It eventually took Metallica to make me walk down the path, with the release of their Garage Inc. album, and their tribute to their friends with the song "Mercyful Fate", a medley of tracks all meshed into one quite brilliant song. this cover finally pushed me to go out an buy some Mercyful Fate albums, which (by fate?) had just been remastered and re-released on CD when I went searching. Good timing all round.
You can hear immediately what drew people to this band in those early days. Great guitar riffs set against some melodramatic and atmospheric instrumentalisation, and the unusual but effective vocals of King Diamond himself. That to me was the most difficult thing to get past in order to gain an appreciation for this band, and this album in particular. The vocal style of King Diamond can be a huge barrier for some who listen to this album with me. In essence, they can't get past the enormous change in range of the vocals as they are sung. Initially for me as well, when I first bought this album. However, it really didn't take long to be able to move past that, such that I only notice it now when I am trying to sing along to the songs, and realising I just can't reach those kind of pitches.
The album starts off with the brilliant "Evil", which drags you in immediately with its brilliant guitar riff and rolling drum beat. From the very beginning you are banging your head along in time with the music. This is a super song, set off by the brilliant music but also King's brilliant vocals, the surge between normal register and then the almost-comical over exerted high pitched melody. Not to forget those guitar solo sections, that just blaze along with real spirit and passion. Just a brilliant opening to the album. This is followed by "Curse of the Pharaohs" which again has a very distinctive introduction and a great riff underlying King's vocals. Once again though its the solo guitar section that not only provides a highlight for the song, but indicates the quality of the band and its members. The solos here again are terrific, ones that make you want to pick up a guitar (generally an air one) and play along. "Into the Coven" starts off with a melodic guitar piece courtesy of Hank Shermann before breaking into the song proper, with King's high soaring vocals over the mandatory low growl heavy metal riff, with an atmospheric break in the middle of the song that sounds terrific before charging off again into the guitar solos. It is bombastic and bloody, and lyrically the kind of stuff that draws in teenage boys because it will more than likely offend their adult parents, and musically the stuff that draws them in because it is guitar and drums and loud and fast.
"At the Sound of the Demon Bell" continues down the same track, with a solid guitar riff anchoring the song throughout and following a similar theme as those songs that have gone before. "Black Funeral" rumbles along in triplet time, and ends abruptly almost mid-song without warning. Did they not have a way to end the song, and just thought 'bugger it, we'll just stop and see how it turns out'? It still amuses me.
"Satan's Fall" stretched for an interesting eleven minutes, which isn't so surprising when you take in to count that it sounds like there are about ten different short songs all meshed together to become one long song. The riffs change, the tempo and mood changes, and the next part of the song takes place, until it all seems to start again. Sometimes it is that the song almost stops, and allows you to have a direct correlation between each 'act' of the song, but sometimes it just flows into the next 'act' without pause. It must have been quite something to record, and then learn in order to play live. No matter how many times you listen to this song, you can pick up new things along the way. I don't thin it ever becomes boring, in fact I think it is a triumph. later progressive bands such as Dream Theater have written songs in 'acts', and the songs draw on for up to 25 minutes in this way. Mercyful Fate here became a pioneer of that kind of recording, and though the acts aren't individually titled, you can pick them out yourself as you listen to the song. Awesome.
The album concludes with the eponymous title track, which for me probably slightly halts the momentum of the album given its radical change in the tempo and style, but that doesn't make it any less impressive in the fact that the band continues to show diversity and the ability to surprise.
I still think, even today, anyone picking up this album and giving it a fair hearing will find a lot to like about it. It's influence is out there in the metal world, and has been showcased by some of the biggest bands of the 80's and 90's. The songs are great, but dig deeper, and listen to the fabulous drumming of Kim Ruzz, the rumbling bass work of Timi Hansen, and the amazing dual guitaring of Hank Shermann and Michael Denner. The musicianship here is superb, and is what keeps drawing me back to this album in particular. And, of course, the vocals of King Diamond. Combined, this makes Melissa an album that is worthy of your attention and of your undying obedience.
Rating: I was born in the cemetery, under the sign of the moon, raised from my grave, by the dead. 4.5/5
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