If you have even the slightest knowledge of King Diamond’s work, you’re likely most familiar with the first five records, which are all classics. However, you might not know that there are some great albums that came after. In celebration of Halloween’s coming, I re-visited the entire catalogue to separate the diamonds from the coal.
The lousy album art befits an album that didn’t have a lot of great moments. This track reminds of a metal Alice Cooper Band from the early days. The spooky choral parts are effective, though.
King went back to the Abigail story for this sequel that didn’t match up to the original. However, it did establish the lineup that would stick around for quite awhile until Hal Patino was sacked again. Don’t sleep on the Travis Smith album artwork, which is perhaps the band’s best, faint as that praise may be.
It’s hard to leave off the song that was nominated for a Grammy, which still boggles the mind. You’ll love the riff because it’s nearly straight out of Judas Priest’s ‘Painkiller’. I didn’t love the record when it was released, but I’ve grown to like it more over the years.
The first album since Fatal Portrait that didn’t have a theme throughout the entire record, The Spider’s Lullabye is an underrated gem. Album opener ‘From the Other Side’ shows off the harder edge that is displayed on the record and features a catchy chorus that will be stuck in your head for days and a tasty LaRocque solo.
If you’re going to listen to one King Diamond record outside of the first five, this is the one. The story is great, the songs are even better, and the performances are some of the band’s best, including a guest solo from Dimebag Darrell. This ripping opener (after the requisite eerie setup track) has all of the hallmarks of a great KD track: soaring vocals, trading solos midway through, and some of the best drumming since Mikkey Dee left. I probably like this record better than The Eye, and it’s up there with Fatal Portrait.
This album is a fan favorite, but it doesn’t quite do as much for me. The story just doesn’t hold much interest, and at nearly an hour, it’s just a bit too long. Certainly worth a listen, as I seem to be in the minority. This—the final track—does have its charms, including some pretty cool riff combinations and a memorable chorus.
There’s no debate about this record being the weakest of the catalogue. It’s notable for featuring Glen Drover as the second guitarist, but that’s about it. The pace is slow, the story is weak, and the performances uninspired. It’s not bad, but it pales in comparison to the other records. The title track is probably the strongest offering on House of God, with enough of King's trademark vocal flourishes to make it worth a listen if you've never heard it.
