarily in an emotionless monotone. This thing fairly sparkles, even the dour parts seeming to be delivered with a wry grin. No matter how short it may be for me this whole album would have been a bit lacking in its course without this little opening instrumental track. 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. No matter how simple the framework of the compositions may seem, they are enshrouded in a pulse of power undiscoverable in any previous work of metal before. Regardless, “Keeper of the Seven Keys Part One” deserves its classic recognition, and in spite of a couple of less brightly shining stars among the sky, Helloween’s second album remains an excellent staple for epic, cheese-infused listening. Momentum is sustained and built upon, the songs cycling and building with a neoclassical intricacy. I know, this is metal, and I’ll be the first to say that lyrics are far from the most important part of a metal album, but these are just unpardonably bad. His dream team now in place, Weikath, with Hansen, starts working on this much-vaunted project of a double-album dealing with fantasy stories, the "Keeper of the Seven Keys". With the likes of Future World and A Tale That Wasn't Right, Kiske proves that he can be relied on to carry a song vocally. Of course, this influence is felt more than ever in this song with its thirteen minutes of melodic speed/power metal. You may read tons of various views as to the first power metal album ever, but it’s hard to deny that Helloween are the actual founder of a genre we all came to know as modern power metal. Anyway, rather than try to trim it down and release one regular album, they instead decided to split it into two relatively small amounts of material and pump them up. His voice has always imparted me an air of innocence only found in ones childhood memories. Even after a quarter of a century so many power bands’ merits are gauged by these two inimitable pieces of music and many more are after a kinship to them in one way or another. Where can we start? I highly recommend this one along with “…Part II” of course. Marcus Grosskopf's finger style bass work is quite impressive, but seems a bit more Geezer Butler influenced rather than Steve Harris or Joey Demaio inspired. Ass. Created from past life to perform illicit function The song is beautiful. The heavy "A Little Time" comes next with another catchy chorus and sound effects, while the vocals range from emotional low tone ones to high pitched screams. His vocals here are incomparable, and this is obvious on basically every single song on the album. Keeper Part I suffers from three major flaws. Michael brought some influences that included more melody and classic rock. He has one of those voices that just draws you in and makes you pay attention, never getting bored. “Digger” was what Grave Digger temporarily changed their name to in an ill-conceived attempt to score some commercial success, and yes, you’re not hallucinating; that is indeed a robot humanoid duck wearing a beret and sunglasses. I - man/machine imperfection From Wikipedia, the free encyclopedia Keeper of the Seven Keys: Part I is the second studio album by German power metal band Helloween, released in 1987. Kicking off with a worthless intro piece that slowly edges into the careening "I'm Alive," Keeper... wastes no time in getting right to the meat and potatoes of the whole thing. Are crying 'Attack!' They were the first capture of genuine power metal atmosphere whose source of vast richness have had an unparalleled influence on the domain of metal music, becoming symbols of musical transition and marking the advent of a new distinctive direction in heavy metal music. I’m so used to it I cannot complain. They also do that annoying thing that a lot of German albums do at the beginning where they play a fragment of a totally unrelated song (see Blind Guardian’s first for another example). It’s the same case here with me and his voice. Dit is het eerste album van het Duitse Helloween met zanger Michael Kiske, aangezien de voormalige zanger Kai Hansen het gitaarspel en de zang niet goed kon combineren. 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. Of course, the previous stuff had crappy production, but then at least the raw energy made up for it. 1 | Karaoke Remix Vol. Love it or hate it, it’s likely you already have an idea of what the genre’s all about. At the opposite, in "Twilight of the Gods", we have an amazing, blasting solo, that goes very well with the super epic ambience of the song. Come to think of it, maybe that's my main gripe with this one. Taking a closer look at the song, looking at the tabs, we can notice several changes of tempo and rhythmic signatures. Keeper part 1 is easily an album worth your time, it's a genre defining album for a reason. Keeper of the Seven Keys Part 1がヘヴィーメタルストアでいつでもお買い得。当日お急ぎ便対象商品は、当日お届け可能です。アマゾン配送商品は、通常配送無料（一部除く）。 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). Power metal wasn't inevitably born with this album, it is always difficult to tell when a genre is created, but this Keeper of the Seven Keys is often considered to be the album that gave prestige to this metal sub-genre, much more than Walls of Jericho in any cases.

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