MERCYFUL FATE / In the Shadows (1993)

Mercyful Fate's reformation produced what was in reality only their third proper studio album. It wastes no time getting to the heart of what made them great back in the day, so much so that it's like they'd never been away. King's day job had enabled him to mature in lyric writing, so everything has a more story-like structure, and there's nothing much for nuns to get in a tizzy about. Everything is more polished, even beautiful in places, but it never drops the coffin or goes for the safe and friendly option. It's another MF classic.

Songs of Note: The Bell Witch; Is That You, Melissa?

4 trips to the underworld out of 5

MERCYFUL FATE / Don't Break the Oath (1984)

Don't Break the Oath is Fate doing what they did better than anyone: theatrical metal. King must have been bursting with creativity in those early years. Guitarists Hank Shermann and Michael Denner are so perfectly attuned to each other's playing style that they never put a foot (or a finger) wrong; if they were women their menstrual cycles would've been in perfect sync. They delivered riffs that would be stolen by almost everyone for the next decade.

Songs of Note: Come to the Sabbath; A Dangerous Meeting

4 in for the kill out of 5

MERCYFUL FATE / Melissa (1983)

Would you like to hear where early Metallica stole all their best riffs and drum techniques from? They ripped them off Hank Shermann and Kim Ruzz. If you want proof, listen to the Melissa album. The biggest difference is that Fate had King Diamond on vocals. King uses his falsetto tones to great effect, but some people don't like it, they laugh and poke fun. That's okay. What they fail to recognise is the humour in the work; King knows what he does and why he does it. Recognise that and stop the bitching. It's traditional metal with theatrical overtones and a darkly lyrical nature. Oh, and it's damn near perfect.

Songs of Note: Curse of the Pharaohs; Into the Coven

4½ don't touch, never ever steal out of 5