| | Helloween Gambling With The Devil CD Helloween Discography of CDs
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The unprecedented worldwide success of multinational British-based power metallers DragonForce has cast an unexpected light upon German speed metal trailblazers Helloween. Perhaps the first band to convincingly combine thrash metal intensity with the melody and majestic imagery of the NWOBHM, and by extension the blueprint upon which DragonForce based their "extreme power metal" style, Helloween were a heavy metal institution, but one that had very much fallen by the wayside upon the departure of classic-era singer Michael Kiske and founder/guitarist Kai Hansen in the mid-'90s. Singer Andi Deris has been a permanent fixture ever since, but the band has found stable lineups difficult to come by, and the quality of material has been equally inconsistent. Following 2005's Keeper of The Seven Keys: The Legacy, on which the band attempted to revive the style of their mid-'80s classics, Gambling with the Devil is a little more calculated. The appearance of Saxon mainstay Biff Byford on the intro track "Crack the Riddle" is all too foreboding, however: for all its enthusiasm, Gambling with the Devil is unbending, inelastic, and indulgent heavy metal. Far from offering something new to the genre, Gambling with the Devil's progressive elements act as a smoke screen for a genuine lack of ideas, typified in no small measure by the dull extended interlude wedged in the middle of otherwise wonderful ballad "Fallen to Pieces." Gambling with the Devil may satisfy the diehards, but new entrants would be well advised to stick to the earlier material. ~ Dave Donnelly
Special Edition
Helloween: Andi Deris (vocals); Michael Weikath, Sascha Gerstner (guitar); Markus Grosskopf (bass guitar); Dani Loble (drums).
Kerrang (Magazine) (p.48) - "If you've ever wondered where European power metal came from, then look no further....[They are] kings of epic, melodic bombast." Gambling With The Devil Music Helloween Gambling With The Devil Songs Gambling With The Devil Music Gambling With The Devil Music Review Average Rating: (4.5 out of 5 stars)   Another killer album from Helloween!
Saw this tour and drove 8 1/2 hours to Mokena, ILL. Met both bands and the show was amazing! This album is full of catchy metal biting mayhem! Why not take the ride and gamble your soul with the devil?
Enjoi!
Submitted by openyourmindent (Jerrod D. Kansas City, Missouri) 
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 Back to There best
This album is like being reacquainted with an old friend.
This is how I remember Helloween, with their style, speed, & rhythm. Songs that really stood out for me on this album “kill it”, “paint a new world” , “The seven bells of the 7th hell”, “IME” and “dreambound”. And then I was starting to wind down, coming to the end of the album, I was thinking that as the last song, it would be mediocre at best, given that it is the end of the album and all, I was mistaken.
The last song, “Heaven tells no lies” comes out of nowhere to give a slap in the face and I believe that this is the reason it was left until last, then you will have this song stuck in your head, long after listening to the album.
This album has so many “in-your-face” tracks, and is for all those Helloween fans that have been waiting for the original “style & sound” to return.
If you are taking the time to listen to some great Helloween, this one won’t disappoint! If you haven’t heard them before, this is a good album to start with.
Submitted by PumpkinHead (Canberra - Australia)
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Purchase Gambling With The Devil CD To buy, Click on price to add to cart | Helloween Dark Ride CD (2000) Bonus CD
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The follow-up to what was arguably Helloween's finest album, KEEPER OF THE SEVEN KEYS PART 1, finds the German power-metal pioneers in something of a holding pattern. While PART 2 doesn't match the glory of its predecessor, it still represents Helloween as one of Europe's ...
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Helloween followed up their very popular self-titled mini-LP with 1986's even more accomplished Walls of Jericho, a disc that saw the quartet from Hamburg, Germany, outperforming expectations and quickly defining their sonic identity. The instrumental title track soon gives way to amazingly mature and complex compositions like "Ride the Sky," "Phantoms of Death," and the awesome "How Many Tears" (even more ambitious 13-minute epics would soon follow). And although these were heavily reliant on Iron Maiden for inspiration, it was Helloween's speed ...
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Despite the difficulties that had plagued them in recent years (including inconsistent albums, constant lineup changes, and even the suicide of founding drummer Ingo Schwichtenberg), German power metal kings Helloween had been gradually finding their way back to the glory of their early days with each succeeding release. And with their seventh album, 1996's The Time of the Oath, they pretty much arrived, delivering their best collection of songs in almost a decade and never straying from their patented Euro-metal formula. Come on, Helloween pretty much invented this stuff, and the hundreds of disciples they inspired into existence simply couldn't be wrong -- this was still an important band. The Time of the Oath adds nearly nothing new to the group's well-established sound (quasi-thrash riffing, harmony guitars, piercing chorused vocals), yet -- for the first time in years -- they manage to steer clear of the pop-metal pitfalls, corny lyrics, and forced comedy that had sunk them in the first place. Melodic moshers like "We Burn," "Steel Tormentor," and the title track lead the way, but even occasional digressions ...
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Since his early days with the pop-rap group Digable Planets, pianist Peter Delano's excursion into modern jazz has been full of rainbows and potholes. A handful of recordings for the Verve label were issued, with ensuing time spent studying at Columbia University. In 2004, a severe and near fatal spinal injury left Delano unable to play piano. Well before the affliction, this CD was recorded in 1996, but never released. Delano's maturity as a modern contemporary pianist is clearly evident, as he weaves wondrous golden post-bop messages of sonic substance. His fluidity and acumen are formidable, his ideas overflowing but not overbearing. On his three featured tracks, tenor saxophonist Dewey Redman's post-John Coltrane sound brings his vintage and progressive notions to bear, while losing none of the original voice he made so precious. Three standards with just the trio are all started slowly then ramped up, including a careful approach integrated into a bass walking take of "For All We Know," and an expected regretful piano during "Everytime We Say Goodbye," eleven minutes of stretched out discourse displaying the refined interpretive powers of Delano. Redman (who died in 2006, ten years after this date) joins on the sad, overpatient ballad "Too Long to Wait"; he's focused and reserved, but not lacking emotional depth for "Zoning," and works the effortless, slight tune "Sound Spirits" to a polished sheen. Delano offers advanced phrasings on the hard bopper "Inner Limits," showing his love of Chick Corea-cum-Bud Powell, as a flawless performer who can zoom along in supersonic fashion, but whose musicianship is more than just chops. The waltz "Summer Song" is where Delano asserts himself on a wistful level ...
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One thing about most hair metal bands of the '80s -- they were not necessarily known to be "proficient" at their respective instruments. But one such group from the genre that certainly had the chops to back up their pretty boy looks was Europe, which prove this theory once again on their 2008 live CD, Almost Unplugged (which was issued ...
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