Do Helloween Get The Credit They Deserve?

When we think of thrash metal, we think of certain things. The “Big Four” of Anthrax, Metallica, Slayer and Megadeth. We may also think of album covers that feature skulls…

…or demons…

…lead singers who dress like monks…

…albeit there were worse ways to dress in the eighties…

Back in 1985 however, it wasn’t just US bands that were playing metal. Across the U.K. and Europe there was a new movement of bands, not all thrash, but many inspired by Maiden and Priest rather than Led Zep and Deep Purple, and supported by publications such as Metal Forces and by record shops such as Shades. Germany had Helloween and Accept, Holland had Helloise, Sweden had Candlemass and even the most neutral of countries, Switzerland, had Celtic Frost who were being lauded as “the new Black Sabbath.”

In 1985 a German heavy metal album was released, titled “Walls Of Jericho”.

Pleasingly the album cover not only featured a skull, but one which belonged to a demon. 

It started with a brief instrumental orchestral theme, as many such heavy metal albums did back then, albeit this one took the melody from “London Bridge is Falling Down”. This reference to Jericho clearly betrayed someone in the band had been paying attention at Sunday school. It swiftly moved on to a blistering track that evoked classic “Unleashed In The East” era Judas Priest: all machine gun riffs, twin lead guitars leaping all over each other like excited puppies, constant and maniacal tub-thumping and (keeping up the canine theme for a moment) vocals pitched somewhere in the range between “very high” and “dog-whistle”. 

Whilst the vocals weren’t the greatest, the track was a belter and called itself “Ride The Sky”. The accompanying album was more than decent, with tunes like “How Many Tears” and “Victim of Fate”. It wasn’t perfect: elsewhere there was little troubling of the brain to be found with song titles like “Heavy Metal Is The Law”. But it was good. More than good. And the band that recorded it called themselves Helloween. 

It sold modestly, as many such heavy metal albums did back then, but as an early example of European speed metal it was a cut above many of its peers. 

Undaunted by the lack of attention, within two years the same band hired themselves a tall, blond eighteen year old vocalist called Michael Kiske. Guitarist/vocalist Kai Hansen stepped back to focus solely on guitar, and they presented a new album called “The Keeper of the Seven Keys”, which, in keeping with the custom of the day, had a demon dressed as a monk on the cover.

Kiske’s presence achieved two things. 

Firstly, he was a much better singer than Hansen, and secondly he allowed Hansen greater freedom on guitar. The album was a revelation, with a thirteen minute epic track at it’s heart called “Halloween”, which on the face of it appeared to be about the Big Pumpkin, a demon figure hitherto much overlooked in the realms of metal generally. The song is also one of very few songs in any genre to refer to both Charlie Brown and Linus in the same verse. You don’t get that in your Sodom or Bathory albums. Or Taylor Swift, for that matter.

(Almost) more importantly than references to Peanuts characters, it carried a sound that was new, and which appealed to different camps of metal fans.

Back in 1987, the emergence of Metallica and Anthrax had divided some rock fans. The fresh sound of thrash excited many, but there were still those who felt the emphasis on speed came at the expense of melody and “feel”. Rock papers like Kerrang! frequently carried letters debating both sides of the argument.

What the dissenters – typically older fans – needed was a halfway house…something to get them used to the time changes and harsh riffage of thrash metal, but which also had the melody of traditional Maiden/Priest-style metal.

Helloween’s new album finessed the early promise of the first record, added better vocals and produced exactly this sound. A new sub-genre was born, which later became known as Power Metal. 

Helloween became the “thrash” metal band that those who disliked the genre found themselves liking. Before long, these fans had got used to the faster style and they began buying Metallica and Anthrax albums. The Helloween album acted as an accessible gateway to the thrashier bands, helping acceptance of the movement more generally.

Helloween themselves became highly popular amongst metal fans. Keeper of the Seven Keys sold 20,000 copies in the U.K. on import. Halloween signed to Iron Maiden’s management. They sold out Hammersmith Odeon after an appearance at Monsters of Rock in 1988 at Castle Donington, opening a bill that saw Guns n Roses, Megadeth, David Lee Roth, Kiss and Iron Maiden follow. Their follow up, Keeper of the Seven Keys part 2 (they had originally intended to release a double album) hit the UK top 30 albums and single Doctor Stein reached the lofty heights of #57, with the band having unsuccessfully attempted to get Ade Edmonson to direct the video. They even planned to float 7,777 balloons over the Berlin Wall into East Germany, all carrying cassettes with extracts of the LP, a stunt that was thwarted by the authorities…

If ever there was a band that was poised to rival the commercial success of the “big four” of thrash it was Helloween.

So why do we not talk about Helloween in the same way we do about Metallica? 

First, the tag of “Thrash Metal” still bemused the band. In April 1989 Helloween toured America with Anthrax and Exodus on an MTV sponsored “Headbanger’s Ball” and Kiske reflected at the time “I can see why it made sense for us to get involved with MTV but I really don’t think we fit this bill at all. We’re playing our hardest songs every night, but we’re not thrash.”

Secondly, and more crucially, in 1989 Kai Hansen left the band, and his departure subsequently led to the release of a follow up album which sadly will go down in history as one of the most disappointing follow up albums by any band, ever. It remains genuinely, shockingly poor, a pale shadow of what had gone before. 

What was extraordinary about 1991’s “Pink Bubbles Go Ape” was that the album was even worse than the title, with songs like “Heavy Metal Hamsters” and “I’m Doing Fine Crazy Man” living up to their titles. Without reaching too far into the world of racial stereotypes it fulfills every worst fear you may hold about a German heavy metal “comedy” album. We can only be grateful that one song in particular was held back from the album purely based on name alone. It carried the title “Sh*t and Lobster”.

The album put an immediate halt to the band’s upward trajectory. Then grunge happened, and that was that. 

Over the past twenty-odd years, away from the pressures of commercial success, Helloween have continued to release albums with some receiving decent critical praise. 

Looking back at the first few records however, it is perhaps the debut that now sounds the least dated. Everything that was good about Helloween was right there at the start in songs like “How Many Tears” and that early promise was fulfilled on the follow up album. Their sound was retrospectively identified as Power Metal, but as Billy Joel once said about his favourite black metal bands, “It’s All Rock and Roll To Me”…





17 responses to “Do Helloween Get The Credit They Deserve?”

  1. MemoryLane Avatar

    An interesting commentary on Helloween, I remember the first three albums well and did own them all. With Helloween it’s impossible not to draw comparisons between them and Iron Maiden, albeit Helloween are a touch heavier / louder – however you want to describe their sound. They are none the less an interesting band, I never went beyond the Keeper of the Seven Keys albums which from the sound of it was a good thing! By the time the later albums surfaced, I’d moved into the world of heavier thrashier outfits such as Tankard, Kreator, Napalm Death et al. One thing I do remember well in reference to your comments relating to magazines of that time was that Metal Hammer and Kerrang! were very dubious about the thrash genre, versus Metal Forces which was full on for Thrash. Personally I’m now waiting for the next full on ‘metal evolution’ we’ve had pop punk / nu metal bands – all good, got rid of a fair few metal cliches there. So what’s round the corner? Or maybe we’re already in the next evolution and it’s slipped me by as someone who doesn’t follow the music scene closely these days.

    Liked by 2 people

  2. Matti Avatar

    Noise Records were a very interesting outfit in the 80s, releasing some cutting-edge records, not least Keeper of the 7 Keys. Bands like Sabbat, VoiVod, Celtic Frost and Helloween all produced some great music while on the label. It was also great to see reference in this fine article to the dearly missed Metal Forces who – in my mind anyway – were light years ahead of Kerrang when it came to featuring new genres of emerging music such as thrash/death metal and crossover (as well as AOR and glam rock, of course). From the eclectic album reviews to the demo tape section to the tape-traders/penpals contact page Metal Forces were arguably the most important conduit for underground music in the UK for much of the 80s. We are all looking forward to the forthcoming Metal Forces article Steve!

    Liked by 1 person

  3. Simon Avatar

    I remember Kerrang! running a “John and Janet of metal” feature which basically took the piss out of a lot of thrash bands. Bands they later lauded as saviours of the metal genre (Voivod, Celtic Frost etc). Metal Forces were well ahead of the game, as they had the excellent demos section, which introduced me and my friends to many great bands some of which are still recording today.
    I saw Helloween on their Keeper of the seven keys part 1 tour. I think outside of the “Big four”, many of the early thrash bands were second division at best. I’d say Helloween at that point were pushing for a play off place (if you pardon the football analogy).
    Wasn’t the “London Bridge is falling down” piece on their first mini LP? And wasn’t it a reference to the movie Halloween 3 (season of the witch)?

    Liked by 1 person

  4. keepsmealive Avatar

    Thank you for this. It’s a band I’ve heard OF but never checked out. Now I just might!

    Liked by 2 people

  5. John Sturm Avatar
    John Sturm

    LOVE Helloween….. although never heard anything past Keeper Part 2. It’s interesting that the ‘thrash’ tag is used with them as, to me, they are very much filed under “melodic” in my mental musical rolodex. Thinking about it now, there certainly are thrashy stuff shot through both the albums… interesting stuff. I think Helloween never got their dues. A great band (at that era) with singable choruses, bang you head heaviness and a flair for engaging visuals (album/single artwork etc).

    Liked by 1 person

    1. Every Record Tells A Story Avatar

      I did like the cartoon pumpkin theme they used.

      Liked by 1 person

  6. e-record fair Avatar

    Helloween are still a great band, but back in the 80’s they were among the top 5 European Metal bands. “Pink Bubbles … ” was a massive destruction.



    In a lot of ways that we might not always consider, metal music in general is as big today as it ever was. Maybe even bigger. The 1990s were a rough period for most of the ‘genre-defining’ bands of the previous decade. Many bands folded, but many forged ahead. Some changed their sounds up to survive the trends, but many gave the the industry the proverbial middle finger. One of which was, of course, Helloween. They’ve continued their tradition of creating melodic power anthems, some of which are arguably their most accomplished to date. Only a big fan of the first three releases myself, I absolutely respect their contribution and fortitude. And they’re not alone by any stretch. Metal is such a dominant presence that the words ‘heavy metal’ now better represent a subgenre that’s marked by musical and sonic characteristics introduced in the late-’70s/1980s. Now, the genre of ‘metal’ is essentially a blanket term. It’s an umbrella under which numerous persuasions — like thrash, doom, speed, death, black, tech, industrial, alternative, sludge, noise, groove, stoner, power, folk, melodic, etc. — all exist and are accordingly differentiated by the genre’s rabidly enthusiastic and ever-growing hordes of fans.

    Liked by 2 people

  8. Dave Reynolds Avatar
    Dave Reynolds

    Nice to see some praise for ‘Metal Forces’, a publication in which the terms ‘Thrash Metal’ and ‘Death Metal’ (not to mention Metal that was ‘Beyond Death’) were first coined. Dave Constable was the man responsible who, coincidentally, also propelled Candlemass to infamy as the band’s manager.
    With regards to Helloween, I got flown out to Hamburg with the late, great photographer Ray Palmer to do a piece on Helloween for ‘Kerrang!’ prior to the release of ‘Pink Bubbles..’ I recall having a really fascinating conversation off the record with Michael Kiske. The drummer, Ingo Schwichtenberg was a really good guy too and I was extremely saddened a few years later to learn that he had taken his own life (in 1995). He had parted ways with Helloween in ’93.

    Liked by 1 person

    1. Every Record Tells A Story Avatar

      Yes, I heard about Ingo – a great shame. I’d be interested in your theories about why Pink Bubbles was so dire (assuming you agree with my view of that album)…


  9. Dave Reynolds Avatar
    Dave Reynolds

    I really think that Sanctuary Management should’ve had a word with them and insisted that calling the album ‘Pink Bubbles’ and having a song entitled ‘Heavy Metal Hamsters’ weren’t particularly great ideas. I’ll have to dig the feature out to recall what the band had to say about it all, but it was always going to be tough for them after that.
    The songs were pretty good live, I seem to remember though.

    Liked by 1 person

    1. mountaincoward Avatar

      I actually love Pink Bubbles now (didn’t for the first few plays) and ‘Hamsters’ is great fun. I think we just need to bear in mind that they’re out to have fun and so will have songs with silly lyrics and I think those songs fit them well.

      Liked by 1 person

  10. Flossensauger Avatar

    Me, as a Kraut who has seen Helloween in 1986 first time live, thinks it was the fight between Noise Records owner Karl Uwe Waltersbach (Helloweens old record label) and EMI / Rod Smallwood (the new one), that killed Helloweens career. In my honest opinion the record was done by the band that worse to get rid of the business isuees and then record the “real” record, which was never done.


  11. mountaincoward Avatar

    I love Helloween, especially live but it’s surprising how few of their albums I actually like all the way through (or, often, even halfway through). But the good stuff is BRILLIANT! I’m working backwards through their back catalogue and just can’t stop playing ‘Jericho’ – it’s a blinding album all the way through and I actually love Kai’s singing (as well as his playing). To me, when Kai left, they started to deteriorate – I’d have loved to have seen them back with Kai in London but it wasn’t to be unfortunately.

    The other thing I can’t stop playing is their cover version of Focus’ ‘Hocus Pocus’ – they have so much fun with that one and you can’t help grinning and having fun too!

    Liked by 1 person

  12. Vinylom Avatar

    They were a great band back then. Kiske was and still is a great singer. They made a couple of great albums with Deris. Time of the Oath is a great album.

    Liked by 1 person

  13. 14 Best German Metal Bands Of All Time - Xttrawave Avatar

    […] Do Helloween Get The Credit They Deserve? […]


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