Welcome to another edition of From My Collection. Today, we go back in time exactly 35 years. Following in the footsteps of Ozzy Osbourne and Ronnie James Dio before him, one of the greatest singers in metal decides to go solo. It’s the gamble of a lifetime, but one that pays off. Fatal Portrait marks the beginning of King Diamond’s horror dynasty. Join us as we examine this first slab of fright inducing metal.
Mercyful Fate’s 1985 breakup remains one of the most “wtf” moments in metal history. Here was a band that was, creatively and musically speaking, untouchable. They reached new heights with each subsequent release. Some would argue the heights reached on their 1984 swansong, Don’t Break the Oath, haven’t been reached since.
There are varying reasons as to why the breakup occurred. Some say it was merely “creative differences”. Allegedly, Hank Shermann wanted to go commercial. This was evidenced by the self titled debut release from his post-Mercyful Fate band, Fate. Some go further and say that Mercyful Fate’s breakup had to do with certain members’ discomfort for King Diamond’s growing fascination with the dark side. Considering the lyrical content of “The Oath” and “Come to the Sabbath”, I almost can’t blame them. Like most stories with an ambiguous endings, the truth likely lies somewhere in between.
By the time King Diamond assembled his own namesake band, even he knew there was more to evil than just Satan and hell. He decided to devote his entire career to exploring these dark themes, becoming a heavy metal Hitchcock of sorts. His first musical offering was Fatal Portrait. Largely known as “the Mercyful Fate album that should’ve been”, Fatal Portrait expands upon the proggiest moments of Melissa and Don’t Break the Oath, while still maintaining the unbridled raw power of Mercyful Fate. Future King Diamond releases would be more polished and progressive. Fatal Portrait stands apart as a diamond in the rough (no pun intended).
Side A of Fatal Portrait and the album’s final track, “Haunted”, serves as King’s first attempt at a large scale conceptual piece. The story begins with a man who sees a face in every candle he burns (“The Candle”). The face is indeed the spirit of a little girl. The man sets her spirit free by speaking a sacred incantation (“The Jonah”). The little girl, named Molly, tells the man her wretched story of how her mother locked her in the attic until she perished at the age of 4 (“The Portrait”). In an effort to keep Molly’s spirit alive, her mother paints a portrait of her which she hangs above the fireplace. Little does she know that Molly’s spirit lives on (“Dressed in White”). Not only does her spirit live on, but it lives to torture her mother to the brink of insanity (“Haunted”). For King Diamond, revenge is a dish best served hot as a flame.
The other tracks on Fatal Portrait are top notch as well. “Charon” revisits the hellish lyrical themes of Mercyful Fate. “Lurking in the Dark” explores the themes of supernatural and paranoia that would become a cornerstone of King’s future output. Finally, there’s “Halloween” which is exactly what it sounds like: a love letter to that final day of October. Bing Crosby can keep his “White Christmas”. The King has claimed “Halloween”.
In the larger scope of King Diamond’s catalog, Fatal Portrait serves as the missing link between Mercyful Fate and King Diamond. Although King has gone on to release many classic albums since, it was the last time we heard that evil and primal sound which put him on the map in the early 80s. It was also the first time King’s vocals took centerstage. That’s not to say King didn’t shine in Mercyful Fate. They were just more of a collective band effort. By stepping out on his own, King was able to showcase the full scale of his vocal abilities, complete with layered, complex choir sections that have since become his signature. His voices have been ringing in our heads ever since. I don’t know about you, but I wouldn’t have it any other way.