Kamelot Top 50 ***Updated for new album

[GuineaPig]

What with Kamelot's new album coming out sometime in the next two months or so, I thought what better time to celebrate the band and their remarkable discography.  Kamelot are somewhat unique in the sense that they have been constantly improving over the course of their career; they started out somewhere from mediocre to awful, but since the addition of Khan have consistently been improving their output, and crafting a truly remarkable run of great progressive/power/symphonic metal.  

I suppose this list would make for a good introduction to the band.  Anyone who is turned off by "typical power metal" should still definitely give Kamelot a shot, because they approach it with a much more mature and progressive sensibilities, and have one of my all-time favourite lyricists in Roy Khan.

Songs are judged solely on their studio incarnations.  Songs under two minutes are disqualified (sorry, "Helena's Theme") though it is quite likely that somewhere along this list I will stop to rank the interludes/intros, many of which are superb.  Anyways, here we go.  Feel free to post your thoughts, or your favourite songs, or hyperventilate in anticipation.

50. Snow (bonus track from Epica)

“Snow” starts off my list, appearing, fittingly its role as a bonus track, behind the entirety (minus the interludes) of Epica.  The song itself is not particularly unique in Kamelot’s discography; it features typical Kamelot interplay between guitar and keyboards, a catchy chorus (with the requisite double-time guitar during the second half), and good lyrics.  However, the real reason it is on this list is for the part after the solo, and serves as an effective microcosm of what I find appealing in Kamelot’s music: after 3 minutes of catchy, 4/4, typical power metal, the distortion comes off, piano comes in, and delivers a beautiful 3/4 segment that leads back into the pre-chorus.  Musical diversity and progressive tendencies are what personally sets Kamelot apart from other power metal groups, a feature I will no doubt be commenting upon more later in this list.

49. Alexandria (from The Fourth Legacy)

Kamelot’s unique approach to power metal is also amply demonstrated on “Alexandria.”  Despite being almost completely in 4/4, the song is approached from a much more rhythmically interesting way, using atypical combinations of notes to give the notes different inflections.  Also atypically, this song does not have a particularly memorable or good chorus; instead, the fantastic verses steal the show, with great lyrics and wonderful vocal melodies.

48. We Are Not Separate (from Dominion)

The sole song off this list from the pre-Khan era (sorry, “Call of the Sea”), it is one of the few that seem to portray original singer Mark Vanderbilt in a positive light.  That being said, it’s not like he’s anywhere near the star of this song; instead, that award definitely goes to Thomas Youngblood, who showcases some of the first examples of his catchy and fast riffs that would come to dominate later Kamelot albums.  It goes without saying that the 1999 remake of it on The Expedition is superior, with completely reworked vocals, and string arrangements, but since I’m not including live albums on this list, “We Are Not Separate” remains at #48.

47. Until Kingdom Come (from The Fourth Legacy)

The Fourth Legacy marked a substantial shift in terms of Kamelot’s musical, as well as production, style.  “Until Kingdom Come” is a good example of this new breed; featuring much faster, guitar and double bass-drum driven power metal licks and a bombastic symphonic approach provided by Miro, it presented a much more modern face, production and sound-wise.  The lyrics here are nothing special, but the chorus is catchy, and so is the instrumental section.  A solid, but unremarkable, song.

46. Like the Shadows (bonus track from Epica)

The other bonus track from Epica, “Like the Shadows” is a typical Kamelot mid-tempo rocker, featuring the usual upsides of solid lyrics, enticing verses, and catchy choruses, but also the usual downside of predictability in structure.  Certainly a well-done song, but there’s really nothing of note here.  However, it certainly is a testament to Epica that even its bonus tracks are of consistent quality.

[Adami]

I would already put Snow, a lot higher. It's a great song. Not deep or anything, but really captures both new and old elements of kamelot better than most songs.

[Volk9]

I didnt know they had 50 songs. But I wouldnt know, lol. I only have two of their albums, and while im not a fan of them, they have an amazing singer.

[TheVoxyn]

I didnt know they had 50 songs. But I wouldnt know, lol. I only have two of their albums, and while im not a fan of them, they have an amazing singer.

Hell yea, Khan owns. Seeing them live again next month .

[InTheNameOfGod]

Memento Mori as #1. Must be.

[GuineaPig]

45. Nights of Arabia (from The Fourth Legacy)

Another track from The Fourth Legacy, “Nights of Arabia” carries all the Eastern goodness that its name implies.  Chock full of Arabic melodies are swirling orchestration, it’s simply an extremely catchy and fun song, with a great performance by Khan to boot.  In many ways, it set the standard for Kamelot’s symphonic elements, and paved the way for even grander compositions on albums to come.  It is definitely a highlight of the One Cold Winter’s Night DVD.  

44. The Spell (from Karma)

The first song to appear from Karma, “The Spell” is an extremely catchy song, with a great groove to it.  Although the lyrics are, unfortunately, extremely cheesy (especially by Kamelot standards), the rest of the song’s melodies are too strong to ignore.  The lead-up to the short, but excellent, solo is particularly memorable.  The outro solo is also excellent; which was relatively rare at that time for Youngblood, who, despite being an excellent rhythm guitarist, had not yet acquire the keen ear for melody that all great guitarists possess.  

43. Forever (from Karma)

A very copy/paste power metal song, “Forever” is both blessed and cursed by its generic qualities.  Based on “Solveig’s Song” by Norwegian composer Edward Grieg, “Forever” possesses an extremely straight-forward structure based around a single, simple riff.  However, this allows it to excel as a live song, as shown on One Cold Winter’s Night.  As a studio song, it tends to fall a little short, as it doesn’t have much of the unique Kamelot twist, and lyrically is mediocre.  This type of straight-ahead power metal was fairly common on Karma and The Fourth Legacy, but would later start to disappear for Kamelot’s sound, much to the pleasure (for me) or displeasure of fans.

42. Irea (from Siége Perilous)

The album Siége Perilous introduced fans to new singer Roy Khan, a former member of Norwegian prog outfit Conception.  Despite a fair amount of potential with this much more talented singer and new drummer Casey Grillo, the album suffered from poor production; and only a few songs managed to escape the mediocrity forced upon them.  “Irea” is one such song; a much more laid-back affair, it benefited from excellent performances; particularly from Grillo and Youngblood.  The instrumental section is quite unlike any other in their discography; moving from piano-dominated sections to rapid shredding, and later exploding out of a lazy guitar solo.  One can clearly see a logical continuation from this song to “The Shadow of Uther” and many of the songs on Ghost Opera; it set the stage for similar mid-tempo rockers to follow.

41. The Light I Shine On You (from Karma)

Another rather conventional song, “The Light I Shine On You” suffers, I think, from being on Karma; it tends to blend in with the rest of the songs on the album, which are quite similar to it in style.  However, some good bass work and an excellent solo that builds well into the last chorus helps it to elevate it above most of its companions.

[Sintheros]

Memento Mori better be #1, and March of Mephisto better not make the top 10.

[faemir]

Keep it up

[GuineaPig]

40. Blücher (from Ghost Opera)

The first on the list from Ghost Opera, “Blücher” follows in a continuing line of songs that feature the wonderful Simone Simons of Epica.  Although she isn’t put to as good a use as another song on this list, the song nevertheless benefits much from her presence.  Although the song can be a bit monotonous instrumentally, its chorus is splendid.  Lyrically too, it’s excellent; Khan was initially inspired to write about the Titanic, but deeming it too easy, instead tackled a much tougher subject that was closer to home: the sinking of the German heavy cruiser Blücher in the Oslo fjord on the first day of the German offensive against Norway in 1940.  Unfortunately, there's not much to it; this is one of the songs I'd really wish was more extended, as I think they could've done a lot of interesting things with it.

39. The Inquisitor (from The Fourth Legacy)

“The Inquisitor” has one of the coolest Kamelot intros; a fade-in is capped with a furious tom-roll and a crushing, distorted chord.  Following hot on its heels is a very dissonant riff that seems a bit like foreshadowing for Ghost Opera.  I think this song might also be the first Khan-era occurrence of another Kamelot trademark; a heavy intro riff followed by clean or absent guitar for the first verse.  It works well with the subject matter; it introduces Khan in a suitably menacing way.  Khan’s lower-range singing on this song is also reminiscent of Ghost Opera, and works extremely well with the heavy riffing.

38. Anthem (from Ghost Opera)

The first ballad on the list, “Anthem” is, like most Kamelot ballads, an incredibly beautiful, well-written song that manages to inspire and soar while deftly side-stepping the traditional power metal helping of double cheese.  A touching ode to his unborn child, Khan displays exactly why he is such a great lyricist; he is never heavy-handed with his imagery and is never to literal; he utilizes metaphors and themes in a sublimely poetic manner.  The quality of the lyrics often makes or breaks a ballad; the graceful approach by Khan is a major reason why I think Kamelot write the best ballads of any metal band.  Also, there is excellent piano and orchestration by Oliver Palotai; he keeps it relatively simple, without over-indulging in synths.  I suppose the best word to describe Kamelot ballads would be “tasteful.”  “Anthem” is a fantastic example of this approach.

37. The Mourning After (from Epica)

The first of the conceptual songs from Epica and The Black Halo to appear on this list, “The Mourning After” gets the lowest spot simply because it is not phenomenal.  The lyrics, are of course, fantastic; but then again, saying that for any song from these two albums is incredibly redundant.  The first verse is great, but the rest of the song doesn’t have the same quality of melodies as many of the other songs it is surrounded by.  

36. Expedition (from Siége Perilous)

Once again, this song is harmed by the poor production on Siége Perilous, but nevertheless manages to create a great mood of danger and discovery.  One of the great things about Kamelot is that the music and lyrics often work extremely well together.  I once read an interview with Khan where stated that it has to do with their songwriting process; musical inspiration may come from lyrics (as in the case of Epica and The Black Halo) or he may be inspired to write a certain subject based on the mood of the song (for example, Blücher).  Anyways, what I mean to say is that it benefits greatly to the overall feel of the song that the lyrics and music fit together so cohesively.   A great song; it should definitely get another chance to shine live, as it sounded great on The Expedition.

[faemir]

I'm going to have to revisit these old albums for these songs I think.

[GuineaPig]

Well, from here on in, the newer albums will dominate.

I did a count and there are only 7 songs not from Ghost Opera, the Black Halo, and Epica in the top 35.

[MykeHavoc]

Yes, Karma and Black Halo are my favorite albums.
Cool to see Inquisitor on the list, as I was just listening to that tune the other day and realized how fucking bad-ass the intro is.
I'm too lazy to make a top 50 list but I'm enjoying reading your comments.

[Dcrupi]

I didnt know they had 50 songs. But I wouldnt know, lol. I only have two of their albums, and while im not a fan of them, they have an amazing singer.

Hell yea, Khan owns. Seeing them live again next month .

Am as well!  Where are you seeing them?  I'm in London, so I'll be at KOKO in Camden Town.

[faemir]

Well, from here on in, the newer albums will dominate.

I did a count and there are only 7 songs not from Ghost Opera, the Black Halo, and Epica in the top 35.

Karma?

[Genowyn]

Well, from here on in, the newer albums will dominate.

I did a count and there are only 7 songs not from Ghost Opera, the Black Halo, and Epica in the top 35.

Does not compute. That suggests you're going to have more than 4 songs from Ghost Opera.

[GuineaPig]

I don't understand the hate for Ghost Opera.  I think it's a fantastic album.

[robwebster]

I don't understand the hate for Ghost Opera.  I think it's a fantastic album.

It's different, and it's the newest. Time will treat it better!

When it's new, it's a new direction that isn't what the listeners wanted. When it's older, it's a quirky footnote, and more judged on its own merits. It's not a sign of decay, or even if it is, it's too old to worry about. Just music to listen to.

[Dcrupi]

When it's new, it's a new direction that isn't what the listeners wanted. When it's older, it's a quirky footnote, and more judged on its own merits.

This is a fantastic observation actually...and very true.

Personally, I love Ghost Opera.  Not their best work IMO, but really great.

[Adami]

My problem with Ghost Opera isn't that it's new, Black Halo was new and I loved it.

Ghost Opera just seems (mostly) lifeless and uninspired.

[GuineaPig]

35.  Center of the Universe (from Epica)

The opener to Kamelot’s 6th album, “Center of the Universe” is one of the few songs on Epica and The Black Halo which are upbeat, or even anywhere close to happy.  In this respect, it does a good job of expressing the hopes and dreams of the protagonist in the concept, Ariel.  Once again (although I sound increasingly like a broken record), a catchy chorus and superb lyrics dominate the song.  However, the best part starts at 2:50; when the distortion comes off, and the strings and piano come in.  The build-up with the interplay between the instruments, Khan, and Mari (playing the character Helena) is superb.  An excellent opener, and introduces the concept extremely well.

34. The Human Stain (from Ghost Opera)
This song starts off with a very industrial-esque riff (I’m not quite sure what tuning Youngblood is, but it’s certainly a down-tuned 7-string).  The distortion coming off for the first verse is as good as it is predictable; the contrast between the heavy down-tuned guitars, the simple piano, and the serene backing vocals is quite impressive.  Khan really dominates this song with his expressive vocals, especially with the backing vocals in the chorus.  Excellent stuff.  I would also like to point out another thing that Youngblood does exceptionally well: although his soloing isn’t the best out there, he writes some of the best riffs to solo ever.  “The Human Stain” is no exception.

33. Love You to Death (from Ghost Opera)

Initially, I wasn’t a big fan of this song.  But it’s definitely grown on me over time.  I think part of my initial dislike was that the lyrics in the verses aren’t that great; that’s a big turn-off for me, especially when compared with the other lyrics in Kamelot’s discography.  But ultimately the fantastic, soaring chorus, and the slow build-up into a fantastic solo won me over.  The Oriental vibe to the song apparently inspired the lyrics, based off a Chinese legend, and although I don’t think they’re up to Kamelot’s usual standard for these past several albums, the interplay between Khan and Amanda Somerville is great, with Khan in particular again stealing the show with his wonderful vocal performance.

32. Millennium (from Siége Perilous)

“Millennium” is, I believe (though my speculation is based simply on gut instinct), one of Kamelot’s fastest songs, and carries itself at a near break-neck pace for the entirety of its length.  Not much to comment on here; it’s got good riffs, good drumming, and is fun to listen to.  Would be higher up if not for the vocal melodies in the chorus which I find can be a bit annoying; it’s version on The Expedition is superior in that regard.

31. Up Through the Ashes (from Ghost Opera)

Hmm, this five sure did have a heaping helping of Ghost Opera on it.  Anyways, this song kicks off with a monster of a riff, with down-tuned, dissonant guitars meshing with bombastic strings.  I really like how Khan uses his lower register on the verses; it really helps the lower, heavier sections contrast with the soaring chorus.  One of the big reasons I like this song is it displays Kamelot exploring new territory; typically they focus on catchy, easy-to-digest, almost poppy melodies backed by furious double-bass.  Instead, this song utilizes a number of incredibly dissonant, heavy riffs, that sound more like they’re coming from a death or industrial metal band than a power-metal band.  I suppose that in this sense, especially from what many people seem to think on these forums, “Up Through the Ashes” is a song that is emblematic of many of the criticisms of Ghost Opera; it would also explain why I like the album as much as I do. 

[soundgarden]

45. Nights of Arabia (from The Fourth Legacy)

43. Forever (from Karma)

35.  Center of the Universe (from Epica)

awww, these are in my top 10!!

Somewhere in Time or Farewell better be #1 

[faemir]

33. Love You to Death (from Ghost Opera)

 

Top 10, easy!

 

[GuineaPig]

awww, these are in my top 10!!

Somewhere in Time or Farewell better be #1 

You'll be disappointed 

[Arcaeus]

Good to see so many Ghost Opera songs so low. Such a dull album.

I do like Up Through The Ashes and Love You To Death, though. Eden Echo's a bit fun too.

I really, really hope March of Mephisto's not near the top 10, but Nights of Arabia is

[Sintheros]

Somewhere in Time or Farewell better be #1 

Somewhere in time? Really? I think at least 3 or 4 songs on The Black Halo are better...

Soul Society, Abandoned, This Pain, Moonlight, the title track, and of course Memento Mori...that makes 6 actually. Heh.

[Adami]

I really, really hope March of Mephisto's not near the top 10, but Nights of Arabia is

The live version of March is sooo much better. They keyboard solo just detracts from the song, good thing they never played it live.

[Arcaeus]

I really, really hope March of Mephisto's not near the top 10, but Nights of Arabia is

The live version of March is sooo much better. They keyboard solo just detracts from the song, good thing they never played it live.

I very much agree with that, but it's still not one of my favorites (top 20-30, yeah)

[InTheNameOfGod]

33. Love You to Death (from Ghost Opera)

 

Top 10, easy!

 

Yeah seriously.

#33 is a shocking position. Top 5 for me.

[GuineaPig]

So we've got half the people criticizing me for putting too many Ghost Opera songs on the list, and the other half criticizing me for not putting them high enough 

[MykeHavoc]

Human Stain is actually just in dropped-C tuning. Not really all that low. The crushing feel is helped by the bass and assorted clanking metal effects.

Abandoned = #1 in my book Possibly the best ballad ever.

[GuineaPig]

30. The Haunting (Somewhere in Time) (from The Black Halo)

I’m sure that a lot of people will think that it is criminal that I rate this song so low.  It’s true that this song features some great melodies, lyrics, and vocal performances courtesy of Khan and Simone Simons, but overall I find it a tad poppy and just a little bland; so, it automatically gets shunted to the bottom of The Black Halo.  That being said, it’s easy to see why many people consider it a Kamelot classic; similar to “Forever”, it bases itself off extremely simple, easy melodies, and is a lot of fun to sing along to. 

29. Soul Society (from The Black Halo)

“Soul Society” begins with a somewhat electronica-inspired drumming meshed with clean guitar, before moving into a more typical Kamelot tune; heavy guitars, double-bass, and wonderful strings.  The latter in particular deserve mention on this song; they are absolutely wonderful.  Throughout the song, they complement the guitar-work perfectly: while the guitars are chugging, the strings are soaring, and when it is Youngblood’s turn to shine, they provide a furious rhythm section as fearsome as any distorted guitar could.  One of the great things about Kamelot is their use of strings and keyboards; too often one sees a metal band that sees the keyboard as simply another guitar.  Instead, the strings often move perpendicularly to the guitars rather than parallel; they drive the song forward in a different way, rather than simply responding to what the guitars are doing. 

28. Lost & Damned (from Epica)

Perhaps no song (other than the ballads) embodies Kamelot’s reliance on the keyboard as a means to drive the song as “Lost & Damned.”  Starting with a piano intro, it explodes into a fury of strings and guitars, only to recede to piano and... an accordion.  The absurd thing is that at no point does this seem cheesy.  In fact, it works perfectly with the tone of the lyrics; Ariel’s abandonment of Helena.  I would be hard pressed to think of a way to make an accordion sound melancholy; but somehow it works.  Anyways, the chorus is, once again, Kamelot’s usual high standard of excellent lyrics and melodies.  Maybe after the list is done, I’ll recap my favourite lines; I’m fairly sure that “Don’t ask why, don’t be sad/Sometimes we all must alter paths we planned” would be on there.  One thing that the lyrics to Epica and The Black Halo do well is rather than focusing on plot points and sheperding the listener (I’m looking at you, Scenes From a Memory), they focus on the emotions and thoughts of the characters, allowing the listener to form a much deeper bond with the characters.  I mean, I don’t give a crap about Nicolas and Victoria; but Ariel and Helena I can understand and empathize because so much time is spent describing their loves, fears, and dreams.  Great song.

27. Wander (from Epica)

Another ballad, “Wander” is another great example of the aforementioned character building on Epica.  Lyrics like this:


Meet me by the wishing well
In cover of the moon
Whisper to me tenderly
That I will see you soon
Sing that song from long ago
So I remember you
Flowers in mahogany hair
And mellow days in June

Simple, elegant, beautiful.  Also, of important note is the introduction of the “song” metaphor that represents the relationship between Ariel and Helena, that is revisited in “Helena’s Theme” and “Abandoned.”  Little touches like this in the lyrics do a long way to making the concept feel cohesive, and give a true sense of narrative.  As always on ballads, Khan gives a masterful performance, and Miro provides excellent orchestration. 

26. Farewell (from Epica)

Despite its name, “Farewell” is the second song of the Faust concept, and keeps things going at the break-neck pace that “Center of the Universe” set.  However, this time there’s a twist: in direct contravention of power metal law, most of the song takes place in triple meter.  It’s fairly amusing to listen to a band go all out with double-bass and rapid-fire guitar at 170 bpm in a waltz.  The lyrics are once again excellent, describing Ariel’s departure from his old life and love, Helena, in search of knowledge and power.  Also, another important theme is introduced in the first verse; Ariel’s question of God’s purpose in his life, that is later reprised both lyrically and musically throughout the rest of the concept.  This is an excellent example of a song that manages to advance the plot of the concept, without losing focus on the characters.

[Sintheros]

I won't criticize you for putting Somewhere in Time so low, but Soul Society? 

[Adami]

Why do I have a feeling the top 5 will include a few Ghost Opera songs?

[Sintheros]

Top 5 needs Memento Mori and Abandoned or else this list fails. 

[Adami]

I will seriously be upset if Shadow of Uther is even ON this list. Because if it is, then he has made it higher than all of the songs listed already, which is just insulting.