King Diamond Albums (15)
What The Critics Say
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 1988's "Them." This time, he inserts himself among the story's characters, which also includes his mother, little sister, a haunted house (naturally), 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. 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. Now back to the music: 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. ~ Eduardo Rivadavia, All Music Guide
'Give Me Your Soul...Please'
Release Date 6/26/2007
Tracks 13
Label Metal Blade
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What The Critics Say
Since he has long been considered one of heavy metal's most theatrical performers, it would only be natural for King Diamond to regularly visit the concept album format, which he has done quite a bit over the years. And on his 2007 release, Give Me Your Soul...Please, he came up with one of his darkest and most disturbing stories yet, as the story line tells the tale of a father murdering his son and daughter. But hang on, there's a twist. One of the youngsters is having a hard time getting into heaven, so they devise a plan to steal an innocent person's soul...King Diamond's! Musically, Give Me Your Soul...Please is exactly what you'd expect from Diamond and his band -- metallic riffing, proggy song structures, and, of course, an emphasis on King's multi-octave vocal range. To experience some vintage King Diamond, take your pick of such headbangers as "Never Ending Hill" and "Mirror Mirror," or creepy ballads like "Pictures in Red." You can always rely on King Diamond to deliver some good ol' horror metal tales, and Give Me Your Soul...Please certainly delivers. ~ Greg Prato, All Music Guide
'Deadly Lullabyes: Live'
Release Date 9/21/2004
Tracks 20
Label Metal Blade
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What The Critics Say
While King Diamond's devotees hold his studio recordings in high regard, experiencing the man with the ghoulish makeup and bone mic stand on-stage is a different story entirely. Few still deliver such a theatrically heavy stage show as King Diamond, and his tour in support of 2003's The Puppet Master continued on in the grand tradition of his previous outings. As a result, fans got a live document, Deadly Lullabyes: Live. Entering his third decade as a solo artist, Diamond and band are still leaders of the progressive metal pack -- Diamond's multi-octave voice can still shatter glass, and longtime guitarist Andy LaRocque can still do battle with Yngwie Malmsteen. Balancing the old with the new, Deadly Lullabyes features such expected Diamond classics as "Eye of the Witch" and "No Presents for Christmas," along with newer faves like "Mansion in Sorrow" and The Puppet Master's title track. Although something feels like it's missing without a visual accompaniment here -- a live DVD would've been even better -- Deadly Lullabyes: Live delivers all the dark tales and speedy riffing you'd expect from metal's Dark Lord. ~ Greg Prato, All Music Guide
'The Puppet Master'
Release Date 10/21/2003
Tracks 12
Label Metal Blade
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What The Critics Say
Kim Bendix Petersen, better known as King Diamond, has built an empire out of wailing spirits, singing spiders, and voodoo priestesses. His 11th full-length ghost story, The Puppet Master, centers around an unfortunate man, his girlfriend, and a husband and wife team of puppet masters as they abuse and torture their subjects somewhere in Budapest. Diamond wisely forgoes his usual cheeseball spoken-word intro and simply launches into "Midnight," a melodic dirge that ranks high amongst his huge -- and often inconsistent -- body of work. The brutal "Emerencia" features stellar guitar work from Andy LaRocque -- the thread that binds each and every King Diamond album -- and "The Ritual" aptly deals with the popular heavy metal theme of souls burning in Hell -- lyrical prowess has never been his forte. The remainder of the record is serviceable goth-metal filled with oaths and omens, blood and sacrifice, and one ill-conceived Christmas song. King Diamond has reached a stage in his career where evil has begun to fade into novelty, and The Puppet Master resonates with a dark giddiness that suits a man with face paint and a cape nearing his fifties. However, there's still a sinister aura that surrounds his very name, making it virtually unfathomable to picture him -- and all of his demons -- teeing off with fellow urchin -- and avid golfer -- Alice Cooper on a misty fall morning, heads bowed, asking the dark lord to grant them the power to eagle a par four. Maybe. ~ James Christopher Monger, All Music Guide
'Abigail II: The Revenge'
Release Date 1/29/2002
Tracks 13
Label Metal Blade
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What The Critics Say
Abigail II: The Revenge, King Diamond's tenth full-length solo album and sequel to his 1987 classic, Abigail, unfortunately doesn't recapture much of the magic of the original, but instead continues the consistent but less inspired professionalism of most of his latter-day work. What separates King Diamond's great records from the mediocre ones is not storylines, but songs; his best have memorable melodies, detailed atmospheres, and imagination (listen to the first four or five records for evidence of this). Abigail II naturally has all the sonic hallmarks of classic King Diamond and, of course, the music is beautifully executed. It's just not as memorable as the old stuff, and is nearly indistinguishable from its predecessors. Still, hardcore fans won't be disappointed. Also includes some cringe-inducing dialogue and "acting." ~ Andy Hinds, All Music Guide
What The Critics Say
This pretentious, epic, almost sappy concept record follows lyrical suit with King Diamond's previous offerings, however, House of God lacks the musical commitment of the artist's best recordings, Them and Abigal. Rare in his ability to manage a successful solo career with a long-time band partnership, King Diamond was very busy releasing numerous albums, both on his own and with Mercyful Fate in the '90s. Quantity might have taken precedence of quality as the prolific vocalist and songwriter ended up offering several sub par discs during this period. Long time guitarist and co-songwriter Andy La Rocque joins Diamond, drummer John Herbert, guitarist Glen Drover, and bassist Dave Harbour on House of God. Each member delivers fine performances, but the opportunities to stretch out are rare as Diamond pastes his obtuse prose (more like an album-length short story than poetry or song lyrics) all over mediocre riffs and flat arrangements. Creative ambition and a dark quirkiness are decidedly core elements to Diamond's appeal, but these qualities often require catalysts to be transforming. A certain amount of intellect and humor are needed to support what can be otherwise bland music. Sadly, there is little in the way of interesting writing or fiery musical performances to enhance House of God, a lesser King Diamond release. ~ Vincent Jeffries, All Music Guide
What The Critics Say
On King Diamond's eighth concept album, the prolific horror rocker hasn't entirely run out of ideas, although the material on Voodoo is generally predictable. Set in New Orleans, the story line is loaded with more witchcraft, haunted houses, and ghosts. The music stays true to form as well; Diamond's cartoonishly ghastly vocals haven't lost any of their bite, long running sideman Andy LaRocque maintains his own high level of proficiency on the guitar, and the band in general turn in dependably workmanlike performances. Overall, King Diamond achieves a sort of musical equivalent to the classic Hammer horror films of the 1960s. He invests a sincere enthusiasm in his work that is hard not to appreciate. ~ Andy Hinds, All Music Guide
What The Critics Say
King Diamond's first solo effort, 1985's Fatal Portrait, was a transitional album: still rooted in the satanically-bent heavy metal of his former group Mercyful Fate, but already showing signs of the theatrical and conceptual elements that the King would soon master like few before him. Indeed, the album's opening four-song suite: "The Candle," "The Jonah," "The Portrait," and "Dressed in White," denote King Diamond's first efforts to weave his horror stories over multiple, interrelated tracks. But compared to future triumphs in gothic storytelling, these are merely rough sketches, a simple dress rehearsal performed rather covertly -- just in case the idea didn't succeed as planned. Sure enough, Fatal Portrait's original second vinyl side returned to a more familiar (and safe) track-by-track approach, and it must be said standout numbers like "Lurking in the Dark," "Halloween," and "Haunted" are arguably the better for it. Diamond can be heard experimenting with ever more vocal styles, spread across ever expanding layers of harmony lines with himself; but it's the new lead guitar tandem of Swedish "axepert" Andy LaRocque and former Fate member Michael Denner who take center stage here, their distinctive riffs and solos well and truly carrying the day. A fine album by any definition, Fatal Portrait is also required listening -- a bridge, really -- for MF fans, who will enjoy this final glimpse at glories past while getting a smoother transition into the ensuing operas of terror. [CD reissues of Fatal Portrait were enhanced by the excellent bonus cut "The Lake" and, depending on the version, the hilariously twisted holiday send-up "No Presents for Christmas."] ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
When King Diamond emerged with the archetypal black metal outfit Mercyful Fate in the early '80s, his alarmingly satanic lyrics were downright scary. But as a solo artist, he has become a reliable source of harmless, B-movie horror fun with his well-done concept albums. The Graveyard isn't one of his best, due to less memorable material and a tight, dry production which, while it sounds cleaner than that of earlier albums like Fatal Portrait and Abigail, doesn't convey the dark theatricality of the material as well as those albums do. Diamond's backing band never disappoints, however; guitarists Andy LaRocque and Herb Simonsen contribute plenty of flawless neo-classical solos with imagination and spirit. ~ Andy Hinds, All Music Guide
'The Spider's Lullabye'
Release Date 6/6/1995
Tracks 10
Label Priority
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What The Critics Say
Perhaps his best album since the classic Abigail, King Diamond's The Spider's Lullaby is another inspired goth rock opera containing some of his most melodic and tightly written songs. The album is produced in typical King Diamond fashion, with loads of layered vocals, creepy atmospherics and state of the art Eurometal musicianship from the band. Underrated guitarist Andy LaRocque delivers plenty of hair-raising neoclassical solos, and newcomer Herb Simonsen is no slouch himself. Check out "From the Other Side" for a slice of near-perfect King Diamond craftsmanship. ~ Andy Hinds, All Music Guide
