Savatage, to me, has been split into two eras. Their 80s output is a considerably less confusing soap opera than what transpired over the course of the 90s when the band was faced with horrible tragedies, constantly changing lineups and side projects that seemingly were better received than the main band. The 80s, on the other hand, were relatively turmoil free and the band was primarily a metal band trying to put out quality albums.

Gutter Ballet just so happens to be one of their best works and possibly the best before the decade let out. The previous release, Hall of the Mountain King, was a solid release, but occasionally fell short in certain areas. Gutter Ballet does nothing more than build on the foundation and up the ante in many areas.

With the exception of Jon Oliva's decidedly limited vocals (there was a reason the band ultimately sought out a true lead singer later on), Gutter Ballet brandishes the band's impressive musicianship all over the place. Of note are the guitars of Criss Oliva and Chris Caffery, who had joined the band for the album. While often flashy, the guitar playing is substantial throughout and even the showy "Silk and Steel" is flat out beautiful as opposed to indulgent. Also of note is the blossoming theatrical aspect of the band. Gutter Ballet is often filled with imagery and a more refined ability to weave something beyond typical hard rock music. "When the Crowds are Gone" and "Summer's Rain", even with Jon Oliva's limited singing ability, are emotionally strong and convincing. The band, although exploring a softer and moodier edge to their music, still knows how to turn things up a notch on great hard numbers like "The Unholy" or "She's in Love".

Although a bit unnoticed at the time of its release, Gutter Ballet has stood the test of time and is still my favorite release by Savatage. They hadn't quite lost the thread of hard rock nor indulged in strange rock operas. Rather, this album is a portrait of a band running strongly on all gears. A necessity for any fan of this band.

Review by John Chedsey

Review date: 12/2002

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Edge of Thorns is the eighth release from Savatage. It has been interesting to watch the evolution of this band over the years. Never content to stay with one style of play or to play to one audience, Savatage has covered the scope of metal pretty thoroughly, from thrashy speed stuff to epic, to progressive, to melodic, to conceptual. With a huge fan base, they are one of the more popular bands in "mainstream" metal today.

Edge of Thorns was a turning point for the band. Gone is the Hall of the Mountain King epic feel. This CD shows a much tighter song construction. The emphasis is on composition and a much more layered style of song writing emerges as a result. From the opening notes of Jon Olivia's piano on the title track, you know this is not the same Savatage that released Gutter Ballet or Streets. One of the biggest changes is that Zachary Stevens replaces Jon Olivia as the vocalist. Even though Jon Olivia is not listed with the band, he is present in the playing and his influence on the songs is unmistakable. His time was divided between working with Savatage and Trans-Siberian Orchestra during its initial inception. The influence of that project is very evident in the songwriting style from this disc forward with Savatage. There is a large does of acoustic and classical music interwoven into the songs that was not really present in the former works. This disc and Handful of Rain show a more introspective Savatage determined to produce a quality song that has some meat to it. Many Savatage fans cite this disc as their favorite, so evident is its importance in their musical evolution.

Always entertaining, always worth the money, this disc especially stands out as an important disc in the history of a band that has continued to grow and mature as time goes by. I think it is their very willingness to change that has allowed them to survive for so long. Stand out tracks include "Edge of Thorns", "Miles Away" and "Sleep".

Review by Matthew Braymiller

Review date: 06/2000

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After a tragic accident killed Chris Olivia, Alex Skolnick, formerly of Testament, joined the ranks of Savatage. He had some very big shoes to fill, but he filled them very well. Jon Olivia is even further in the background on this disc, mentioned only briefly in the credits. This disc continues the sound of Edge Of Thorns with a heavier edge to it. The title track is one of my favorite Savatage tunes. Where this disc represents progress for Savatage is in the lyrics. The content of the songs continues to get deeper. The song "Chance" is one of the best songs Savatage has ever written. It has been called the "Schindler's List" of Savatage, dealing as it does with events of WWII. The emotion is really stepped up, giving the songs a life of their own that really holds the listener and keeps your interest. Again the influence of Trans-Siberian orchestra can be felt, notably in the story telling nature of the songs. Though not a concept album by any stretch, Handful of Rain puts Savatage on course for the future releases of Dead Winter Dead and Wake of Magellan. The style that was begun on Edge of Thorns incubates on this disc and is given full flower on the next two discs to come from an ever changing band that has captivated fans for years.

Review by Matthew Braymiller

Review date: 06/2000

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Pressing on in the face of an indifferent public, a faceless, hostile music industry, and some internal personnel turmoil, Savatage are one of those rare musical acts that seem so blissfully unaware of the status quo. Dead Winter Dead is another big steamy concept record about war and it effects on an individual basis, and Zach Stevens and Dr. Butcher Jon Oliva team up, finally, to do a bit of vocal trading-off, for dramatic purposes, of course. All the essential Sava-elements are there: emotional ballads, guitar shredding, vocal layering, pictures of Johnny Middleton with his shirt open, etc. Aside from the latter of aforementioned, the only thing that bothers me about this record is the absense of a true rhythm player to provide those meaty riffs (Criss Oliva was versatile enough to do both lead and rhythm), many (such as one in "Starlight") sounding like second rate Motley Crue. At any rate, Savatage will continue to do what they do, regardless of public opinion, because, I mean, do they care?

Review by Lee Steadham

Review date: 12/1998

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Review #2:

The co-production team of Jon Olivia and Paul O'Neill produces a disc that is absolutely astounding with this release. Complete with a modern Romeo and Juliet style love story, this is a concept disc that tells an impassioned tale. Drawn from the events of war torn Sarajevo, the writing captures the loss and tragedy of war from a unique perspective, that of a stone gargoyle. As a detached neutral observer, he records the events that take place in the lives of the players on this disc. The influence of Olivia's time with Trans-Siberian Orchestra is all over the place on this disc. The songs are sweeping and grand, powerful and complex. "Christmas Eve (Sarajevo 12/24)" appears on Trans-Siberian Orchestra's Christmas Eve and Other Stories CD. The two bands are almost indistinguishable from one another at this point in Savatage's history.

Musically this disc is heavier than Handful of Rain or Edge of Thorns. I'd classify it as neo-progressive metal as there is a lot of keyboard work with a bit of cello thrown in for good measure. Jon Olivia begins singing again, but keeps himself to the "parts" that are more in tune with his voice. The vocal arrangements on this disc are several steps ahead of the previous releases. There is a tremendous emphasis on the message of the songs, and the time and effort that has gone into writing them is brought out fully in the playing and production. This is a stellar performance from a band that has continued to defy definition. Just when you think they've settled down to one style or another, they surprise you with a disc that is very different from anything that they've done in the past. Fans of concept discs, take note, there are few that are as well done as this one.

Review by Matthew Braymiller

Review date: 06/2000

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Wow. After a hiatus during which many of the early Savatage discs were re-released, the band was busy putting together their magnum opus. Continuing the successful team of Jon Olivia and Paul O'Neill, Savatage wrote and produced a masterful story through the songs of this disc. Drawn from real life events, the story will sweep you away as it unfolds in the telling.

The songs are very tight and each of them plays off the next to give a seamless quality to this disc. The passion and power of Handful or Rain is here. The intricacy of Dead Winter Dead is stepped up to an even more richly layered and complex level. The vocal arrangements of Trans-Siberian Orchestra are present. This disc is so wonderfully full that it will take several listens to appreciate the complexity and masterful presentation. The acoustic "bonus" tracks are bootleg recordings that the band had made and decided to release for their fans. Musically, this is a heavy, driving disc, full of energy. The crunch of the guitars from the days of Hall Of The Mountain King is back. The bass line is very noticeable throughout the disc highlighting the excellent production. Jon Olivia and Zak Stevens share the singing responsibilities with a couple other band members stepping up to the microphone to add to the layered sound of the singing on some of the songs. The singing on the title track is very typical of the direction Savatage is heading. I'd expect any future releases from them will be even more involved and vocally complex.

Savatage has come a very long way since their beginning. It has been a great ride to follow along with them as they continue to grow and mature. I don't predict any settling for them since they have not shown any inclination to stay with one style for a long time. As they grow and evolve, they continue to release impressive discs, each more involved than its predecessor. I can't wait to see where they go next. It is bound to be interesting and involving.

Review by Matthew Braymiller

Review date: 06/2000

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For its first definition of the word "best", my little pocket dictionary has this entry: "The supreme effort one can make." I think that is a fitting definition when approaching this latest effort from Savatage. It is supreme among all their discs.

Jon Olivia and Paul O'Neill have had a long standing work relationship that has resulted in a great body of work, both with Savatage and with the Trans-Siberian Orchestra. The work with the latter in their Broadway show style concepts has impacted the last two Savatage discs, Dead Winter Dead and Wake Of Magellan. Both of those were epic concepts with a lot of the Broadway show type of musical themes. In other words, they represented a great departure from the heavier side of Savatage and showed us the flashier showmanship of the band.

Poets and Madmen is the result of a marriage. It is a union between the earlier roots of the band and the new intensely artistic side of the group. That marriage produced this album full of heavy metal that remembers where this band began mixed with a story and concept lyrics that are supreme among the songs Savatage has written. This disc is worth purchasing if only for one song. That song is "Morphine Child", which is Savatage's supreme piece of work. I am trying not to write this review based solely on that song, but it is difficult because it is an astounding piece of music. Over ten minutes long and containing elements of every era of Savatage's history, it is the supreme effort Savatage could make. It is the single best song I have heard this year.

The story behind the music could serve as a movie script or the basis of a psychological thriller novel. It involves a group of young men who make a late night visit to a secluded building that had, at one time, served as an mental institution. The events that ensue are unfolded in the songs. The story is quite satisfying and its presentation is nothing short of masterful. The story of the lyrics is balanced out and given its context with the story in the liner notes. Taken together, they make a very compelling disc of richly satisfying measure. The members of Savatage have excelled as songwriters, performers, musicians and storytellers on this disc.

This disc would represent one of the year's best efforts for any other progressive metal band. For this band, this disc is supremely Savatage.

Review by Matthew Braymiller

Review date: 10/2001

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