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September 3, 2010 |
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01. Louisiana Darkness
02. "Loa" House
03. Life After Death
04. Voodoo
05. A Secret
06. Salem
07. One Down, Two To Go
08. Sending Of Dead
09. Sarah's Night
10. The Exorcist
11. Unclean Spirits
12. Cross Of Baron Samedi
13. If They Only Knew
14. Aftermath
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In 1990, KING DIAMOND had just completed his fifth album, "The Eye", which proved to be his final studio release for RoadRunner, and his last great solo album for eight years. When MERCYFUL FATE reformed to release "In The Shadows" and "Time", KING DIAMOND appeared to have put his own band on the backburner. The next solo album came out in '95, but "The Spider's Lullabye" was disappointing and by no means worth the wait. King had overextended himself, and the more straightforward approach of "The Spider's Lullabye" blurred the line between the man's two projects. His follow up, "The Graveyard", was met with even less enthusiasm.
Thankfully, King would reclaim his crown in 1998 with the inspired "Voodoo". "Voodoo" was the first KING DIAMOND album I bought, and while many cite "Abigail" as the man's magnum opus, Voodoo is a better introduction for newcomers. Though KING DIAMOND's music is melodic, well written and easy for metalheads to digest, his unique vocals are an acquired taste. On "Abigail", DIAMOND sings in a full blast falsetto voice for almost the entire album, but on "Voodoo", the listener gets a balanced helping of his high and low singing styles. Even the King's falsettos are less over the top than they used to be.
I mention "Abigail" because "Voodoo" is another story of pregnancy and possession. Once again it involves a couple moving into a mansion, but this time, the mansion is located near an ancient "voodoo" burial site. These things always seem to be haunted, and I won't spoil the chaos that ensues. It's clear that King Diamond has read quite a few books on voodoo, and the album's mission statement can be found in the title track: "If this is all you think they do, oh you better think again, 'cause there is so much more to "Voodoo", oh then meets the eye."
In my not-so-humble opinion, "Voodoo" is far superior to the albums that follow. The music provides a chilling, horror movie atmosphere that his subsequent albums lack. In the interview posted on this very site, DIAMOND states that "The Puppet Master" is his best sounding album, but despite including some Christmas elements and female vocals, the album merely sounds heavy, without being particularly atmospheric.
On "Voodoo", there really isn't a KING DIAMOND band: it's more like "KING DIAMOND, with his trusty sidekick, Andy La Rocque." The other musicians on the album are gone, and have been for quite some time. KING DIAMOND must know some sort of bar where high-caliber guitarists hang out, because I'm not sure where he finds guys like Herb Simonsen. For a hired gun, Herb doesn't shoot blanks. His playing meshes well with Andy La Roque's, and although his guitar solos are shorter and less frequent, they are still well done. His solo on "Sending Of Dead" is the best on the entire disc. Chris Estes and John Luke Hebert are a competent rhythm section, but they are overshadowed by the bigger names in the band. I prefer Mikkey Dee's drumming to Hebert's, and while I'd probably miss the bass playing if it were removed, Chris's work doesn't jump out at me.
When I first spun the album, I was unaware of King's penchant for ambient intros. I found myself disappointed with the falsetto lullaby, "Louisina Darkness." Then came "LOA House" - the track's thrashy verses pulled the rug right out from under me, marking the first big surprise on an album filled with several of them. From the haunting organ in "Life After Death" and "Sending Of Dead", to the title track's voodoo drums, DIAMOND uses a variety of elements to create a surprisingly cohesive atmosphere. "Sarah’s Night" features a harpsichord, along with the album's most schizophrenic vocal performance. Despite "Voodoo"'s variety, you can trust the guitar playing to remain solid. In "Salem", some great leadwork heralds one of the album's better choruses, but the mother of all choruses is found on the following track.
Listeners tend to pay more attention to vocals come chorus-time, but on "One Down, Two To Go" the guitars are just as catchy as the Die Dies they underscore. This song would have absolutely slayed live. I can imagine one thousand Diamondbangers screaming "Die... Die", while the King looks on with sinister approval.
I ritualistically skip the useless filler track, "Unclean Spirits". Accompanied by church music, DIAMOND hams his way through the role of Father Malone. As a supporter of Anton LaVey's logical Satanism, he probably didn't take the priest character too seriously. The speech sounds like a verbatim copy of The Exorcist movie.
In conclusion, "Voodoo" is the single most underrated KING DIAMOND album, and it stands proudly alongside "Abigail" and "The Eye". In fact, my principal complaint with the new live release is the absence of "Voodoo" material. You'd think that KING DIAMOND would have altered his setlist to accommodate this career saving, comeback album. "LOA House", "Life After Death", "Sending of Dead", and "One Down, Two To Go" have every right to be played alongside classics like "Eye Of The Witch" and "A Mansion In Darkness".
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