Savatage ~ USA ~ Tampa, Florida

Poets and Madmen (2001)

I wasn't planning to revisit the Savatage catalog so quick but the random number generator thought differently. As noted on Hall of the Mountain King, I have almost no history or recollection of Savatage's material outside of the 1980s. At this stage of their career, they're all in for storybook albums, and what is loosely called rock opera. Or metal opera. None of which appeals to me really, as lyrics have never driven my appreciation level all that much. And classical styled chorus' are also not something I cherish to listen to. As for the music, I'm pleasantly surprised by the fat and creative riffs, a hallmark of the Savatage sound. Piano and synthesizer add-ons are much welcomed too. Jon Oliva doesn't sound quite the same here, though age I'm sure has something to do with this. 

As I catch up on Savatage's history, it's interesting to read that band leader Jon Oliva says that Savatage without brother Criss (who died tragically in 1993) doesn't really sound like the band. I know what he means, though I'm not sure even the early 90s material have resonated with me either. They're not bad at all, just they fall out of my interest area. Seems Savatage will always be a band of the 80s for me, more specifically a band that existed solely in my college years (1983-1987). Even though I bought a sealed modern LP reissue of Edge of Thorns, I may sell it and eventually grab a cheap CD for a revisit if I see it. I owned it before on CD, and moved it out. I doubt my viewpoint has changed that much in the last decade honestly.

Poets and Madmen was to be the end of the line for Savatage. However it appears the story isn't going to end just yet, as they are working on a new album called Curtain Call, to be released this year (2026). Of course Savatage have gone through various fits and starts in the last 25 years, so who knows? Perhaps this will be their Coroner moment.

Former ownership: 2001 Steamhammer (CD). Box set with sticker and poster. Booklet lays out the story, and includes lyrics plus a photograph of a pretty lady associated with the story.

4/7/17 (acquired); 1/5/26 (review)
 

Hall of the Mountain King (1987)

I stayed loyal to Savatage despite their last effort being the dreadful Fight for the Rock. And I was also losing enthusiasm surrounding Power of the Night, since reconciled as noted below. The reviews of the era stated emphatically that Hall of the Mountain King was a strong return to form. So I plunked down what few remaining dollars I had left by my last semester in college (the defense contractor intern money from 85-86 was gone by then). I'm pretty sure this was the last LP I bought before graduating. A good way to exit. Indeed, Savatage was back. Crunchy guitars, shrieking vocals, and the heavy bottom end are all in full force. And the band began to embrace the progressive, something they seemed reluctant to do, though they'd circled the concept early in their career. The songwriting is strong here as well.

Hall of the Mountain King arguably saved them from disintegration, and opened a lot of doors for the future. Today it is considered their masterwork, though I remain loyal to their initial couple of releases, given the time and place context. 

Nonetheless I stopped here with Savatage, and didn't check out any of their later albums until the last ten years or so. None have really wowed me, though revisits are in order.

Ownership: 1987 Atlantic (LP)

10//87 (acquired); 7/20/13; 12/16/25 (review)

Sirens (1983)

I've mentioned Sirens on plenty of posts in the past but have never featured or written anything about it directly. I purchased this on the same fateful January 1984 day that I acquired Manilla Road's Crystal Logic while still on winter break from college. Neither album had much initial impact on me. They were both slow growers. Today I consider Manilla Road's album close to the top tier, whereas Sirens remains merely excellent to my ears. Primarily that's because there isn't any one track that makes you sit up and proclaim "did you hear that?" That is to say, there is no 'Dreams of Eschaton' here. But what Sirens did bring was a superbly crafted traditional heavy metal album. Fantastic bass heavy production with crunchy guitars and Jon Oliva's unique snarling and yelping vocals. Not a dud track among the nine songs on display. Though the band were to later incorporate progressive rock and opera themes, I prefer this earlier incarnation of the group. I think they were to peak on The Dungeons are Calling EP before experimenting with more commercial music and then onto the aforementioned progressive rock ideas of Hall of the Mountain King. Sirens is slower and heavier than the bands it's often compared to such as late 70s Judas Priest, same era Iron Maiden, and early Queensryche. It fills a unique space inside of an obvious context.

Ownership: 

1983 Par (LP). "Legal rights" on the label version. 
2002 Metal Blade (CD). Silver anniversary edition. Liner notes written by former drummer Steve Wacholz. Features three relevant bonus tracks likely taken from the same era (though not documented). 

1//84 (LP acquired); 1/21/13 (CD acquired); 9/28/19; 9/21/23 (review)

Power of the Night (1985)

I bought this when it first came out, but by the 90s I had become tired of this kind of traditional metal sound. Though fortunately the first two Savatage albums (including the EP) still resonated and have continued to become legend in my mind (as noted here). Both are treasured parts of the collection. In retrospect I can see my initial dissatisfaction with Power of the Night, as the album is more straightforward and it wheezes out at the end. But I love the way Savatage brings those big riffs and Jon Oliva yelps his lines. And that heavy bottom rhythm. Keeper for now.

Ownership: 1985 Atlantic (LP)

6//85 (LP acquired); 7/15/23 (LP reacquired / review)

The Dungeons Are Calling (1985)

The Dungeons are Calling is Savatage's second effort, and is a blistering set of six traditional metal tunes. Easily Savatage's heaviest album, I would have to disagree this constitutes nothing more than leftovers. There are three absolute monster tracks here: 'City Beneath the Surface' sounds like Sabbath's Sabotage album taken to the 3rd power. The title track and 'By the Grace of the Witch' are crushingly heavy, but also melodic and memorable. Jon Oliva is really belting them out here with the best of them. And brother Criss' guitar sound is exactly it. Even the weaker tracks are no slouches. 'Visions' sounds like many a Mausoleum type European rumbler, while 'The Whip' could have been lifted straight from Judas Priest's Defenders of the Faith session.

Ownership: 

1984 Combat (EP)

2002 Metal Blade (CD). Silver Anniversary with bonus tracks.

3//85 (EP acquired); 12//04 (CD acquired); 2/2/16 (review)

Once owned the following: Fight for the Rock; Streets; Dead Winter Dead; Edge of Thorns

12/4/16 (new entry)