The warning signs had been there for a couple of years. Following the tours to promote the Keepers 1 album, Hansen had asked the band to take a break from live gigs, feeling that the intense period of two and a half years of non-stop touring and recording was beginning to get overbearing. However, the record company and other members of the band were unwilling to this this given the momentum that the band had gained and wanted to continue to strike while the iron was hot. This was a topic that continued to raise its head over the next 18 months, along with other driving concerns from Hansen which not only included the direction that their music may be heading in the future but also the current contact the band was under with their record company and whether or not the band was now getting its fair share of the pie. Hansen growing disillusion with the situation came out very publicly in his song “I Want Out”, one that remains one of the bands best known tracks. In an interview in 2017 on his return to the band, Hansen was quoted, "It was a statement, yeah. It wasn't just wanting out of the band, it was a general thing relating to everything that was going on: poor management, other people telling us where to be and what to do, never-ending internal discussions… I just wanted to rock."
Despite the continued rise of the band, including playing at the Monsters of Rock festival, supporting Iron Maiden on their Seventh Tour of a Seventh Tour, and then touring the US, Kai had finally reached the end of his tether. He announced to the band that he was leaving Helloween, with the news confirmed in January 1989.
All this left Hansen at a fork in the road. With the opportunity to now start afresh once again, to have his own management and record contract, Kai went about finding like minded musicians to be a part of a new project. Kai also performed on two tracks Of Blind Guardian’s sophomore album “Follow the Blind”, providing vocals and guitar on the track “Valhalla” and a guitar solo on “Hall of the King”. His first port of call following this was longtime friend and former lead singer of the band Tyran Pace, Ralf Scheepers. Scheepers had the vocal range and energy that suited the kind of band that Hansen was going to look to construct. While Kai had no intention of creating a band that was a carbon copy of Helloween, there was no doubt that his new project was always going to have that type of sound anyway, given he had been such a heavy contributor to his previous band’s songwriting – that wasn’t something that was going to change just because he had left the band. With Scheepers on board Kai then brought in Uwe Wessel to play bass guitar and Mathias Burchardt on drums and complete the band lineup that would record the first album of his new project.
All that was needed now was a name of the project. Hanson’s record company wanted the project to just simply be a Kai Hansen solo project under his name, but Kai was having none of it. This project was a new band, not a solo outing. It is endemic of the situation that Kai still found himself in, that his record company, on the original release of the vinyl for this album, actually had an outer sleeve put over the cover, a plain light grey that proclaimed loudly “Kai Hansen – Heading for Tomorrow” and ignoring the actual band name. At the very least, it meant that when you removed that outer sleeve, you could actually witness the actual album cover, with the name of the band Gamma Ray emblazoned upon it, and both Kai and Ralf looking into the distance – no doubt “Heading for Tomorrow”.
Despite the fact that Kai was forthright that this was going to be a band and not a solo project, he still provides the writing of eight of the nine tracks on the album, the other coming from Ralf. But that doesn’t take away from the band aspect. It was always going to Kai heavy to start with, as he was the one who had left his previous band and was the main man when it came to this first album following that. At this point in time, there was also no second guitarist (something that was rectified by the time the band went on tour) so he played all of the guitars on the debut album, along with backing vocals as he had done on the last two Helloween albums. In support of Ralf’s soaring tones, it was a perfect starting point for the new band. The album was recorded over a four-month period, with demos being finessed into songs, and lyrics being coerced into vocals when Ralf and Kai were able to find time to be in the studio together. There was no rush from the band as they made sure that everything was in place for their first outing together.
What came together over the nine tracks showed a combination of the old and the new. The so-called ‘happy guitars’ that had proliferated Helloween’s albums with Kai and Michael on guitar continued here, with Kai utilising that technique in several of the songs of the album. It also had the instrumental opener that had been a part of those Helloween albums, and the epic closing track with the grandiose length and style. All of this could be seen to be similar to Kai’s previous band, but there is a change in the style of those songs as well, that showcase this is just one writer’s vision.
The opening of “Welcome” immediately breeds a familiarity, an opening composition that announces the arrival of the album, and that the show is about to begin. From this the opening track proper bursts forth with a cascade of the fast paced riffing that fans would have expected from this new project, and the rolling of drums crashes into the convergence of all instruments, and then Ralf comes alive with his vocals that also immediately showcase what he brings to the table. “Lust for Life” is the song that flies out of the speakers at you with those great vocals sprouting positive lyrics - “Let us fly away, let us praise the days, when the lust for life is stronger than the fear, though we shiver and shake and we sometimes need a break, it's the lust for life that never disappears.” Great guitars, double kick drums. Everything peaks to set the album off in style. This segues straight into “Heaven Can Wait” which continues with the same themes. Kai is pushing hard when it comes to the pressure he was under in leaving Helloween and starting up again on this track, with lyrics like - “Some little angel tries to tell me that it's over, it's just a bad reflection from above, the load upon my shoulder makes me stronger, even bolder, Oh no no, I haven't had enough.” Kai’s happy guitars light up this track as well, and Ralf’s passionate exuberance in singing the vocals again make this a great song, while proving that although the style of songs on this album have their genesis in his previous band that this really is an album that stands on its own merit already.
Having said that, the follow up of “Space Eater” is lyrically a challenge to decipher exactly where Kai is going. Is this a metaphor for something? Is it a theme of outer space and aliens? Is it referring to something else entirely? I confess I don’t know, but I still love this song, especially the riff that runs through the final minute to the outro of the songs, the melody there is perfect and heavier than it is given credit for. It sounds better when played live. “Money” jumps back into happy mode, despite the fact that Kai is obviously referencing former management and record company people who are only interested in fleecing as much of it as they can while keeping their artists on the line. It was to be a theme that would crop up occasionally through Kai’s career, but the lyrics here on “Money” are upfront about his own morals - “I don't need no money, I will stick to my ideals, you better get some money, you better get yourself a deal, I won't change my habits, and I throw it all away, No, no, you better keep it all together for another day.” The song itself rocks along in true speed metal fashion, with Burchardt’s hard hitting drums driving Uwe’s bass and Kai’s guitar to faster pace throughout.
“The Silence” is the one song from this era that seems to have stuck in the setlist throughout the band’s existence, and is Kai’s first delving into a world that he eventually reimagined into a concept that the band developed into two albums further down the track. It is a song with moving parts, from light, quiet and introspective moments and then diving into a heavier outcourse of guitars and drums that reintroduce a similarity. It’s an epic song in composition and offers a point of difference from the other songs on the album. The status quo is returned with “Hold Your Ground”, which charges back into the light on the back of Burchardt’s double time drums and Ralf’s screaming vocals and a great solo from Kai in the middle of the song. Once again Kai’s lyrics are looking for the average to person to “Hold your ground, or tomorrow it will be taken” which can be interpreted as further language he is using to highlight the troubled years he has just lived through. Then comes Ralf’s “Free Time”, which is more in tune with the opening to the album, the positive lyrical outlook that is a highlight of this album. There’s no hidden agendas here, just Ralf explaining how much he loves to have free time – like all of us! And those lyrics speak volumes - “How happy life could be without any work, there ain't no doubt we're gonna have a party, til Monday morning, no one can disturb.” and “Free time is one of the things that I love, free time is one of the things I enjoy. free time - - - we want more!”. I’ll raise my glass to that Ralf!
The album concludes with the magisterial epic of the title track “Heading for Tomorrow”. Clocking in at 14:30 minutes, it encompasses every aspect of this band’s strengths – awesome vocals from Ralf, heavy riffage, melodic moodiness, a ready-made crowd chant in the middle of the song to draw in the punters at the live gigs, and an anthemic conclusion. Kai in Helloween had been a party to amazing album closers - “How Many Tears”, “Helloween” and “Keeper of the Seven Keys” - and no doubt he had decided all along that he would need a similar grand conclusion to his first album with his new band. The rise and fall of platitudes of the track, weaving in and out of pure metal to atmospheric silences and then crashing back into the heart of the song, makes for a fabulous end to this album. Surely a risky take on your debut opus with a new band. But it works on all levels and is still just magnificent.
I was devastated when I found out Kai Hansen was leaving Helloween. I had just spent 18 months falling in love with the band, playing their first EP and three full length albums over and over perpetually. I had come to find a single love of Kai’s guitar and solo’s, his songwriting, and his vocals on the EP and the “Walls of Jericho” album. He had grabbed me with both hands – and now he was leaving, and I feared the band would never be the same again. That feeling proved to be accurate, for so many reasons.
So I began to wonder just what he would do. And eventually, in Hot Metal magazine, it was announced that he had a new album and a new band coming out, and I was excited beyond belief. And I still remember the day I was walking through and searching the racks of Utopia Records in their original storefront in the Challis Arcade of Martin Place in Sydney, and I found this album on vinyl, with the aforementioned sleeve proclaiming it was Kai Hansen and not Gamma Ray. Stuff that, who cares! The purchase was made, and i spent another many long hours waiting until my friend group and I headed for home so I could put it on my stereo. And from the very first time I put the needle on the vinyl, this album had grabbed me. The instrumental opening of “Welcome”, the speed and screech of “Lust for Life”, the flow into “Heaven Can Wait”, the majesty of “Space Eater”. These opening tracks blew away any doubts I had that Kai could reproduce the brilliance that he had had in Helloween. In Ralf Scheepers he had a vocalist who could hit the notes at both ends of the spectrum. As a songwriter, there was never any doubt about Kai’s quality, and his new band performs those songs superbly. The 'happy guitars' that were prevalent in Helloween are just as much so here, enhanced by the keyboards in the background as well. It is just one of the things makes this album a joy, because the mood is up and lively, not down and dark in any way.
The other motivating factor in keeping the mood and feeling of the album so positive, and what I so love about it, are the themes of the majority of the songs. Every band has certain ways they like to approach song writing and what they want to sing about, and the messages on “Heading for Tomorrow” are brilliant. “Money” preaches that there is more to life than being rich, and that money doesn't necessarily bring happiness. “Free Time” is simply about wanting to spend time with your family and friends and not feel like you are working your life away – something I can relate to fully. “Lust for Life” begins the album with much the same message – get out and enjoy your life and not get bogged down in drama. These are just simple themes but put together here in song in a genre of music that doesn’t necessarily have those themes attached to it in many people's minds makes this a positive change.
For me, the only song I have slight doubts about is “The Silence”, which is amusing in a way because it is the one song they still have in their live set today. It isn't a bad song, and it does sound much better live than it does here, but it has always been one of those Gamma Ray songs that has bugged me, and there aren't many of them! It does kick in once you reach the solo section, but you have to get there first. For whatever reason, the structure of the song nags me. It doesn’t stop me bouncing along with the songs when I listen to the album, but I’ve never been able to understand why THIS song has stuck in the live set list for so long in front of so many other great tracks.
You know what? I get that people listening to this album today may think that it has dated, or that it has always been tied to the era, and that it may not be as wonderful as I think it is or have built it up to be here. I can understand that, not only from the band itself at that time but also in listening to this album again this past month. And of course, those thoughts are valid for the individual in that respect. But for me, it has barely lost anything over the years. I have spoken about “The Silence” and how that song has never really worked for me, despite it still being in the setlist 35 years later. I know people find songs like “Money” and “Free Time” a little childish, but it is the positive message behind both those songs that I think makes them great songs to this day. “Heaven Can Wait” is the same, while “Space Eater” and “Lust for Life” are super tracks. The overall upbeat positive aspect of the lyrics, backed up by the light, happy guitars of the music is the hallmark of this album, and what was to drive the band Gamma Ray from this point on. While their songwriting became more complex and intricate, while their lyrics became more compelling and interesting, all of it came on the base set up by this album.
I lost my original copy of this album in the flood of 2001 but have had copies of the CD and the 25th Anniversary remastered release on CD as well. And then last year on his journey through Europe, my Vinyl Procurement Officer found an original copy of this album replete with outer sleeve, and bought it for me to compete my vinyl collection once again. And, it still sounds great on vinyl, something I have confirmed over a dozen times in the past week. And every time I have listened to it, it takes me back to those heady days of 1990, in a new job that gave me money to buy albums and go to gigs, and reminds not only of this album but of the wonderful albums I was to experience that were released in that year. By the time this album was released, Kai Hansen had reached a higher plane for me when it came to favourite musicians and artists. This album was the beginning of what has become a lifelong love affair with the band Gamma Ray, one that continues as strongly today as it was when I first bought this album.
After all this, perhaps it will surprise you that of Gamma Ray’s eleven studio albums, this ranks only at #10. But believe me, this is only an indication of the brilliance of the albums that follow this rather than any comment on this album’s credentials. I can still put this on at any time and enjoy the hell out f it. And I have for the past couple of weeks. And I will again.
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