12"

Re-release the seventh full-length studio album by legedary British Heavy/Speed Metal band.
Recorded on the island of Ibiza with multiple distractions, glorious sunshine, and extremely low cost alcohol, this album was regarded with mixed feelings because it was different from what people expected. The album was nearly all spontaneously written and performed in Ibiza - it was an experiment in the sense that before this we had already written the majority of the songs before going into the studio.
The album got Silver status in UK and Gold in USA.
180g vinyl. Issued with a printed inner sleeve with lyrics and a mp3 download voucher.
Sony Music Entertainment UK Ltd./Columbia, 1981/2017 (88985390851). Made in France.


Tracklist:

Side A (OTHE SIDE)
1. Heading Out To The Highway 3:45
2. Don't Go 3:17
3. Hot Rockin' 3:13
4. Turning Circles 3:40
5. Desert Plains 4:36

Side B (THIS SIDE)
6. Solar Angels 4:02
7. You Say Yes 3:30
8. All The Way 3:40
9. Troubleshooter 3:47
10. On The Run 3:42

Total playing time: 37:12 min.

The second live album by the legendary British Heavy/Speed Metal band.
Recorded during the Judas Priest World Tour 1986.
CBS Records, 1987 (CBS 450639 1). Made in Holland. First press. 2x OIS. Used (cover/disc 1/disc 2): VG+/VG+/VG+


Tracklist:

SIDE 1
1. Out In The Cold 6:49
2. Heading Out To The Highway    4:56
3. Metal Gods    4:07
4. Breaking The Law 2:49

SIDE 2
5. Love Bites    5:27
6. Some Heads Are Gonna Roll 4:23
7. The Sentinel 5:07
8. Private Property 5:22

SIDE 3
1. Rock You All Around The World 4:44
2. Electric Eye 4:44
3. Turbo Lover 5:59
4. Freewheel Burning 4:48

SIDE 4
5. Parental Guidance 4:19
6. Living After Midnight 4:50
7. You've Got Another Thing Comin' 7:53

Total playing time: 76:17 min.

Remastered re-release of the debut full-length studio album by legendary British Hard Rock/Heavy Metal band.
At that time, the band had not yet developed their signature look of leather and studs. They had appeared on British television show The Old Grey Whistle Test in 1975, performing "Rocka Rolla" and "Dreamer Deceiver", and their wardrobe was very "hippified". In addition, the album is more Blues/Hard Rock oriented than their later releases, and also has some slight Progressive Rock influences that would continue through to "Stained Class", but to a lesser extent, and would be abandoned in later releases. This makes the album's style virtually unrecognizable when compared with later Priest albums, although "Rocka Rolla" does feature dual guitars, and "Run of the Mill" is the first song that was explicitly designed for Halford's, rather than Atkins', vocal range.
The album produced by Rodger Bain, who had produced Black Sabbath's first three albums. The entire album was played live in the studio, rather than having individual musicians record alone. According to the band, there were technical problems in the studio, resulting in poor sound quality and a hiss through the album. It is the only album to feature drummer John Hinch - he was dismissed in 1975, before the next album recording. Tipton would later refer to him as being "musically inadequate" for the band's future plans. Guitarist Glenn Tipton had just joined when recording of "Rocka Rolla" began; his only songwriting contributions accepted by producer Rodger Bain were on the title track and "Run of the Mill". He did come up with the songs "Tyrant", "Epitaph", and "Ripper", but Bain considered them not commercial enough and rejected them. Bain also rejected the concert staple "Whiskey Woman" which later, with contributions from Tipton, morphed into "Victim of Changes". These songs were eventually all included on their next album, "Sad Wings Of Destiny". Several of the songs on the album feature contributions from the band's previous frontman Al Atkins and had been regular parts of their live performances in Manchester, where the band had achieved a cult following during the previous few years. The track "Caviar and Meths" was originally a 14-minute effort penned by Atkins, Downing, and Hill, but due to time constraints, only the intro was recorded for the album. A longer version of the song appears on Atkins's 1998 album "Victim Of Changes".
The album was released to very little reception, selling "only a few thousand copies". Because it flopped, the band found themselves in dire financial straits. In particular, the band talked of nights in which they were starving and didn't know when they were going to get their next meal.
While it was a sketchy and under-focused debut, "Rocka Rolla" nonetheless begins to delineate the musical territory Judas Priest would explore over the remainder of the decade: frighteningly dark in its effect, tight in its grooves, and capable of expanding to epic song lengths. Mostly a curiosity for hardcore fans, the album definitely hints at Judas Priest's potential and originality, but doesn't always suggest the quantum leap in vision that would occur with their very next record.
Heavyweight 180 g vinyl in gatefold cover.
Gull Records/Back On Black, a trademark of Plastic Head, 1974/2010 (BOBV251LP). Made in UK. Pressed in Czech.


Tracklist:

Side One
1. One For The Road 4:39
2. Rocka Rolla 3:05
3. Winter 3:02
4. Deep Freeze 1:56
5. Winter Retreat 1:31
6. Cheater 2:57
7. Never Satisfied 4:53

Side Two
8. Run Of The Mill 8:34
9. Dying To Meet You 6:18 
10. Caviar And Meths 2:05
11. Diamonds And Rust (Joan Baez cover) 3:13

Total playing time: 42:10 min.


Samples: https://judaspriest.bandcamp.com

Remastered re-release of the second full-length studio album by legendary British Hard Rock/Heavy Metal band.
The only album to feature drummer Alan Moore, "Sad Wings Of Destiny" is considered the album on which Judas Priest consolidated their sound and image, and songs from it such as "Victim of Changes" and "The Ripper" have since become live standards. Noted for its riff-driven Heavy Metal sound and the wide range of Rob Halford's vocals, the album displays a wide variety of styles, moods, and textures, inspired by an array of bands such as Queen, Deep Purple, and Black Sabbath. Building on the Hard/Prog of bands like Queen and Wishbone Ash, plus the twin-guitar innovations of the latter and Thin Lizzy, "Sad Wings Of Destiny" fused these new influences with the Gothic Doom of Black Sabbath, the classical precision of Deep Purple, and the tight riffery of the more compact Led Zeppelin tunes.
The centrepiece "Victim of Changes" is an eight-minute track featuring heavy riffing trading off with high-pitched vocals, extended guitar leads, and a slow, moody breakdown toward the end. "Tyrant" and "The Ripper" are short, dense, high-powered rockers with many parts and changes. Riffs and solos dominate "Genocide", "Island of Domination", and "Deceiver", and the band finds more laid-back moments in the crooning piano-backed "Epitaph" and the moody "Dreamer Deceiver".
"Sad Wings Of Destiny" had a positive reception but weak sales as it was released just as Punk Rock was dominating the spotlight in the UK. The band recorded their first two albums with the independent Gull label under tight budgets (the label provided a recording budget of £2000 for each of the band's first two albums). After living off a single meal per day while working side jobs to support themselves (Tipton as a gardener, Downing in a factory, and Hill driving a delivery van), the band grew frustrated with the financial situation and signed with CBS Records for their next album, "Sin After Sin" (1977). Breaking their contract resulted in the rights to "Sad Wings Of Destiny" and its demo recordings falling into Gull's hands.
Anyway, the year 1976 was crucial for the evolution of Heavy Metal, as landmark albums like Rainbow's "Rising" and Scorpions' "Virgin Killer" began to reshape the genre. Perhaps none was quite as important as Judas Priest's sophomore effort, "Sad Wings Of Destiny", which simultaneously took Heavy Metal to new depths of darkness and new heights of technical precision. More than any other Heavy Metal album of its time, "Sad Wings Of Destiny" offered the blueprint for the way forward. What's striking is how deeply this blueprint resonates through the years, from the Prog ambitions of Iron Maiden to the thematic echoes in a pair of '80s Thrash Metal masterpieces.
180g black vinyl in gatefold cover.
Gull Records/Back On Black, 1976/2010 (BOBV250LP). Made in UK. Pressed in Czech.


Tracklist:

Side A
1. Victim Of Changes 7:54
2. The Ripper 2:50
3. Dreamer Deceiver 5:54
4. Deceiver 2:42
5. Prelude 2:01

Side B
6. Tyrant 4:28
7. Genocide 5:46
8. Epitaph 3:07
9. Island Of Domination 4:28

Total playing time: 39:10 min.


https://judaspriest.bandcamp.com/

Remastered re-release of the eighth full-length studio album by legendary British Heavy Metal band.
Judas Priest rebounded from the shaky "Point Of Entry" with "Screaming For Vengeance", arguably the strongest album of their early-'80s commercial period. Having moved a bit too far into simplistic Hard Rock, "Screaming For Vengeance" found the band refocusing on Heavy Metal, and achieving a greater balance between commercialism and creativity. The results were catchy and accessible, yet harder-hitting, and without the awkwardly apparent calculation that informed the weakest moments of the album's two predecessors. Ultimately, "Screaming For Vengeance" hangs together better than even the undeniable landmark "British Steel", both thematically and musically.
The album was recorded at Ibiza Sound Studios, Ibiza, Spain and mixed at Beejay Recording Studios and Bayshore Recording Studios in Florida. It was first released on July 17, 1982.
Despite a one-album misstep in between, "Screaming For Vengeance" managed to capitalize on the commercial breakthrough of "British Steel", becoming the first Priest album to be certified double Platinum, and reaching the Top 20 in America and the U.K. alike. Along with "British Steel", it ranks as one of the best and most important mainstream Metal albums of the '80s!
The album reached #11 in the UK and #17 on Billboard 200 Pop Albums and made Judas Priest much more popular than they were after their “British Steel” album. It went Gold (RIAA) on October 29, 1982, Platinum on April 18, 1983 and Double Platinum on October 16, 2001, being their first album to achieve the two latter awards.
"Screaming For Vengeance" came 15th on IGN's 25 most influential Metal albums. It also came 10th on Metal-Rules.com's 100 Greatest Metal albums.
180g vinyl with printed inner sleeve.
Columbia/Sony Music Entertainment UK Limited, 1982/2017 (88985390861). Made in Germany. Pressed in France.


Tracklist:

Side A
1. The Hellion 0:41
2. Electric Eye 3:39
3. Riding On The Wind 3:07
4. Bloodstone 3:51
5. (Take These) Chains 3:07
6. Pain And Pleasure 4:17

Side B
7. Screaming For Vengeance 4:43
8. You've Got Another Thing Comin' 5:09
9. Fever 5:20
10. Devil's Child 4:48

Total playing time: 38:42 min.

Second re-release of the third full-length studio album by the legendary British Heavy/Speed Metal band.
This is one of the very first Heavy Metal albums and, on its own, isn't the most well-known of the Judas Priest releases. While it was well-received by critics at the time, it did not have the exact same response as "Sad Wings Of Destiny" did before it. Even though it has its flaws, "Sin After Sin" made a major contribution to the development of Heavy Metal and remains an important stepping-stone in the evolution of the genre.
"Sin After Sin" was the band's first album with Columbia Records after their contract with Gull Records was terminated; as a consequence of which they lost all rights to their first two albums "Rocka Rolla" and "Sad Wings Of Destiny", as well as any other demo recordings made during that timeframe. This was the band's last album to feature their original "gothic cursive font" logo, though it was used on later Gull Records reissues of their earlier material.
The album features session drummer Simon Phillips, as the band had recently parted ways with drummer Alan Moore. The album includes a cover of Joan Baez's "Diamonds & Rust", a decision that was encouraged by producer Roger Glover.
It is the first of eleven consecutive Judas Priest albums to be certified Gold by the RIAA.
For fans that grew up with "Painkiller", "Screaming For Vengeance" or even "British Steel", "Sin After Sin" is tough album to appreciate. Even if the songs don’t all stand the test of time, their significance to the development of Heavy Metal cannot be overstated. In 1977, there wasn’t a band out there that questioned the definition of Heavy Metal music like Judas Priest, and the daring and experimental tracks on "Sin After Sin" are the proof!
CBS, 1977/1986 (CBS32005). OIS. Made in Holland. Used (cover/vinyl): EX+/NM-.
 

Tracklist:
1. Sinner 6:42
2. Diamonds And Rust 3:24
3. Starbreaker 4:50
4. Last Rose Of Summer 5:39

1. Let Us Prey 6:13
2. Call For The Priest / Raw Deal 5:58
3. Here Come The Tears 4:23
4. Dissident Aggressor 3:19

Total playing time: 40:28 min.

Re-release of the fourth full-length studio album by the legendary British Heavy/Speed Metal band.
"Stained Class" is the only Judas Priest album to feature songwriting by all five members of the band. The alum showcased a more streamlined songwriting style while not compromising on the band's trademark Heavy Metal riffs. The production is crisper, clearer, and cleaner than any of their preceding albums. Following this album, the band broke its songwriting team down to Rob Halford, K.K. Downing and Glenn Tipton, with occasional contributions solely by Tipton.
Several years after its release, "Stained Class" was the subject of negative attention due to the infamous 1990 civil action brought against the band by the family of a teenager, James Vance, who entered into a suicide pact with his friend Ray Belknap after allegedly listening to "Better by You, Better Than Me" on December 23, 1985. Belknap succeeded in killing himself, and Vance was left critically injured after surviving a self-inflicted gunshot to the facial area. The suit alleged that Judas Priest recorded subliminal messages on the song that said "do it." The suit was eventually dismissed. The song was originally written and performed by the band Spooky Tooth.
In 2005, "Stained Class" was ranked number 307 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.
180g vinyl. Issued with a printed inner sleeve with lyrics and a mp3 download voucher.
Sony Music Entertainment UK Ltd./Columbia, 1978/2017 (88985390791). Made in France.


Tracklist:

Side A (OTHE SIDE)
1. Exciter 5:30
2. White Heat, Red Hot 4:30
3. Better By You, Better Than Me 3:22
4. Stained Class 5:20
5. Invader 4:00

Side B (THIS SIDE)
6. Saints In Hell 5:30
7. Savage 3:26
8. Beyond The Realms Of Death 6:55
9. Heroes End 5:05

Total playing time: 43:38 min.

30th Anniversary Edition, first remastered re-release of the tenth full-length album by legendary British Heavy/Speed Metal band.
British Metal legends Judas Priest for a second time reissued "Turbo" album, originally released in 1986. Always believing that Metal should have no boundaries, Priest challenged themselves, taking on board new technical inventions to create fresh ideas and push their sound forward. Searching for a way to retool their sound, Judas Priest attempted to accentuate their melodic side on "Turbo" by incorporating synthesizers and '80s Pop-Metal styling ("Wild Nights, Hot & Crazy Days" sounds more like Poison, albeit with synths). The restrained songcraft sometimes pays dividends, especially on the PMRC-bashing "Private Property" and "Parental Guidance", and the synth-driven lead-off track "Turbo Lover", the latter of which is easily the best song on the record, and a successful reimagining of the Priest formula. The album features all the hallmarks of classic Judas Priest on tracks such as “Turbo Lover”, “Parental Guidance” and “Locked In”.
This album is an essential part of the Judas Priest catalogue. Originally recorded with the band's long term producer Tom Allom, this album marked a distinctive change in the band’s sound by the use of synthesized guitars but still keeping their classic Heavy Metal style that Judas Priest were synonymous with!
Sony Music Entertainment UK Ltd./Columbia, 1986/2017 (88875183271). Made in Germany. Pressed in France. 180 g vinyl.


Tracklist:

Side 1
1. Turbo Lover 5:33
2. Locked In 4:19
3. Private Proberty 4:29
4. Parental Guidance 3:26
5. Rock You All Around The World 3:36

Side 2
6. Out In The Cold 6:27
7. Wild Nights, Hot & Crazy Days 4:39
8. Hot For Love 4:11
9. Reckless 4:20

Total playing time: 41:00 min.

For the first time on vinyl, the fourth full-length studio album by American Death Metal band.
Twelve Groovy Oldschool Death Metal tracks in the intersection of Six Feet Under, Suffocation and even some Scandinavian Death Metal bands such as Dismember or Obituary.
The sound is a little more polished than the predecessors, but is still straightforward and heavy. Primitive, groovy guitar riffs, raw foot work on the drums and deep guttural grunt vocals are the ingredients for the vicious brutality and aggression of Jungle Rot.
Jungle Rot is occasionally accused of releasing the same album over and over again. But hey, who cares? Let’s headbang to 30 minutes of traditional, mainly midpaced tracks and enjoy the very good production!
Limited Edition to 300 copies black vinyl in gatefold cover. 45 RPM.
Century Media Records Ltd./Animate Records, 2004/2022 (AR 114). Made in Germany. First press.


Tracklist:

Side A
1. Intro 00:53
2. Face Down 03:44
3. Let Them Die 02:29
4. Fractured 03:10
5. Gain Control 02:12
6. Gasping for Air 02:44

Side B
7. Low Life 03:07
8. Scars of the Suffering 01:11
9. Symbols of Hate 03:03
10. No Surrender 02:20
11. Habit Fulfilled 02:42
12. More Demon Souls 02:49

Total playing time: 30:24 min.

The tenth full-length studio album by legendary American Progressive/Art/Hard Rock band.
The band's first studio album for MCA Records. It featured a new lineup, as the band reformed after a period of hiatus.
Kansas took a dramatic change in musical viewpoints with the "Power", becoming more Hard Rock and Pop than Prog Rock, which"probably surprised longtime Kansas fans, but gave the band an interesting, if ultimately short-lived, new direction.
MCA Records, 1986 (MCA-5838). Made in the USA. First press. OIS. Still in seal with the sticker. Cut-out. Used (cover/disc): EX+/EX+.


Tracklist:

Side One
1. Silhouettes In Disguise 4:26    
2. Power 4:25    
3. All I Wanted 3:20    
4. Secret Service 4:42    
5. We're Not Alone Anymore 4:16

Side Two
1. Musicatto 3:30
2. Taking In The View 3:06
3. Three Pretenders 3:50
4. Tomb 19 3:46
5. Can't Cry Anymore 4:01

Total playing time: 39:22 min.

The sixth full-length studio album by legendary British Synth-Pop singer.
The final album on which Marty Wilde had co-writer credits. The album is widely perceived by fans and critics (and Kim herself) as Wilde's most well-balanced, with many kinds of Pop represented: Dance, Ballad, Rock and Midtempo.
The album's lead Single was "Hey Mister Heartache", featuring backing vocals from Junior Giscombe – but its success was dwarfed by the follow-up Single, "You Came", which hit the Top 10 in many countries and just missed the US Top 40.
"Never Trust a Stranger" and "Four Letter Word" also reached the UK Top 10, although a fifth Single, "Love in the Natural Way", was less successful. Attention for the album was bolstered by Kim's support slot on Michael Jackson's European tour.
"Close" reached the Top 10 in the UK, almost all Scandinavian countries, Austria and Germany and went on to become Wilde's biggest selling album, being certified Platinum in the UK. In Australia, the album was less successful, peaking at #82 on the ARIA albums chart.
MCA Records/WEA Musik GmbH, 1988, 255 588-1 (MCG 6030). Made in Germany. First press. OIS.


Tracklist:

Side 1
1. Hey Mister Heartache  4:34
2. You Came  4:33
3. Four Letter Word  4:02
4. Love In The Natural Way  4:07
5. Love's A No  4:16

Side 2
6. Never Trust A Stranger  4:04
7. You'll Be The One Who´ll Lose  4:32
8. European Soul  5:20
9. Stone  4:41
10. Lucky Guy  2:38

Total playing time: 42:47 min.

The debut full-length studio album by legendary British Synth-Pop/New Wave singer.
Fronted by the top 10 Singles "Kids in America" and "Chequered Love" and greeted with a generally positive response from critics, the album launched Wilde into stardom and remains one of her most popular recordings.
"Kim Wilde" entered the UK Albums Chart at No. 10, moving into the top 3 the next week; the album was certified Gold by the BPI for sales exceeding 100,000 copies. During promotion, Kim's band consisted of Ricky Wilde, James Stevenson and later boyfriend Calvin Hayes, who also appeared on the sleeve of the album. The album was released in North America on 6 April 1982, reaching No. 86 in the US and No. 42 in Canada.
RAK/EMI Services Benelux B.V., 1981 (1A 062-64438). Made in Holland. First press. Used (cover/disc): VG+/NM.


Tracklist:

Side 1
1. Water On Glass 3:26
2. Our Town 3:53
3. Everything We Know 3:46
4. Young Heroes 3:13
5. Kids In America 3:25

Side 2
1. Chequered Love 3:18
2. 2-6-5-8-0 3:08
3. You'll Never Be So Wrong 4:14
4. Falling Out 4:03
5. Tuning In Tuning On 4:29

Total playing time: 36:55 min.

The debut full-length studio album by legendary British Synth-Pop/New Wave singer.
Fronted by the top 10 Singles "Kids in America" and "Chequered Love" and greeted with a generally positive response from critics, the album launched Wilde into stardom and remains one of her most popular recordings.
"Kim Wilde" entered the UK Albums Chart at No. 10, moving into the top 3 the next week; the album was certified Gold by the BPI for sales exceeding 100,000 copies. During promotion, Kim's band consisted of Ricky Wilde, James Stevenson and later boyfriend Calvin Hayes, who also appeared on the sleeve of the album. The album was released in North America on 6 April 1982, reaching No. 86 in the US and No. 42 in Canada.
RAK/EMI Services Benelux B.V., 1981 (1C 064-64438). Made in Germany. First press. Used (cover/disc): EX/NM.


Tracklist:

Side 1
1. Water On Glass 3:26
2. Our Town 3:53
3. Everything We Know 3:46
4. Young Heroes 3:13
5. Kids In America 3:25

Side 2
1. Chequered Love 3:18
2. 2-6-5-8-0 3:08
3. You'll Never Be So Wrong 4:14
4. Falling Out 4:03
5. Tuning In Tuning On 4:29

Total playing time: 36:55 min.

The seventh full-length studio album by legendary British Synth-Pop singer.
The album attempted to capitalize on the success of Wilde's previous album, "Close" (1988), but although a top 10 album in Scandinavian countries, it failed to sell as strongly as its predecessor. This was the first album by Wilde to yield no top 40 Hit Singles in the UK; "Time", the second Single from the album, was the lowest charting Single in her discography at that time.
Some critics noted the MOR feel of the album and the use of similar production sounds throughout. It includes guests Jaki Graham, who contributed backing vocals, and Deon Estus, playing bass guitar. Wilde herself believed: "It was a very strong album, and it was very disappointing that it didn't do well. But it didn't really come as too much of a big surprise, because my career before then had always been very up and down. So it wasn't a complete shock… but it was very disappointing."
Five Singles in total were released across Europe, with "It's Here", the album's lead Single, becoming a top 20 hit in Scandinavian countries and "Can't Get Enough" making a top 20 entry and long run on the French Singles Chart. The album was not released in North America.
MCA Records Ltd./WEA Musik GmbH, 1990 (2292-57225-1). Made in Germany. First press. Used (cover/disc): VG+/EX+


Tracklist:

Side 1
1. It's Here 3:36
2. Love (Send Him Back To Me) 4:32
3. Storm In Our Hearts 5:09
4. World In Perfect Harmony 3:53
5. Someday 4:49

Side 2
1. Time 4:11
2. Who's To Blame 3:48
3. Can't Get Enough (Of Your Love) 4:00
4. In Hollywood 4:17
5. I Can't Say Goddbye 5:01

Total playing time: 43:16 min.

The second full-length studio album by legendary British Synth-Pop/New Wave singer.
The first single from this album, "Cambodia", was released in November 1981 and signalled a different sound from the Wilde camp, with an Electronic and Synth sound, different from the Rock sound of her first album. The songs were again written by Marty and Ricky Wilde, and produced by Ricky Wilde. The lyrics of the songs were similar to the first album: the second single, "View from a Bridge", and the album track "Wendy Sadd" seemed to be about suicide, "Chaos at the Airport" described a nightmare about flying and "Ego" was quite the opposite of a love song. "Can You Come Over" was recorded at the Wilde's home.
The album topped the charts in a host of European countries and reached number 8 in Australia, although it did not surpass the success of debut album.
RAK, 1982 (SRAK 548). Made in UK. First press. Used (cover/disc): EX+/EX+.


Tracklist:

Side 1
1. Ego 4:08    
2. Words Fell Down 3:29    
3. Action City 3:21    
4. View From A Bridge 3:30    
5. Just A Feeling 4:09    

Side 2
6. Chaos At The Airport    3:15    
7. Take Me Tonight 3:52    
8. Can You Come Over 3:32    
9. Wendy Sadd 3:47    
10. Cambodia - Reprise 7:12

Total playing time: 40:15 min.

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)

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

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

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.