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22-01-2018 21:32
Wonderful recent interview with Gary Numan.

21-01-2018 21:04
Lucky and now skint, judging by the winning bid!!

21-01-2018 20:47
Some lucky Jeff Lynne fan got a real rarity!

21-01-2018 09:43
Yep in Argent, especially as Rod Argent and Jim we’re cousins.

21-01-2018 07:43
Didn't Rodford also play in Argent and Charlie too?

20-01-2018 22:04
Jim Rodford, bass player, The Kinks, Phoenix (I think?), but I remember him with The Zombies, saw live a while back. RIP

17-01-2018 21:50
In response to Cyrille Regis, BBC 2 repeat the Adrian Chiles documentary, Whites v Blacks, How Football Changed A Nation, unbelievable true story, worth watching

17-01-2018 18:44
Review of the rather splendid `Hornal` album is in the works too.

17-01-2018 01:57
Dave and Jeff's best of 2017 wrap-up's just around the corner too.. computer work

17-01-2018 01:56
There is a three-part article coming up for E.L.O (Eldorado, A New World Record and Out Of The Blue). Look out for it soon.

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Articles Home » 2007 Articles » Kamelot - 2007 Ghost Opera
Kamelot - 2007 Ghost Opera

ARTIST: Kamelot
ALBUM: Ghost Opera
LABEL: SPV/Steamhammer
YEAR: 2007


LINEUP: Roy Khan - vocals, occasional keyboards * Thomas Youngblood - guitar * Glenn Barry - bass * Casey Grillo - drums * Oliver Palotai - keyboards

TRACK LISTING: 01 Solitaire * 02 Rule The World * 03 Ghost Opera * 04 The Human Stain * 05 Blucher * 06 Love You To Death * 07 Up Through The Ashes * 08 Mourning Star * 09 Silence Of The Darkness * 10 Edenecho



After concluding their famous concept pair of albums, 'Epica' and 'The Black Halo', Kamelot have decided to go where 'The Black Halo' had unexpectedly taken them - towards big, ballsy symphonic arrangements and penetrating darkness.

The Songs
Separating a one minute intro from the first track may not have been so profound, as they are rather alike, but this is quite a minute thing to complain about when you're having a listen of the full CD, as I always am - and 'Rule The World' is a great song, with or without 'Solitaire' merged with it. Featuring some clever use of the Eastern motifs and colours, it's rather sexy, if a metal song was ever sexy, that is. 'Ghost Opera' fits its name like a glove - female operatic vocals (lovely work of Amanda Somerville) aiding the chorus, a big symphonic sound and a rather dusty, Victorian atmosphere permeates it. In a fit of genius (or a fit of poor comparison making, who can tell?), I dubbed it 'daguerreotype metal' and I'm pretty sure that's the best description I could possibly come up with. 'The Human Stain' and 'Blucher' have some rather entertaining industrial features, and 'Love You To Death' is, surprisingly, the breakaway hit off this album. I am the last person to slag off teenagers' music taste (seeing how I was one mere three years ago), but I've never met anyone over the age of 18 that adores this song. The next three songs are an exercise in darkening what seems to me like old Kamelot material, with mixed results, dragging the album down slightly, but 'Anthem' and 'EdenEcho' bring the album to a satisfying close, the first a heartfelt lullaby of Roy Khan to his newborn son, the second a true power metal hit in pure Kamelot style and a mainstay on their setlists.

In Summary
An experiment that ended successfully, and one dear to me through many, perhaps pointless, emotional associations - they shot three videos for it a few kilometers away from where I live, and it was the latest Kamelot album when I got into them.

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#1 | gdazegod on February 15 2014 12:37:53
Great band. Even better now that Tommy Karevik is the lead singer!
#2 | englandashes on February 15 2014 20:50:20
I am still very much stuck in the early days of Roy Khan, with his second with Kamelot (fourth in total), being the Fourth Legacy, to me nothing since this has really topped that album, although it's probably due to me not adapting too well with the changes they put in place, even though quite small. I must get round to reviewing The Fourth Legacy, also worth listening to is Khan version of the song 'We Are Not Separate', that was taken originally from Kamelot second album, but a new version was tagged on the live album just after the fourth legacy.
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