MERCYFUL FATE “In The Shadows” /CD/

Embroidered bordered woven patch.

80x50mm 

The second re-release of the second full-length studio album by legendary Danish 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 three bonus tracks. 180 gram gatefold vinyl.
Roadrunner Records/Cargo Records GmbH Germany, 1987/2013 (RRCAR 8788-1). Made in Germany.


Tracklist:

LP 1

Side A
1. Funeral 
2. Arrival
3. A Mansion In Darkness

Side B
4. The Family Ghost
5. The 7thday Of July 1777
6. Omens

LP 2

Side A
1. The Possession
2. Abigail
3. Black Horsemen
4. Shrine

Side B
5. A Mansion In Darkness (Rough Mix)
6. The Family Ghost (Rough Mix)
7. The Possession (Rough Mix)

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)

The first re-release on Picture Disc of the third full-length studio album by 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 first European re-release of the fourth full-length studio album by 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 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 80s!!
180g black vinyl features MP3 download code.
Metal Blade Records, 1989/2020 (3984-15678-1). Made in Germany.


Tracklist:

Side A
1. At The Graves 8:56
2. Sleepless Nights 5:01
3. Lies 4:19
4. A Visit From The Dead 6:11

Side B
1. The Wedding Dream 6:00
2. "Amon" Belongs To "Them" 3:49
3. Something Weird 2:03
4. Victimized 5:19
5. Let It Be Done 1:11
6. Cremation 4:09

Total playing time: 47:25 min.



Samples: https://kingdiamond.bandcamp.com

The first official re-release of the debut EP by legendary Danish Heavy Metal band.
It is also known as "Nuns Have No Fun", a split mini-album with Danish band Evil.
Although they eventually re-formed in the early '90s and went on to release a number of very decent albums, it was during the first three years of their career, from 1982-1984, that Denmark's seminal Mercyful Fate laid down the songs that would be remembered as their true legend and legacy. In fact, few would contest the fact that the band's first two albums, 1983's "Melissa" and 1984's "Don't Break The Oath", remain mandatory listening for any self-respecting Metalhead. Mostly forgotten among such praise, yet almost as important, however, was the band's eponymous 1982 EP. 
EP contains four tracks at 45 RPM effort, which was recorded and mixed at Stone Studio in Roosendaal, Netherlands, in September 1982, in two days. Originally, it was released by the independent label Rave-On Records on November 8, 1982. On 5 June 2020, for the first time, it was officially re-released on CD through Metal Blade Records.
King Diamond comments: "It's not a remaster. It's an album from the original production masters, which was originally done in the old days. It retains all the original dynamics that were captured at the time".
180 gram Black Vinyl includes MP3 Download Card.
Metal Blade Records, 1982/2020 (3984-15703-1). Made in Germany.


Tracklist:

Side A
1. A Corpse Without Soul 6:53
2. Nuns Have No Fun 4:17

Side B
3. Doomed By The Living Dead 5:06
4. Devil Eyes 5:48

Total playing time: 22:04 min.

The second re-release of the seventh full-length studio album by legendary Danish Heavy Metal band.
Mercyful Fate's last studio album before their twenty-year hiatus from 1999 to 2019.
"9" has a sound far more akin to 80s Thrash Metal than classic Mercyful Fate releases. Furthermore, the songs have been made shorter and much faster, again emitting a strong Thrash Metal vibe. This stylistic change works in favour of "9" and gives it a distinct identity, separating the album from every preceding release.
Although atmosphere has always been a key component of Mercyful Fate releases, no album has ever utilized atmosphere as well as "9" has. The album has the darkest, most disturbing atmosphere of any Mercyful Fate album, arguably even mores than "Don’t Break The Oath" or the band’s self-titled EP. The intense atmosphere found on each and every song derives from the album’s lyrics and production. "9" sees the return of Satanic and occult-themed lyrics, which had been mostly absent since the release of "Time" in 1994. While this style of lyricism was never completely abandoned, the fact that lyrics revolving around demons and Hell are back in full-swing adds another layer of darkness and evil to the album.
Like its predecessor, the sound quality on "9" has been intentionally worsened to achieve an effect, similar to bands of the Black Metal persuasion. As a result, the vocals sound muddy and the guitar tone is distorted and raw. Although the poor production adds to the haunting atmosphere the band was clearly trying to achieve, it nevertheless hurts the overall sound of the band in the long run. The loudness of the guitars often overpower the other instruments, and the muddiness of the vocals make King Diamond sound weaker than ever. In addition, the vocals are typically buried in the background while guitars blare in the foreground, occasionally rendering King Diamond’s vocals completely unintelligible. Luckily, the guitarists end up being the album’s saving grace. Unlike the previous album, Shermann’s riffs never cease to be interesting, and are usually the catchiest parts of every song. Wead’s shredding during guitar solos make songs more intense and compliment Diamond’s shrieks and falsetto wails. Although Mercyful Fate are clearly not at the top of their game during this album, the guitarists are typically able to make up for most of the band’s shortcomings. Although the messy sound quality works well with the songs’ Satanic lyrics, it ends up hurting the album in the long run.
When deciding how they should handle "9", Mercyful Fate most likely found themselves in an awkward place. Keeping their sound the same by sticking to their trite, overused formula would have proved disastrous, as it would have no doubt been a reiteration of "Dead Again", their least successful album. However, a return to form would have been laughable, as Denner was vital to their classic sound and most members of the band have lost most of their former glory. With that being said, "9" was an excellent way of finding middle ground. Despite its shortcomings, the album is a solid effort which proved that Mercyful Fate were still creative masterminds so many years into their career.
180-gram black vinyl includes large two-sided poster.
Metal Blade Records, 1999/2016/2022 (3984-25029-1). Made in Germany. Re-press.


Tracklist:

Side 1
1. Church Of Saint Anne 4:44
2. Last Rites 4:12
3. Hold My Soul 5:04
4. House On the Hill 3:43
5. Burn in Hell 3:49

Side 2
6. The Grave 4:09
7. Insane 3:01
8. Kiss the Demon 3:53
9. Buried Alive 4:41
10. 9 4:29

Total playing time: 41:45 min.



Samples: https://mercyfulfate.bandcamp.com

The fourth full-length studio album by 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 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 80s!!
Roadrunner Records/Polskie Nagrania Muza, 1990 (SX 2895). Made in Poland. Used (cover/disc): VG+/EX-.


Tracklist:

SIDE A
1. At The Graves 8:56
2. Sleepless Nights 5:01
3. Lies    4:19
4. A Visit From The Dead 6:11

SIDE B
5. The Wedding Dream 6:00
6. " Amon " Belongs To " Them "    3:49
7. Something Weird 2:03
8. Victimized 5:19
9. Let It Be Done 1:11
10. Cremation 4:09

Total playing time: 46:58 min.


Samples: www.kingdiamond.bandcamp.com