ВІНІЛОВІ ПЛАТІВКИ

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 (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 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 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

The third re-release of the twelfth full-length studio album by legendary Danish Heavy Metal band.
The last album to feature bassist Hal Patino, who fired from the band in 2014.
The album's concept and cover art both based on a painting titled "My Mother's Eyes". The black cat featured in the album based on King's own cat, Magic. 
King elaborated on the themes of the album, being a story of two dead children, murdered by their father, relating their tale to him. He stated that cases of parents killing their children and then themselves were a large influence, citing such an incident, which occurred in Dallas. Coincidentally, the music video for "Give Me Your Soul" was also released the day after the highly publicized Chris Benoit double-murder and suicide.
At the beginning, a sister and brother are waiting in the afterlife. The brother is to go to Hell, so the sister decides to find another soul for him so that he can follow her to Heaven ("The Dead"). She takes off to a house in Never Ending Hill, where King Diamond lives with his black cat, Magic ("Never Ending Hill"). The girl tries to contact him for help, but she only manages to haunt him ("Is Anybody Here?", "Black of Night"). As the darkness grows, objects are moving on their own, lights flicker ("Shapes of Black") and the temperature drops to freezing levels ("Cold as Ice"), and haunted by the bodiless ghost with only a head ("The Floating Head"), King uses black magic to contact the girl ("The Cellar", "Pictures in Red"). She reveals that her father chopped up her brother with an axe, splashing her with his blood, then choked her to death before shooting himself in the head. The "Thirteen Judges" mistakenly think that the brother committed suicide, so she needs to find a soul free of sin for him ("Give Me Your Soul"). She wants Diamond's soul but, since she finds him full of sin when she gazes at him, he pleads with her to leave and find another soul before sunrise ("The Girl in the Bloody Dress"). The girl decides to come to "THIS house" (implying a visit at the listener's home) ("Moving On").
Songs are catchy and groovy, but heavy and sick as hell… King Diamond never ceases to present top-notch theatrical vocal abilities. Andy LaRocque with never ending inspiration and his amazing riffs is the catalyst in entering the concept-stories and grasping the mood. Evil atmosphere accompanied by macabre lyrics.
The signature sound is there, it has never been absent for twelve releases so far, it has inspired a great number of bands in Heavy Metal and especially in Black Metal, with its inventor King Diamond remaining one of the few that really know how to preserve such acoustic gems and make them imperishable through time!
Collector’s edition 180 gram Double Black Vinyl in gatefold cover includes large Poster!
Metal Blade Records, 2007/2019 (3984-15248-3). Made in Germany.


Tracklist:

Side A
1. The Dead 1:58
2. Never Ending Hill 4:36
3. Is Anybody Here? 4:12
4. Black Of Night 3:59
Side B
1. Mirror Mirror 4:59
2. The Cellar 4:31
3. Pictures In Red 1:23

Side C
1. Give Me Your Soul 5:28
2. The Floating Head 4:46
3. Cold As Ice 4:27
Side D
1. Shapes Of Black 4:22
2. The Girl In The Bloody Dress 5:06
3. Moving On 4:07

Total playing time: 53:58 min.



Samples: https://kingdiamond.bandcamp.com

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.

The second re-release of the fifth full-length studio album by legendary Danish Heavy Metal band.
The only album to feature drummer Snowy Shaw and the last to feature guitarist Pete Blakk and bassist Hal Patino, until the latter's return on "Abigail II: The Revenge".
After releasing four concept albums of the highest quality, King Diamond strike back to terrify the Metal world. Like its predecessors, "The Eye" is a conceptual album rooted in Gothic Horror. It doesn't continue the story of the previous two albums, however. The album continues to feature a major storyline like other King Diamond albums, though it is told differently. Two prior concept albums had been told from the perspective of the protagonists; this one is told from the view of a narrator. The themes of Christian atrocity with the persecution of alleged witches and sexual abuse against nuns are present. The story starts off with an unnamed character finding a necklace called "The Eye", that allows him/her to see the events the necklace was witness to in the past. They see an accused witch named Jeanne Dibasson being tortured and burned at the stake. Next they see two little girls finding the necklace in the ashes at a stake, and what they see when they look in the eye kills them. Finally, there is the story of Madeleine Bavent, a nun working in the Louviers convent, who finds the necklace and decides to put it on. After being raped by Father David, she uses the necklace to kill him by making him look into it. Shortly after, the new Chaplain, Father Picard, arrives and starts bringing everyone to communion. He winds up lacing their communion wine with some substance that lets him control their minds, and uses a group of nuns including Madeleine to ritually torture and kill children. In 1642 all are arrested and imprisoned. The main parts of the stories told on this album are true, and took place during the French Inquisition, 1450–1670. All the characters are real and from that period of time.
The sound is typical for King Diamond, dark, heavy and catchy. On this record, King Diamond use some new instruments like keyboards and violins. The violins are used in the most tasteful way. They darken the already dark atmosphere of the record tremendously. The production is superb, the best they have had so far. The mix of the record is perfect, with a nice atmosphere. King makes more use of his mid-range in this album than he has done previously on any. His midrange fits the dark tone of the album. Not to say that he abandons his trademark banshee wail completely. His top range is amazing as ever. The guitar duo of Andy LaRocque and Pete Blakk is incredible. The lead work of these two is flawless. Andy LaRocque weaves a beautiful tapestry of rhythms and leads, ever the star of Diamond's musical entourage. The bass and drums aren't dominant in this recording, but they don't need to be. They do their job, and some drums aren't even acoustic, but a drum machine! Snow Shaw's drums were always so simple you barely notice anyway.
It's no surprise of course that this album arrived in such a pinnacle year for Metal music, really the climax of that 1986-1990 period where many artists could do no wrong as they were exploring the boundaries of this Epic genre. "The Eye" belongs in any Metal lover's collection, just to the right of the first four King Diamond albums!
180g black vinyl includes MP3 download card.
Metal Blade Records, 1990/2020 (3984-15679-1). Made in Germany.


Tracklist:

Side A
1. Eye Of The Witch 3:47
2. The Trial (Chambre Ardente) 5:13
3. Burn 3:42
4. Two Little Girls 2:41
5. Into The Convent 4:47

Side B
1. Father Picard 3:19
2. Behind These Walls 3:45
3. The Meetings 4:31
4. Insanity 3:00
5. 1642 Imprisonment 3:31
6. The Curse 5:42

Total playing time: 43:58 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.

The third and the final full-length studio album by British Experimental Progressive Rock band, known as Arthur Brown's Kingdom Come outside the UK.
The first album in history to use a drum machine, responsible for all the percussive sounds on the album.
After they featured drastically different styles on their first two albums, and after several line-up changes, band leader Arthur Brown worked the band towards a new direction for "Journey". The drum machine in question was the Bentley Rhythm Ace, manufactured by Ace Tone. Although the band had commented the album was entirely based on the drum machine, the band attempted to, in Rock and Electronic terms, create an album that was the closest they could get "to a string quartet". The album features other experimental techniques, including using a triangle to guide guitar playing and extensive use of Mellotron and synthesizers from new member Victor Peraino, who replaced Michael "Goodge" Harris early on production.
The album was recorded in November 1972 in Rockfield Studios and released in 1973 by Polydor Records. It was not a popular release, although it has gone on to be regarded as a groundbreaking and innovative album that was ahead of its time. Although overlooked upon release, it has received generally positive retrospective reviews from critics.
"Journey" was so far ahead of its time that you must keep checking the sleeve to make sure that it really does say 1973 and not 1983! This album was not only Arthur Brown’s masterpiece, but also one of the truly great albums of the seventies!!
Trading Places, 1973/2002 (TDP54070). Made in UK.


Tracklist:

Side 1
1. Time Captives 8:13
2. Triangles 3:20
3. Gypsy 9:10

Side 2
1. Superficial Roadblocks 6:56
    A.) Lost Time
    B.) Superficial Roadblocks
    C.) Corpora Supercelestia
2. Conception 2:06
3. Spirit of Joy 3:15
4. Come alive 8:46

Total playing time: 41:46 min.