This is a new one to me – to review a rock opera. Normally, an album is just a collection of songs that can reviewed as just that, but a rock opera is a whole different beast – especially when said rock opera is done the way this is. First of all, I must admit that I’m not 100% sure how a theme album, a rock musical and a rock opera differs from each other. The way I see it, a theme album is a collection of songs that has a connection by a certain subject, a rock opera has songs that are tied to each other and that has a running order that can’t be changed if the story will be kept intact and a rock musical has narration in between songs. Tommy by The Who, the Avantasia albums, Crimson Idol by W.A.S.P., Streets by Savatage, Operation: Mindcrime by Queensrÿche and Seventh Son Of A Seventh Son by Iron Maiden are all albums that I consider rock operas. (Music from) The Elder by Kiss might be considered a rock opera, but that had album had different running order depending on which country it was released in, so I’ll consider that a theme album. Now this album is a rock opera according to the title, but all the songs has a narration between all songs, in fact the narration is mixed over the ending and the beginning of many of the songs so I guess I must consider this a rock musical. Or…? Ah, Well, I have to stop this before I paint myself into a corner. Anyway, opera or musical, instead of me trying to explain the back ground and how this thing came together, I thought I try a different approach. Why not get the backgrounds on this rock opera from the source itself? Said and done, let’s start this review with a quick Q & A with one of this project’s founders, Mr Chris Laney, who not only has co-written and co-produced this, but also plays guitar and has one of the biggest parts in the play, as the rat-boy, Brown Jenkin.