KING DIAMOND “Abigail” /2LP/

Embroidered bordered woven patch.

80x50mm 

Second re-release of the third full-length album by the legendary Danish Heavy Metal band.
Following the incredible success of his second solo album, and first conceptual undertaking, "Abigail", King Diamond set to work almost immediately on his next extravagant adventure in gothic storytelling with "Them." This time, he inserts himself among the story's characters, which also includes his mother, little sister, a haunted house, and, more unexpectedly, a batty old grandmother whose return from a long stay at the insane asylum (famously announced by "Welcome Home" 's borderline hilarious opening shrieks of "Grandmaaaa!!!") precipitates the supernatural acts of possession, murder, and madness that move this tale forward.
It is the first of two fictional concept albums, the second of these being "Conspiracy".
Also worth noting are the new musical players who had joined the King Diamond band on this outing. After all, the replacement of guitarist Michael Denner and bassist Timi Hansen by Pete Blakk and Hal Patino, respectively, signaled the King's final break with his former band, Mercyful Fate. Tellingly, other than upping the overall camp factor just so, this development had no discernible effect on "Them" 's musical vision as compared to "Abigail", thereby confirming said vision as stemming from King Diamond himself.
Co-songwriter Andy LaRocque once again delivers distinctive, semi-Thrash riffs, majestic harmonies, and searing, inventive solo passages to standout moments like "The Invisible Guests", "Tea", and "Twilight Symphony", but it's small nuances such as the acoustic break in "A Broken Spell" and the oppressive synthesized clavichords heard on "The Accusation Chair" that lend "Them" 's story its satisfyingly complex personality. What's more, overly theatrical numbers like "Mother's Getting Weaker" and "Bye, Bye Missy" take a little more license with their arrangements when incorporating the key words, plot themes, and even distinct character voices necessary to advancing the story line, but usually do so with very little detriment to the musical flow, which is occasionally embellished further by short interludes such as the title cut's symphonic instrumental interlude, and the opening and closing vignettes, "Out from the Asylum" and "Coming Home". As for King Diamond, he takes full advantage of the story's various points of view to try on any number of vocal guises, but overall, he's employing spiraling vocal chorales built upon layers of his instantly recognizable shrill falsettos far more frequently than his lower-register growling style. Ultimately, pundits generally found "Them" just slightly lacking in the face of "Abigail" 's rarely challenged excellence, but consumers ultimately disagreed, buying more copies of "Them" that any other King Diamond album before or after. "Them" has sold over 200,000 copies in North America alone.
Re-edition features three bonus tracks. 180 gram vinyl.
Roadrunner Records/Cargo Records GmbH Germany, 1988/2013 (RRCAR 8785-1). Made in Germany.


Tracklist:

Side A
1. Out From The Asylum
2. Welcome Home 
3. The Invisible Guest
4. Tea
5. Mother`s Getting Weaker
6. Bye, Bye Missy
7. A Broken Spell

Side B
8. The Accusation Chair 
9. "Them"
10. Twilight Symphony
11. Coming Home
Bonus Tracks
12. Phone Call
13. The Invisible Guest (Rehearsal)
14. Bye, Bye Missy (Rehearsal)

First re-release on Picture Disc of the third full-length studio album by the legendary Danish Heavy Metal band.
Following the incredible success of his second solo album, and first conceptual undertaking, "Abigail", King Diamond set to work almost immediately on his next extravagant adventure in gothic storytelling with "Them." This time, he inserts himself among the story's characters, which also includes his mother, little sister, a haunted house, and, more unexpectedly, a batty old grandmother whose return from a long stay at the insane asylum (famously announced by "Welcome Home" 's borderline hilarious opening shrieks of "Grandmaaaa!!!") precipitates the supernatural acts of possession, murder, and madness that move this tale forward.
It is the first of two fictional concept albums, the second of these being "Conspiracy".
Also worth noting are the new musical players who had joined the King Diamond band on this outing. After all, the replacement of guitarist Michael Denner and bassist Timi Hansen by Pete Blakk and Hal Patino, respectively, signaled the King's final break with his former band, Mercyful Fate. Tellingly, other than upping the overall camp factor just so, this development had no discernible effect on "Them" 's musical vision as compared to "Abigail", thereby confirming said vision as stemming from King Diamond himself.
Co-songwriter Andy LaRocque once again delivers distinctive, semi-Thrash riffs, majestic harmonies, and searing, inventive solo passages to standout moments like "The Invisible Guests", "Tea", and "Twilight Symphony", but it's small nuances such as the acoustic break in "A Broken Spell" and the oppressive synthesized clavichords heard on "The Accusation Chair" that lend "Them" 's story its satisfyingly complex personality. What's more, overly theatrical numbers like "Mother's Getting Weaker" and "Bye, Bye Missy" take a little more license with their arrangements when incorporating the key words, plot themes, and even distinct character voices necessary to advancing the story line, but usually do so with very little detriment to the musical flow, which is occasionally embellished further by short interludes such as the title cut's symphonic instrumental interlude, and the opening and closing vignettes, "Out from the Asylum" and "Coming Home". As for King Diamond, he takes full advantage of the story's various points of view to try on any number of vocal guises, but overall, he's employing spiraling vocal chorales built upon layers of his instantly recognizable shrill falsettos far more frequently than his lower-register growling style. Ultimately, pundits generally found "Them" just slightly lacking in the face of "Abigail" 's rarely challenged excellence, but consumers ultimately disagreed, buying more copies of "Them" that any other King Diamond album before or after. "Them" has sold over 200,000 copies in North America alone.
Strictly limited to 2000 copies Collector’s Edition 180 gram Picture Disc.
Metal Blade Records, 1988/2018 (3984-25056-1). Made in USA.


Tracklist:

Side A
1. Out From the Asylum 1:45
2. Welcome Home 4:36
3. The Invisible Guests 5:05
4. Tea 5:15
5. Mother's Getting Weaker 4:02

Side B
6. Bye, Bye, Missy 5:09
7. A Broken Spell 4:08
8. The Accusation Chair 4:21
9. Them 1:57
10. Twilight Symphony 4:09
11. Coming Home 1:12

Total playing time: 41:39 min.

The tenth full-length studio album by the legendary Danish Heavy Metal band.
King Diamond's sequel to his 1987 classic, “Abigail”, unfortunately doesn't recapture much of the magic of the original, but instead continues the consistent but less inspired professionalism of most of his latter-day work. What separates King Diamond's great records from the mediocre ones is not storylines, but songs; his best have memorable melodies, detailed atmospheres, and imagination (listen to the first four or five records for evidence of this). “Abigail II” naturally has all the sonic hallmarks of classic King Diamond and, of course, the music is beautifully executed. 
Metal Blade, 2002 (3984-14379-2). Made in Germany. 


Tracklist:
1. Spare This Life 01:44
2. The Storm 04:22
3. Mansion In Sorrow 03:36
4. Miriam 05:10
5. Little One 04:31
6. Slippery Stairs 05:10
7. The Crypt 04:11
8. Broken Glass 04:13
9. More Than Pain 02:31
10. The Wheelchair 05:19
11. Spirits 04:57
12. Mommy 06:26
13. Sorry Dear 00:54
Total playing time: 53:10 min.

Remastered re-release of the second full-length album by the legendary Danish Horror Heavy Metal band.
80's Black/Dark Metal classic featuring Andy LaRoque on guitar, Mickey Dee (Motörhead) on drums, and the King Diamond himself. Originally released in 1987, “Abigail” established King Diamond as its own entity apart from the Mercyful Fate sound and style. Widely recognized masterpiece, "Abigail" is also unquestionably one of Heavy Metal's greatest concept albums. This is the first concept solo-album by King Diamond.
A passion for dark-themed theatrics had always qualified the work of the man formerly known as Kim Bendix Petersen before this release, and yet his band's debut from two years prior had merely hinted at the conceptual ambitions yet to come. So turn out the houselights, draw the curtains, and listen closely as King Diamond's synthetically altered voice introduces us to the witch Abigail La'Fey (in an obvious tribute to Anton LaVey, founder of the Church of Satan) through her "Funeral". Moments later, proper musical opener "Arrival" introduces the familiar Post-Metal, semi-Thrashing style over which Diamond will narrate his spine-tingling tale of horror, a tale which, in the process, conjures such career-topping compositions as the stunning "A Mansion in Darkness", the surprisingly clever "The Family Ghost", and the quite beautiful acoustics, orchestrations, and sound effects introducing "The 7th Day of July 1777". Ensuing highlights such as "The Possession", the title track, and the epic finale of "Black Horsemen" maintain the pattern of carefully structured lyrics, as they spell out in frightening detail Abigail's terrifying act of possession and demonic rebirth through the hapless leading couple's newborn child. By the time it's all screamed and done, it's safe to say Rosemary's Baby was no more gruesome!
Also of note, musically speaking, ace future Motörhead drummer Mikkey Dee matches incredible versatility and envious power for a command performance here, and one can noticeably hear guitarist Andy LaRocque nudging Diamond's erstwhile Mercyful Fate cohort Michael Denner out of the dual lead guitar equation with his inspired leads (he would soon assume an unchallenged position at the feet of the King's throne). As for the master of dark ceremonies himself, King Diamond, too, takes a quantum leap by subjecting his trademark falsettos to layer upon layer of multi-tracked harmonies, transforming what was previously an acquired taste for some into an overpowering and irresistible self-contained chorus sent straight from the pits of hell. Thanks to all of this, the combined quality of the words and music to be found on "Abigail" make it an exercise in Goth Metal storytelling that remains quite simply nonpareil - among the living, at least.
“Abigail” has a legendary reputation. Visionary, revolutionary, beyond its time, the song is a field of magic powers from every member of the band. Everything is perfected, crafted with the most subtle work. With some god-like drumming and guitar playing with the addition of The King's amazing voice this is a must have for any Metal fan and any fan of complex and theatrical music! King Diamond amazed us with many new and great releases after this album, but no one reached the amount of talent and perfection that can be found in "Abigail"!!
Re-edition features four bonus tracks.
Roadrunner Records, 1987/1997 (RR 8788-2). Made in Germany.


Tracklist:
1. Funeral 01:30
2. Arrival 05:26
3. A Mansion In Darkness 04:34
4. The Family Ghost 04:05
5. The 7th Day Of July 1777 04:50
6. Omens 03:56
7. The Possession 03:26
8. Abigail 04:50
9. Black Horsemen 07:39
Bonus Tracks:
10. Shrine 04:23
11. A Mansion In Darkness (Rough Mix) 04:35
12. The Family Ghost (Rough Mix) 04:09
13. The Possession (Rough Mix) 03:28
Total playing time: 57:00 min.


Samples: http://www.last.fm

First remastered re-release of the fourth full-length album by the legendary Danish Heavy Metal band.
The second part of a story that began on the album "Them".
The old performers' adage about not overstaying one's welcome proved itself timeless and infinitely applicable when King Diamond decided to follow a pair of stunningly successful musical horror stories, 1987's "Abigail" and 1988's "Them", with a third, decidedly flawed episode, 1989's "Conspiracy".
In this sequel to "Them", an adult King returns to the House of Amon to reclaim his rightful place as heir to the house. However, unanswered questions about his sister's death, his mother's involvement with his diabolical therapist, and his own madness all prove to be difficult if not insurmountable obstacles. He makes a deal with "Them" (the unseen antagonists from the album of the same name, part one of the story) to return control of the house to Them in exchange for the chance to see his now-dead sister Missy again. He believes she can help answer some of his questions. An agreement is reached, and Missy returns from the grave nightly to help King uncover some of the mysteries from "Them". As a spirit, however, she cannot save him from the plot against him, try as she may to warn him. His mother and his doctor have conspired to get rid of him permanently in order to inherit the house themselves. While they think they are ultimately successful, the album closes with King's promise to torture and haunt them forever from beyond the grave.
"Conspiracy" is built on the backs of a staggering array of Metallic riffing that could rival anyone else coming out of such a creative European field in 1989. One might struggle to define this album as either Speed/Thrash or Heavy/Power Metal, for surely it contains enough elements of both to qualify it as a hybrid of these and even a touch of Progressive/Speed. You'll hear steadied, rampant triplet rhythms, delirious outbreaks into speed and flair akin to what Randy Rhodes and later Zakk Wylde brought to the Ozzy Osbourne solo camp, flashy and effective lead sequences. King Diamond had been implementing the Blues-based grooves as far back as Mercyful Fate, and certainly we heard a few through "Abigail" and "Them". But with "Conspiracy", they become these emotionally resonant, triumphant bulwarks that instantly exude testosterone.
Once again, King Diamond has created an album that defines Heavy Metal, once again raising the bar for the rest of the genre. This album goes in a more traditional direction with just crushing riff work. As for King's vocals, he never sounded better.
Being more prolific than many bands and creating perfect albums, King Diamond prove that they are real kings of the Metal of 80's!!
Remastered re-edition features two bonus tracks!
Roadrunner Records, 1989/1997/2013 (RR 8787-2). Made in Germany.


Tracklist:
1. At The Graves 8:57
2. Lies 5:05
3. Sleepless Nights 4:23
4. A Visit From The Dead 6:13
5. The Wedding Dream 6:02
6. "Amon" Belongs To "Them" 3:51
7. Something Weird 2:08
8. Victimized 5:21
9. Let It Be Done 1:13
10. Cremation 4:12
Bonus Tracks:
11. At The Graves (Alternate Mix) 7:20
12. Cremation (Live Show Mix) 4:12
Total playing time: 58:57


Samples: http://www.last.fm

Unofficial live album by legendary Danish Heavy Metal band.
Recorded December 1, 2019 at The Wiltern Theatre, Los Angeles, during The Institute North American Tour 2019.
Bootleg, 2019. Unofficial release. First press.


Tracklist:
1. St. Lucifer's Hospital
2. The Candle
3. Behind These Walls
4. Funeral
5. Arrival
6. A Mansion in Darkness
7. Let It Be Done
8. Voodoo
9. Halloween
10. Masquerade of Madness
11. Out from the Asylum
12. Welcome Home
13. The Invisible Guests
14. Sleepless Nights
15. The Lake
16. Burn
17. Black Horsemen

The first compilation mini-album by legendary Danish Heavy Metal band.
The album contains five tracks and an outro, including some rare tracks and B-sides of 12'' singles. "The Lake" ranks as probably the rarest of all King Diamond's tracks. Until this release, it was only available on the limited edition "Halloween" Picture Disc, which quicklly came and disappeared in September '86.
King Diamond adds: “These are not remasters. These are the albums as they were originally done in the old days from the original production masters. They retain all the original dynamics that were captured at the time. It’s very exciting to present these to fans as they were originally released”.
The album cover featured King Diamond with face paint that resembled KISS bassist Gene Simmons' "Demon". Simmons claimed that King's face paint was copyright infringement and sued him. The lawsuit was eventually dropped when King changed his design.
180g Black Vinyl includes download card.
Metal Blade Records GmbH, 1988/2020 (3984-15680-1). Made in Germany.


Tracklist:

Side A
1. Halloween (previously released on "Fatal Portrait", 1986) 04:14
2. Them (previously released on "Them", 1988) 01:58
3. No Presents for Christmas (previously released as A-Side of "No Presents For Christmas" 12" Single, 1985) 04:21

Side B
4. Shrine (previously released as the B-side of "The Family Ghost" 12" Single, 1987) 04:23
5. The Lake (previously released as a B-side of "Halloween" Picture Disc Single, 1986) 04:13
6. Phone Call (previously released as bonus track on CD versions of "Them", 1988) 01:38
 
Total playing time: 20:47 min.