The title says it all, really.
The German power metal pioneers in Helloween really sent heads spinning with their 1991 effort Pink Bubbles Go Ape; a ridiculously titled album of otherwise excellent—if perhaps a bit more rock influenced—Helloween tunes.
Indeed, although much maligned by fans and detractors alike, the album—Helloween’s first with axeman Roland Grapow—has aged surprisingly well, holding many secrets for the band’s bravest devotees to uncover…if given the proper attention.
The real sticking point for Helloween’s otherwise loyal fanbase is probably the fact that Pink Bubbles Go Ape—besides being atrociously titled, of course—followed up the band’s epic, two part Keeper of the Seven Keys tale, with both Keepers albums residing high ‘n mighty amongst the most premier power metal efforts of the day.
Whereas said Keepers LPs—much like the band’s Walls of Jericho debut in 1985—set a new benchmark for speedy, melodic, dual guitar metal mayhem, the guitar work of founding guitarist Michael Weikath and his new partner Grapow is markedly more restrained on Pink Bubbles Go Ape. Despite blasting out of the gates—after a quick, acoustic title track—with twin barner-burners “Kids of the Century” and “Back On the Streets,” Pink Bubbles never really sets it sights on speed metal, instead pushing for an up-tempo, aggressive rock/metal sound; a style which, surprisingly enough, would be echoed on such Andi Deris-led LPs as 1994’s Master of the Rings and 2003’s similarly poor-titled Rabbit Don’t Come Easy.
Of course, we would be remiss mentioning Helloween’s current frontman without making quite the big deal regarding the band’s most enduring, iconic singer, one Michael Kiske. Although the German powerhouse would first carve their name in the metal world whilst fronted by fellow founding guitarist Kai Hansen—who would eventually go on to form the power metal stalwarts Gamma Ray—it was the Keepers period with Kiske at the helm which would cement most fans’ depiction of the ‘classic’ Helloween lineup, rounded out by Weikath, bassist Markus Grosskoph and drummer Ingo Swichtenberg, who would sadly take his own life four years after the release of Pink Bubbles.
Much had been made at this point in the band’s career of Kiske’s growing distaste for what he would perceive as heavy metal’s ‘negative’ lyrical and societal clichés. As a result, the overall concept of Pink Bubbles Go Ape tends to stray quite far from typical thrash trappings of death, war and destruction, focusing instead on more positive life aspects of love, friendship and spirituality. Kiske would even poke fun at the metal industry itself in the song “Heavy Metal Hamsters,” which depicts days in the life of a common heavy metal band; puppets for their record label, as well as the expectations of their fanbase.
The track, song title aside, works fantastically well in the album context; a straight ahead and heavy rocker which balances Helloween’s patented energy with the growing dynamics present within Kiske’s piercing wail. Indeed, no track on Pink Bubbles presents the amazing vocal work of Michael Kiske better than late album killer “The Chance;” an undisputed classic Helloween killer which often makes fan ‘best of’ lists to this very day. This track, alongside such undeniably memorable fare as “Goin’ Home” and the moody, mid-tempo “Number One,” would certify Pink Bubbles Go Ape as yet another solid Helloween effort…a ‘grower,’ perhaps, but no less killer than the band’s iconic, early work with Hansen.
Elsewhere, the album’s closing ballad “Your Turn,” provides touching lyricism and surprisingly poignancy from Kiske, who, prior to Pink Bubbles Go Ape, had been known primarily as a ‘traditional’ metal singer in the mold of Halford, Dickinson or Tate. Instead, Pink Bubbles Go Ape boldly blazes a trail for the singer away from also ran status into a new, unique role of his own; one which remains a sticky point with fans who wish for Kiske to fully embrace his metal past.
Regardless of this fact, Pink Bubbles Go Ape—as well as its even more metal-removed follow-up, Chameleon—serve as unique entries into the Helloween canon; a ‘love it or hate it’ proposition which certainly drew a stylistic line in the sand between Kiske and his bandmates. Although Helloween would eventually part ways with Kiske and explore more traditionally ‘happy, happy Helloween’ focused metal material with ex-Pink Cream 69 singer Andi Deris—best exemplified on 1996’s Time of the Oath and its ’98 follow-up Better Than Raw—their recorded output with still active singer remains essential listening for anyone remotely interested in power metal as an artform.
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