HELLOWEEN - WALLS OF JERICHO Germany incl Lyrics Sleeve 12" Vinyl LP Album

Helloween's 1985 release, 'Walls of Jericho,' epitomized the birth of power metal. Crafted by guitarist Kai Hansen and vocalist Michael Weikath, the album melded speed, melody, and fantasy-themed lyrics. Its impact reverberated, influencing the genre's trajectory. This iconic work remains a cornerstone in the evolution of power metal, leaving an indelible mark on heavy metal history. This web-page has hi-res photos of the album covers, record label and a detailed description.

"Walls of Jericho" Album Description:

In the vast tapestry of heavy metal history, certain albums stand out as pivotal, carving a distinct niche within the genre. Helloween's "Walls of Jericho," released in 1985, is undoubtedly one such landmark. This expository article delves into the creation history of this seminal album, tracing its roots, impact, and subsequent evolution within the realm of power metal.

Genesis of "Walls of Jericho"

Helloween, a German power metal band formed in 1984, embarked on a musical journey that would redefine the landscape of the genre. The genesis of "Walls of Jericho" can be traced back to the creative forces within the band, notably guitarist Kai Hansen and vocalist Michael Weikath. Drawing inspiration from traditional heavy metal and injecting a newfound intensity, they set out to create an album that would resonate with the evolving tastes of metal enthusiasts.

The recording sessions, held in 1985, encapsulated the raw energy and passion that defined the early days of power metal. The band's commitment to pushing musical boundaries is evident in the intricate guitar work, soaring vocals, and dynamic drumming that permeate the album.

Musical Landscape and Influences

"Walls of Jericho" emerged at a crucial juncture in the metal landscape. The mid-1980s witnessed the rise of various subgenres, and Helloween found themselves at the forefront of the burgeoning power metal movement. Influenced by the likes of Judas Priest and Iron Maiden, the band infused their own brand of speed and melody, setting the stage for the distinctive power metal sound that would flourish in subsequent years.

The album's lyrical themes, often rooted in fantasy and mythology, added an extra layer of depth to the musical experience. Songs like "Ride the Sky" and "Phantoms of Death" showcased not only the band's technical prowess but also their ability to craft narrative-driven compositions.

Music Genre:

Power Speed Thrash Metal

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

Notes on the production team of this album:

Record Label & Catalognr:

Noise International N 0032 / LC 9066

Media Format:

12" Vinyl Full-length LP Gramophone Record
Album weight: 210 gram

Year & Country:

1985 Made in Germany

Band Members and Musicians on: Helloween Walls of Jericho

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.
Kai Hansen Wiki
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.
Markus Grosskopf Wiki
Ingo Schwichtenberg - Drums
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.
Ingo Schwichtenberg Wiki