"Walls of Jericho" Album Description:
In the world of heavy metal, the year 1985 marked a significant moment with the release of Helloween's iconic album, "Walls of Jericho." This masterpiece, encapsulated on a 12" vinyl LP, not only laid the foundation for the power metal genre but also etched the German band's name in the history of metal music.
The creation history of "Walls of Jericho" unfolds against the backdrop of a burgeoning European metal scene in the mid-1980s. Helloween, hailing from Hamburg, Germany, was driven by a collective passion for speed and melody. The band's early lineup, featuring Kai Hansen on vocals and guitar, Michael Weikath on guitar, Markus Grosskopf on bass, and Ingo Schwichtenberg on drums, was a powerhouse of musical talent.
Banzai Records, a Canadian record label known for its commitment to heavy metal, played a pivotal role in bringing "Walls of Jericho" to the ears of metal enthusiasts worldwide. The label, recognizing the potential of Helloween's distinctive sound, facilitated the release of the album in vinyl format, a format revered by collectors and audiophiles alike.
The album's title, inspired by the biblical story of the Battle of Jericho, hinted at the band's penchant for exploring historical and mythical themes. Musically, "Walls of Jericho" showcased a fusion of speed and melody, marked by intricate guitar work, thunderous basslines, and relentless drumming. Kai Hansen's vocal prowess added a charismatic dimension to the band's sonic assault.
The vinyl LP, a format synonymous with the golden era of metal, not only served as a medium for the album but also contributed to the overall experience of Helloween's sonic journey. The artwork, featuring the iconic pumpkin-headed mascot, became synonymous with the band's visual identity and was vividly presented on the LP's cover.
Each track on the album, from the anthemic "Ride the Sky" to the epic "Gorgar," showcased Helloween's musical maturity and innovation. The vinyl format, with its analog warmth, allowed listeners to immerse themselves in the nuances of the band's dynamic compositions.
"Walls of Jericho" became a touchstone for the burgeoning power metal movement in Europe, influencing countless bands that followed. The vinyl LP, as a collector's item, remains a cherished artifact for metal enthusiasts, a tangible piece of music history that transcends time.
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Music Genre: German Power Speed Metal
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Album Production information:
The album: "Walls of Jericho" was produced by: Harris Johns
Harris Johns, a legendary producer and sound engineer, gained recognition during his time working with Sodom in the thriving punk and metal scenes. His innovative techniques and dedication shaped some of the most influential records of the era. From groundbreaking collaborations to establishing iconic studios, his contributions remain unmatched.
Learn more about Harris Johns here.
Recorded and mixed in September/October 1985 at Musiclab Studio, Berlin, Germany.
Album Cover
design by Uwe Karczewski
Uwe Karczewski – German graphic artist (album cover designer)The name in the credits that explains why your eyes stay on the sleeve longer than they should. Read more... Uwe Karczewski, I notice him the same way I notice a good riff: not immediately, then suddenly I can’t unsee it. I’ve had nights where the record is already playing and I’m still stuck under a desk lamp, turning the cover like it’s evidence. That’s the Karczewski effect—1980s heavy metal fantasy art that doesn’t politely “support” the music, it shoves it forward. His best-known stretch is tied to Helloween’s early era, with cover credits in the 1985–1988 run: the Helloween EP (1985), Walls of Jericho (1985), Keeper of the Seven Keys: Part I (1987) and ...Part II (1988). And then he shows up again on Iron Angel—Hellish Crossfire (1985) and Winds of War (1988)—because apparently the 80s still needed more fire and steel on cardboard. Some cover art just sits there. His stuff kind of stares back. Uwe Karczewski Wiki
Recording engineer: Harris Johns
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Record Label & Catalognr:
Banzai Records BRC 1966
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Packaging:
This album comes in a non-Gatefold cover and includes the 12" Banzai Records Catalogue insert,
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Media Format:
12" Vinyl Full-Length Stereo LP Gramophone Record
Album weight: 230 gram
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Year & Country:
1985 Made in Canada
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Band Members and Musicians on: Helloween Walls of Jericho Banzai
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Band-members, Musicians and Performers
- Kai Hansen
- Kai Hansen – Vocals, Guitars
Kai Hansen always shows up before I’m ready, like a starting pistol firing behind the sofa while the coffee is still cooling. Read more... Kai Hansen feels less like a traditional frontman and more like a force that leans too far forward and drags the band with him. In the early Helloween years, guitars came first and vocals followed almost by necessity, from 1984 through the late ’80s when everything still felt fast, risky, and unfinished. When he left in 1989 it wasn’t drama, just impatience in motion. Gamma Ray didn’t slow anything down; it doubled the pressure, speed with a grin that still had teeth. These songs don’t stroll or explain themselves. They shove, they dare, and they expect you to keep up.
- Michael Weikath
- Guitars
- Michael Weikath – Guitar
I keep him filed under “sunlight with a switchblade.” The kind of guitarist who makes a chorus feel friendly right up until it knocks your drink over. Read more... Michael Weikath is Hamburg-born and stubbornly melodic, and I mean that as a compliment and a warning. I’ve heard plenty of fast guitar players. He’s one of the few who sounds like he’s arguing for the hook. Not begging. Arguing. Back when I was still judging bands by how quickly they could light up a cheap club PA, his trail starts in 1978 with Powerfool—kids with amps and ambition, basically, the classic “we’ll sleep later” setup. Then he slides into the early Helloween gravity in 1982, when things are still half-formed and hungry, before the band plants the official flag in 1984 and starts turning Hamburg sweat into something the whole world eventually copies. What I like about Weikath is the discipline. The riffs don’t wander off to show off. They march. They steer the song, they herd the chorus into place, and they don’t apologize for being bright. Some metal people act allergic to joy—like a melody will ruin their leather. Weikath never got that memo, and thank God. His playing keeps saying: you can be fast, sharp, and still sing. And if that bothers you… that’s kind of the point. Michael Weikath Wiki
- Markus Grosskopf - Bass
- Markus Grosskopf – Bass
Some bassists “hold it down.” Grosskopf drags the whole band forward by the belt. You feel it in your ribs before you can even name it. Read more... Markus Grosskopf is Hamburg through and through, and I mean the practical kind of Hamburg: show up, plug in, make it work. Born in 1965 and active since 1978, he’s the founding Helloween bassist who makes speed feel organized—like somebody finally put the chaos on a timetable. The part I always grin at is how unglamorous it starts. He’s a kid with a bass because the room needs one, and suddenly he’s bashing through punky stuff in a space that probably smells like cables and bad decisions. Then he goes looking for something heavier and lands in Kai Hansen’s band Second Hell, right before that early Helloween crew locks in with Michael Weikath and the name becomes official in 1984. I’ve got a dumb little ritual: grey morning, coffee going cold, I throw on an early cut just to check whether the bottom end still feels like steel. It does. Grosskopf doesn’t “support” the guitars—he keeps them honest. And by 1990, when he’s also involved with Mr. Prooster, you can already tell he’s the type who won’t sit still just because the main band is rolling.
- Ingo Schwichtenberg
- Ingo Schwichtenberg – Drums
He didn’t just keep time. He grabbed it by the collar and yanked it into the spotlight—still grinning. “Mr. Smile” wasn’t a marketing trick. It was the face you got even when the tempo was trying to run away. Read more... Ingo Schwichtenberg is the founding Helloween drummer I think of when people romanticize “the early days” but forget the work. Hamburg bred, active from 1978 to 1993, he played like the kit was a moving vehicle and he’d rather steer than sit politely in the back. That kick wasn’t decoration. It was a decision. Before Helloween was official in 1984, he’d already been grinding through the local trenches with bands like Gentry and Iron Fist—those pre-fame rooms where the air is warm, the amps are cheap, and nobody cares about your “image,” only whether you can hold the song together when everything else gets loud. He learned the hard way. You can hear it. From 1984 until 1993 he’s the engine behind Helloween’s first era, and I’ll be honest: I prefer that urgency to a lot of the later, shinier perfection. He hits like he means it, but he doesn’t smear the music—he snaps it into place. Fast, clean, a little dangerous. The kind of drumming that makes you stand closer to the speakers even though you know you shouldn’t.
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