FROM THE CRYPTS - CELEBRATING PAST ALBUM RELEASES in the HISTORY of HARD ROCK & HEAVY METAL…
On October 25, 1994, MERCYFUL FATE released their fourth full-length studio album, Time via Metal Blade Records. The track The Mad Arab is about H. P. Lovecraft's character Abdul Alhazred, the author of the fictional forbidden tome of occult lore The Necronomicon.
Time was recorded and mixed at the Dallas Sound Lab during May–August 1994. After the album's release, drummer Snowy Shaw was replaced by Bjarne T. Holm for the Time Tour. Holm had originally been asked to join Mercyful Fate back in 1981, but had declined due to prior commitments.
Background:
Fans were polarized by Mercyful Fate's first reunion album, In the Shadows. While many were pleased with it, diehard Mercyful Fate fans took issue with it differing from the bands early releases. Most notably, the difference in the album's lyrics. The Satanic lyricism and demonic themes that were prevalent in Mercyful Fate’s previous releases are almost nonexistent on the album, replaced with themes of ghost stories and legends. Themes that one would expect to be found on a King Diamond album, but not so much for Mercyful Fate. And, for fans of the band, In the Shadows was the not the return fans had hoped for. This motivated Mercyful Fate to revise their sound for the following album, Time.
Time is the complete opposite of In the Shadows. Musically, In the Shadows sounds more like early Mercyful Fate, whereas lyrically, it differs from their classic releases. Time ditches the King Diamond themes and returns to the lyrics of the classic Mercyful Fate albums. However, musically, Time is different from previously released albums, with the most notable difference being the songwriting. The songs on Time have a simpler, less complex feel than the bands previous albums, which had more of an epic dynamic in their arrangements. This change makes the album seem more facile than any other Mercyful Fate album released. But, this also gives the songs a feeling of being more direct and to the point, which I find appealing. Ultimately, Time has since become my favorite release from Mercyful Fate! — E.N. Wells
Critical Reception:
In his review for AllMusic, Jason Anderson wrote; “Like its predecessor (the comeback disc In the Shadows), Time has a mostly original Mercyful Fate lineup delivering strong material that might not exactly stand up to the group's best early-'80s work, but still packs a nasty horror-metal punch. As always, the distinctive frontman King Diamond leads the way on Time with his epic (if a little silly) lyrics and bizarre vocal range that defined the group's sound. Often overshadowed by Diamond's theatrics, the other bandmembers (guitarist Hank Sherman, bassist Sharlee D'Angelo, and relative newcomer Snowy Shaw on drums) do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling Lady in Black is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, Nightmare Be Thy Name, and the title track, Time. If there was any concern that In the Shadows was going to be a one-off treat exclusively designed for nostalgic old-timers, Time proved that Mercyful Fate was back and ready to build upon its massive '80s underground metal reputation.”
In his review for Rock Hard magazine, Frank Albrecht wrote; “Time is album number two since the MERCYFUL FATE reunion, and like its predecessor In The Shadows, this little piece no longer touches me as much as Melissa or Don't Break The Oath did I was so moved that in my youthful recklessness - inspired by the lyrics - I hung an upside-down cross around my neck and didn't hear anything else for weeks. But this phenomenon is probably age-related. Looked at soberly, Time is no worse than MF works from the mid-eighties. Especially musically, the King and his minions still have a lot to offer - and in their typically unmistakable style, with all the usual trademarks of the MF sound: numerous, unique breaks, dark choirs, classical and oriental instruments. In addition, the King screams and moans through his (unfortunately not quite so) blasphemous lyrics, only to sing sweetly in the next moment, to scold like a priest (what's that? - Red.) Or to laugh maliciously. His band provides the appropriate soundtrack, which is of course at a high technical level and contains numerous surprises. Since none of the eleven songs - apart from the somewhat badly nested Castillo Del Mortes - can be described as a failure, MERCYFUL FATE have once again earned a fat nine points. This band is and will remain unique. ) or laughing maliciously.
Note: The reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. — E.N. Wells
Comments