Savatage: Edge of Thorns

Savatage. This is one of those bands that had a very big impact on me when I was just getting into heavy metal. I can remember many a Savatage tapes being played on long car rides with my folks, jamming out to the likes of “Hall of the Mountain King”, “Gutter Ballet” and “Handful of Rain”. Another album that was played often was “Edge of Thorns”, one that I know often marks a separate era for the band, one that is rather polarizing among the fan base.

It was “Edge of Thorns” that we saw Jon Oliva take a step back from the musical side of the band (although he did add some work on the pianos and drums on a couple tracks) and focus more on the creative side. Although, Oliva’s voice might be absent, I feel his creativity is still very much on display throughout “Edge of Thorns”. This would also mark the beginning of the Zak Stevens era on lead vocals, another reason this era tends to divide fans. Now, it is very tall order to have a new vocalist step in and take over for a long time singer. This transition does not always go over well, but there have been noticeable successes in the past such as AC/DC or Black Sabbath when it came to passing the torch as to speak. With that said, I prefer Oliva over Stevens, but I’ve always enjoyed the Stevens era of Savatage. “Edge of Thorns” would also and sadly, be Criss Oliva’s final work, as he tragically died in an auto accident less than a year after the release of “Edge of Thorns”. Some point to this very moment as the beginning of the end of the band, as I can’t imagine how I would feel if either of my brothers were taken from me earlier, but the effect it had on Jon would resonate for years.

Now, I will say that this album tends to suffer from a lack of the theatrics that the band had been known to conjure up such on albums such as “Hall of the Mountain King” or “Gutter Ballet”. The bombastic passages the Oliva created with both his voice and songwriting are not as present as previous works, while the overall sound is akin to what Zak Stevens would continue on with Circle II Circle. That being said, I understand the divide that this album created among fans, as the trademark sound of Savatage has shifted to a more accessible sound that seemed to fit the sound in the early 90’s metal scene. On the other hand, if you enjoy Stevens’ voice, “Edge of Thorns” is still be a very enjoyable album.

Staying on the subject of Stevens, let’s talk about his singing. Personally, I’ve always been a big Zak Stevens fan. I enjoyed his work with Circle II Circle, which of course, would mean I enjoyed his time with Savatage. I don’t view “Edge of Thorns” as a Savatage album without Jon Oliva, but rather a Savatage album with a different approach. Yes, I miss Oliva’s wailing, but Stevens has a strong voice, one with enough rasp and grit to carry a heavy vibe, but also a melodic tone as well. This allows Stevens to sing with the power that Savatage generally brings to the table, but also gives him the freedom to showcase his midrange vocals as well as his softer side to his voice.

Criss’ guitar work over the years leading up to “Edge of Thorns” was nothing short of magical. I can’t recall how many catchy and memorable riffs the man created in his career, but the number is staggering. His ability to hook the listener with interesting time shifts and sublime leads is nothing out of the ordinary for his legendary ability. Such ability is easily detected on “Edge of Thorns” as there are countless riffs that create both heavy and melodic characteristics, which stick in your mind well after the song ends. His solos are excellently timed and fit perfectly with structure of the songs, often giving them an almost progressive nature to their overall structure. The rhythmic groves and his ability to harmonize them with the rest of the instruments creates a very complete sound the overall atmosphere, but also allows Stevens’ vocals to come to the forefront of the music. That is quite possibly, what I admire most about the songwriting is how they all for Stevens’ vocals to shine, all the while keeping the instruments center stage each and every song.

Doc Wacholz, once again, displays his drum mastery on this album. The pounding beats enhance the guitars and pianos, while carving out their own powerful niche from song to song. They too, have the ability to shift speed and tempo to allow for both the proper harmony within a song, but also, take hold of a song and become its driving force. The bass fits nicely in the overall sound, lending a loud, crunching tone that compliment many of the guitar leads.

My biggest complaint with “Edge of Thorns” would be the excessive amount of ballads present. I understand that power ballads were still big in the early 90’s, but I felt this album would have been stronger as a whole with simply one ballad, which would have complimented the two instruments. Songs such as “Sleep” and “As I Bleed” feel like unnecessary filler, that neither add or take away from the atmosphere of the album, but rather seem to just be there for the sake of being there.

At the end of the day, “Edge of Thorns” despite the excessive ballads, is a solid addition to the Savatage legacy. I can see both the praise is disdain this album draws and while everyone is entitled to their personal tastes and opinions, I’ve always enjoyed “Edge of Thorns” not for what it could have been, but for what it is: a catchy, talented showing of power metal.

Highlights: “Edge of Thorns” “Miles Away” “Degrees of Sanity”

Rating: 4.5