Metal Overview: Savatage

First Metal Overview of 2026 everybody!

I had 2 bands I was going to start the year off with. A group with just a hint of records, and the one that you ultimately see before you. Often overlooked when you compare then to their holiday spinoff, Savatage was, and still is, one of the biggest icons with the realms of Prog Metal & Power Metal. Two worlds that seemingly work so well in their hands, it’s a testament to how great they are, when a lot of their work is overshadowed by the might that is Trans-Siberian-Orchestra (Even though TSO is fantastic as well) Still, it’s great to know that Savatage still has plenty of fans that love them, and as of 2019, I became a fan as well. So sit back, relax, and enjoy my look at the Prog-Power icons Savatage! Let’s begin.

Sirens (1983)

Our story begins in 1979. Brothers Criss Oliva & Jon Oliva formed their first band together, originally called Avatar. In 1980, the duo met their future drummer Steve "Doc" Wacholz, and the newly-formed trio would practice in a small shack behind the Oliva residence called “The Pit”. All 3 men would play in the Tampa & Clearwater, Floria area for some time, then in 1981 Ronald Leon Sisson would join the band as the new bassist, which relieved Jon of the role (But he still stayed in the band). A year later in 1982, The band took part in a few metal compilations, most notable of which was The YNF Pirate Tape, which was a promotion by Tampa rock radio station 95YNF for local Florida bands. Shortly after that came out, they were ultimately forced to change the band’s name due to copyright issues, and by mixing the words “Savage” & “Avatar”, they ultimately came up with the name Savatage. As Jon Oliva once said: 

“We wrote out Avatar on a big piece of poster paper... and Criss said, "Put a big S (like Kiss) in front of Avatar," and it was like, "Savatar." I was like, "That sounds like a really bad dinosaur," but we liked the way it looked. So then finally, out of nowhere, I don't remember who it was—it might have been Criss' wife or my wife—somebody said, "Take the R out and put a GE," and we did, and it was "Savatage." I was like, "That was cool," not "Sa-va-tage," but "Savatage," like "Sava" for Savage and "Tage" for mystical or whatever. From that moment on we were Savatage.”

Joining up with independent record label Par Records, Savatage entered the studio in January of 1983, and over the course of ONE day, recorded not only their very first album, but the EP The Dungeons Are Calling (Which would be released in 1984). Finally, on the 11th of April, 1983, their first ful record Sirens was put out in music stores.

Best Track? Out on the Streets charmed me upon listening to it for the first time. Only one of two songs just past the five minute mark (The other being I Believe), it’s a bit of a grower at first, but once the meat of the song hits your ears, you know it deserves to close out the album. It’s funny, because it’s kind of a ballad to a certain extent, and at other times is more intense. It switches between both extremes without disrupting the flow, and the end result is just fantastic.

Out on the Streets

Worst Track? Honestly, Sirens doesn’t have a bad track anywhere during it’s entire runtime. From the opener to the closer, you’re given quite an audio meal! It’s only real fault lies with it’s age, as it’s almost 43 years old. As awesome as it is, you can definitely tell it’s age from the first few notes, all the way to the closing seconds. The datedness is probably going to be a sore spot for people who don’t like their music on the date side of things.

Sirens. It’s got a some grey hairs for sure, but that factor only ruins it for some people. There’s a lot of fun on this record, and it’s obvious that the band showed off a lot of potential. Definitely a nice way to start off a career. Next album!

Power Of The Night (1985)

With the success of their debut album & accompanying EP, it seemed that the got noticed by some of the bigger record companies. Atlantic Records as a matter of fact, who signed a deal with Savatage in 1984, and a year later on the 15th of April, 1985, Power Of The Night was released. Though it had fallen short of sales expectations, it was very well received by critics. However, the band did get into some hot water, specifically with the more spicier tracks Hard For Love & Skull Sessions. In fact, Atlantic Records did provide the funds for a video for Hard For Love to be made, provided the name was changed to Hot For Love for broadcasting purposes. Savatage refused to change the name, and so the video was never released. Ironically, the company used that as a selling point, as it was “banned” by other music outlets, and original releases of the album didn’t have an advisory sticker on the cover.

Best Track? In The Dream is a great closing song for this album, and is just great in general. Granted, there is somewhat of a cheese factor when it comes to the lyrics, but that’s it only fault (Which, to be honest, is pretty minor). The guitar & bass have this melancholic feeling throughout a majority of the song, the drums feel like flashes of lightning in a storm, and the piano work adds a touch of sorrow that’ll get you if you’re caught off guard. Of course, there is Jon Oliva’s vocal work, which is so moving throughout the whole run time. Again, no other song could conclude this album but this one.

In The Dream

Worst Track? Unlike Sirens from 2 years prior, Power Of The Night doesn’t have that dated feel, and in the over 4 decades that this album has been out, it has aged wonderfully. My only complain would be with the lyrical content. Sirens almost came across like a proto Power Metal album with the fantasy vibes & even some of the lyrics, but almost none of that can be found on here. You might hear a snippet or two if you pay close attention, but otherwise it is nowhere to be found.

Power Of The Night. Taking the best things about Sirens, and gives it more polish, it stands tall alongside some of the greats of it’s day. Pick it up if you can find it, or go over to Spotify if you want to save some money. Either way, you won’t be disappointed. Next album!  

Fight For The Rock (1986)
And here comes what is considered by many to be the worst Savatage album. Released on the 30th of June, 1986, Fight For The Rock was regarded as the worst release not just by the fans, but by the band themselves. Call it the “Fight For The Nightmare”, Jon Oliva described the album as such: 

“I've never really been fond of that album. WE'VE never been fond of that album.”

Savatage said that Atlantic Records were the ones that pushed them to make the record; particularly Oliva began writing pop-rock songs for other artists on the label. However, said label eventually turned around and told Savatage to record the music that Oliva had written for those artists themselves. In the eyes of the music press, this is what destroyed the band’s credibility, and because of that the reviews were particularly savage. In fact, it was because of the negative reviews they were cited as the reason for Oliva's battle with drug and alcohol addiction, which eventually drove him from the front of the band. Atlantic Records also wanted the band’s photographs taken, since their previous 2 releases did have any. Savatage hired a friend to do the work, with one of the photos in question being the band recreating the famous Raising the Flag on Iwo Jima photograph. Everybody agreed it was a good idea at the time, but look back at it with the same feelings as they do the album.  

Perhaps one of the biggest ironies of Fight For The Rock was that it featured a Parental Advisory label on the front cover, despite having no "nasty words", as Jon Oliva says. This was done largely to please Atlantic Records, as they felt it would drive up sales. The album did manage to chart, but Savatage were reluctant to play any of the songs live, and haven’t done so since the beginning of the 1990s. Hell, even when they were on tour for the record, they only played Hyde, The Edge of Midnight, and a few others.

It was also on this album that the band’s new bassist Johnny Lee Middleton would make his appearance. As said in Wikipedia: 

“Middleton spent several years with Lefty, the nightly shows honing both his bass chops and his stage presence. And it was during this time that he first crossed paths with Savatage, a decidedly un-glam metal band based in the Tampa, Florida area, near his hometown of St. Petersburg.

By 1984, Savatage had released several albums, but guitarist Criss Oliva and drummer Steve Wacholz were losing patience with bass player Keith Collins. That year, Wacholz spotted Middleton onstage with Lefty at a local club. Although the Lefty image was a far cry from that of the hard-edged Savatage, Middleton's talent and stage presence caught Wacholz' attention. Wacholz passed Middleton's name to Savatage founder and singer Jon Oliva. Like Wacholz, Oliva had little interest in the Lefty look, but he too was impressed with Middleton's performance.

When invited to join Savatage, however, Middleton turned the offer down. The members of Savatage all worked other jobs, and Middleton's Lefty gig paid well enough to live on without the need for outside work. "Steve [Wacholz] approached me and offered me the bass gig. I said, 'I'm not going to [work] a day job – I'm making $250 a week.' For me, being 19-20 years old, that was good money. I said, 'When you can offer me a salary, come back and see me.'"

But eventually, playing cover songs with Lefty lost its appeal. "We did well, but it got old," Middleton says. Late in 1985, Savatage approached Middleton again. Preparing to record their next album, they were still looking to replace Collins. This time, Middleton agreed: "Somehow I was fed up with this bar-band-shit, even though it was a good living, getting through the week with $250, even if it meant we had to work each night for it. At the time I was only 20, 21 years old. The guys from my band would have loved to have lynched me, when I stepped out. Four weeks later I couldn't have cared less. I was in London with Savatage – and had a fuckin' great time!"

Middleton's first appearance on a Savatage recording was 1986's Fight for the Rock, an album the band now refers to as "Fight for the Nightmare." "We recorded a great record," he says, but the record label "took our record, mangled the hell out of it, and tried to make us into something we weren't, when they thought the market was going more poppy. It was a learning experience." The experience improved with 1987's breakthrough Hall of the Mountain King, which marked the band's first collaboration with producer Paul O'Neill. The title track received significant airplay on hard-rock radio and MTV's Headbanger's Ball. Gutter Ballet (1990) and Streets (1991) continued and solidified the partnership with O'Neill. During this time, Savatage embarked on several American and European tours, opening for bands such as Motörhead, Dio, and Megadeth.

1993 saw the first significant change in the Savatage lineup since Middleton's arrival in 1985. Singer Jon Oliva departed, and the remaining members of Savatage recorded and released Edge of Thorns with new vocalist Zak Stevens. Middleton describes Edge of Thorns as "about my favorite record, due to the fact that I like the bass mix in it, and it was the last one me and Criss got to do together. Jon had stepped down to pursue his Broadway thing, and it was me and Criss against the world, really. Everything was against us, and we fought back and won."

Middleton did not play on 1994's Handful of Rain. He entered the studio, saw Criss Oliva's signature white guitar, and – still devastated by Oliva's death only months before – turned around and walked out. But he joined the reunited and rebuilt Savatage for the Handful of Rain tour, and in early 1995 he rejoined the band in the studio to record their ninth album Dead Winter Dead, and has remained in Savatage since then.”

Best Track? This was.....difficult to decide. If I’m perfectly honest, I don’t have any visceral hate like so many people do (Even to this very day). If anything, I kinda like Fight For The Rock. It’s my least favorite of the band’s discography for sure, but there’s.....something about this record I can help but mildly enjoy. It’s understandable that critics call it a betrayal on account of recording songs that were originally written for other artists, but since I don’t know who those artists in question were, I can’t judge the band on that fact.

Worst Track? In an odd twist of fate, the band decided to bring back Out On The Streets for this album. When I first listened to this album just a few weeks ago, I briefly thought that I had been listening to the end of Sirens again, but no, it’s still Fight For The Rock! This is an honestly lazy move on Savatage’s part: though the sound quality is improved a little, the noise is still very much the same when compared to 3 years prior. Even the vocal work doesn’t sound that much different when compared to the Sirens edition, but like the instrumentation, the singing does sound a little better.

Out On The Streets (Fight For The Rock Edition)

Fight For The Rock. Considered to be the worst by so many people, there are some genuine diamonds in the rough if you know where to look. That being said, I can understand if many of you are pushed away due to this record’s reputation. Next album!

Hall Of The Mountain King (1987)

With Fight For The Rock bombing as bad as it did, the band had almost disbanded. Jon Oliva went and auditioned for Black Sabbath, while his brother Criss had considered joining up with Megadeth of all bands. However, Jon decided that he & his brother didn’t want to split Savatage up, and with encouragement from their producer Paul O'Neill (More on him a little later), kept the group together. After going into the studio with Paul in tow (He was assigned to them after the tour for their last album), the band would go on to record their very first commercial success of an album. Released on the 28th of September, 1987, Hall Of The Mountain King marks the first time that they seemingly went full-blown proto Power Metal, as Sirens merely skirted the edge of it. Out of everything that the band released in the 80s, Hall Of The Mountain King happens to be my favorite. As a fan of Power Metal, each & every single note was an absolute treat, but there was also a little bit of Prog in the mix, and as such makes things a little more unique when compared to other records in the style from that time.  

Best Track? The title track absolutely HAS to be the best song of the album. Goofy music video not withstanding, this tune has all the makings of a Power Metal classic! Over the top atmosphere, guitar & bass that call down lightning, drumming that conjures dragon flights or thunder (Take your pick), and Jon Oliva’s vocal work sounds like he’s telling a tale of yore. Much like metal legends Helloween with Keeper Of The Seven Keys: Part 1 from earlier in 87, Savatage helped the newly forming genre come into it’s own, and the end results speak for themselves. 

Hall Of The Mountain King

Worst Track? I dare anyone to name a single bad song off this album! Until Fight For The Rock where many could be considered bad, there’s not a single tune that even mildly bad. Even Prelude to Madness, which is a bit over-indulgent but a loving tribute to classical music at the same time, still has a high standard of quality behind it. Again, not a single bad track to be found!

Hall Of The Mountain King. A phenomenal recovery from their last release and a great album in it’s own right, the early Power Metal stylings really helped the burgeoning genre flourish until it truly shined in the 1990s. If you were in any way disappointed by Fight For The Rock (and I know most people at the time were), then Hall Of The Mountain King was a giant blast of fresh air, and I can’t recommend it enough. Next album!

Gutter Ballet (1990)

Release on the 23rd of January, 1990, Gutter Ballet was considered to be the band’s true turning point in their career. It was on this album that we saw Savatage adopt a more Progressive style to their music, as this album features longer songs, more complex melodies, and differentiating vocal work. The more straightforward Power Metal stylings off of prior records was being moved to the side on this release (Though not completely in my view), but what sealed this album’s Progressive & Operatic fact was of all things a musical. During the final recording sessions with Criss Oliva as he was working with tracking guitar solos, producer Paul O'Neil gave Jon Oliva tickets to see Andrew Lloyd Webber's version of The Phantom of the Opera on Broadway. He was so inspired by what he witnessed, that Jon went back into the studio to record the title track of the album. 

However, Gutter Ballet was not this original record’s name. It was originally titled Temptation Revelation, but it was changed to Hounds of Zaroff, which was a suggestion from Steve Wacholz. As late as May of 1989, the title track of the album hadn’t been written, and Savatage were having doubts about what it would be. In steps Paul O'Neil, and he found the album’s title from a play he had written 10 years prior, and ironically enough most of it’s material would be used for the band’s next release a year later. Gutter Ballet the song was written by just Paul O'Neill, Jon Oliva, and Criss Oliva in the studio, and on top of that Jon managed to provide both the drumming & bass guitar for it. 

Best Track? Summer Rain immediately reminds me of all of the cheesy Hair Metal ballads in terms of vibes, but with none of the goofiness that some music fans didn’t like (Me not being one of them). If anything, it’s a lot more intense than most Hair Metal ballads from the decade prior, what with the mournful-like instrumentation, crooning vocal work, and just the gritty & tragic atmosphere that’s pervasive during the run time. It really tugs on your heartstrings in a major way, but what would you expect from it being on an album called Gutter Ballet?

Summer Rain

Worst Track? Much like Hall Of The Mountain King, there’s not a single bad song to be found! You could make the argument that some of the Power Metal elements were taken away in favor for more of a Prog focus, but even then it’s not as bad as you would expect. There’s definitely more of a balancing act than you’d expect. That being said, for the more Power Metal purists out there, this might be the lone fault for you.

Gutter Ballet. Taking the Power Metal fantasy from their prior release and putting in a more grounded & realistic shell, it never forgets the fantastical elements in any way. If you like a nice mix of Progressive & Power Metal with orchestral elements & hints of opera to complement everything, then you’re in luck with this record. So, as the year moves on to 1991, all of the opera-like aspects would come to the forefront, and the end result would be surprising. Next album!

Streets: A Rock Opera (1991)

Released on the 15th of October in 1991, Streets: A Rock Opera is the culmination of all of the opera-like elements from Gutter Ballet turned up to 11! Taking almost a year to record (Pre-Production began a year prior), the story aspect was interesting as well: the concept was based off of a book written by producer Paul O'Neill in 1979 as a Broadway play oddly enough, it was stored in a drawer at his home, until guitarist Criss Oliva found it (Accidentally or not, I don’t know) and suggested it be the band’s next album. Telling the tale of fallen rock star DT Jesus who has hit hard times, as the story begins we see him as a drug dealer & just another lowlife on the streets of New York City, recounting him and his rise to fame again & his second fall. It wasn’t  meant to be an autobiography, and it is purely coincidental that the life of lead vocalist Jon Oliva mirrored that of DT Jesus at the time.

Best Track? It’s a bit difficult to pick just a single song as the best thing off of Streets, as it’s all one seemless work. That being said, there’s something about Somewhere In Time that just charms me, and I don’t know what it is. Maybe it’s the instrumentation, which balances between thunderous & blusey. Maybe it’s the vocal work, which I could only describe as something like a metallic crooner. Maybe it’s even the atmosphere, which feels like the culmination of everything that JT Jesus has gone through. I’m not exactly sure what, but I can say that everything mixed together is just wonderful to feel on the eardrums.

Somewhere In Time

Worst Track? While there’s nothing wrong with the music per se, I can’t help but feel a little bit of artistic pretentiousness surrounding the album. Not enough to destroy what is a great time, because that’s what Streets is! However, you can’t help but feel at certain times that there’s just a little bit of overindulging when it comes to the atmosphere. Again, it’s not overwhelming, but it is obvious when you come across it.

Streets: A Rock Opera. One of the most story driven albums in Savatage’s career, and one of their most artistic. There’s a little bit of pretentiousness for sure, but it’s not so bad as to drive away any potential listeners. Even if you aren’t a fan of the artistic side of Streets, then the Prog Metal side of things will easily carry you along. Next album!

Edge Of Thorns (1993)

After the tour for Streets ended in the spring of 1992, Jon Oliva decided to leave the band to concentrate on his side projects Doctor Butcher and his Broadway-bound musical Romanov, but he did continue to co-write Savatage material with his brother Criss and Paul O'Neill. On the 13th of June that year, they played a farewell show for him at the Rock-It Club in Tampa, Florida. 28 songs were played to cover all the main highlights of the band during his tenure, and this show was not intended, recorded or filmed for any sort of live album (Officially anyways). His replacement would come in the form of former Wicked Witch singer Zachary Stevens, who was discovered and introduced to Savatage by Criss' best friend and guitar technician Dan Campbell. From there, Drummer Steve Wacholz decided to record the album with the band but wasn’t interested in touring, even though he stated that he intended to return to Savatage in the future, and hand-picked his replacement as well in drummer Andy James. After that, everybody went into the studio to record, and on the 6th of April in 1993, Edge Of Thorns was released.

Best Track? To say anything other than the title track being the best thing on here is an absolute crime, and one in which has stiff penalties if committed! From the opening piano salvo (That plays through the whole tune, btw), you’re treated to a genuinely beautiful song. The guitar & bass are just fantastic, as the rhythms they both make sync up perfectly. The drumming is strong but not overwhelming, and the vocal work is equally so. Not only that, but some of those previously mentioned Power Metal vibes are all well and accounted for here. Absolutely deserves to open up the record!

Edge Of Thorns

Worst Track? Much like Hall Of The Mountain King from 87, there’s not a single bad song on Edge Of Thorns! Like that album, everything from the opening note to the closing moments is genuinely perfect. Hell, things might be more perfect here than on the record I mentioned a second ago, as the younger age of EOT makes the experience a little more fresher than it’s 80s compatriot.

Edge Of Thorns. If Hall Of The Mountain King was my favorite album from the 80s, then this one is my favorite from the 90s. Everything about that album was refined here, made more potent thanks to increased talent & mildly improved recording technology. Even if you could find a bad tune at all, it would in no way impact how good everything else is. Sadly, the good times would not last in 1993, as on the 17th of October of that year, Criss Oliva tragically passed away due to an accident with a drunk driver. His brother Jon continued to keep the band together, but later on admitted that he & the rest of the band believed that things we all over after Criss' death, and only kept going because of his memory & to "keep his music alive". Just how “Over” was Savatage? Well, let’s take a look.

Handful Of Rain (1994)

Released on the 16th of August, 1994, Handful Of Rain is something of a special album for me, as it marked the very first time I had actually listened to & purchased a Savatage record. It was during the end of the summer in 2019, and my folks & I were attending a Farmer’s Market in Troy NY, and nearby was a music shop selling all kinds of stuff. Records, Cassette Tapes, CDs, you name it. As I was looking through the collections, I managed to snag not just this album, but a random Power Metal album who’s name escapes me, and 2 albums from another band I’ll be talking about very shortly.....but I’m getting ahead of myself.

Shorty after Criss Oliva’s death, the band held a tribute show for the late guitarist, with the same lineup as the Streets tour but without Criss (For obvious reasons). His temporary replace would come in the form of Testament lead guitarist Alex Skolnick of all people, but the troubles didn’t end there. Before Savatage recorded Edge Of Thorns, Jon Oliva temporarily left and stepped down as lead vocalist and was replaced by Zak Stevens. Not only that, but drummer & founding member Steve Wacholz left the band and was replaced by Andy James, who quit immediately after Criss Oliva's death. He was contacted by Zak Stevens and Jon Oliva about tracking drums for Handful of Rain, but declined to do so. Ultimately, the album was fundamentally a Jon Olivia solo album (With Skolnick & Zak doing their part), and was recorded at Morrisound Studios in Tampa, Florida, with Paul O'Neill still at the production helm & helped with the writing.

Best Track? Taunting Cobras, as a statement of intent, absolutely wins the title of best song of f of this album. Possibly one of the most metallic songs that Savatage has ever done (That title can be given to a bunch of song on here actually), it hits you right upside the face immediately with a furious barrage of guitars, bass, and drums, & it hits you hard. Jon Oliva’s vocal work is particularly potent here, as the angry vibes actually sends a small chill up the spine, but the sadness of the loss of his brother can also be felt at the same time. That weight alone is what gives this song the right to open Handful Of Rain.

Taunting Cobras

Worst Track? Really the only bad thing you could say about Handful Of Rain is just how sad & tragic the whole thing is. Losing your brother is not an easy thing to go through, and that pain is felt in every song. That said, it isn’t quite as tragic as something like Dark Side Of The Spoon or World Coming Down (Especially WCD), as there are times where relaxing beauty does shine through. It’s those moments where listeners have a moment to breathe, and then it’s right back into the sadness.

Handful Of Rain. A sorrowful album that none the less has moments of peace, and perfectly displays familial loss. If you’re in the mood for a heartbreaker of a record, but on that’s not too overwhelming, then this is for you. However, as tragic as the music here was, a wintry savior was just on the horizon, and it would change the band for the rest of their lives. Next album!

Dead Winter Dead (1995)

Dead Winter Dead. If there was an album that truly transformed a band’s career, it would be this one. Released on October the 24th, 1995, Dead Winter Dead was a much more ambitious Rock Opera than what they did with Streets just 4 years prior, as now Savatage had the power of a full orchestra behind them. It also marked the first time that guitarist Chris Caffery would be featured, who’d been an occasional and touring member since as far back as 1987. Alex Skolnick decided not to stay with the band, and instead decided to concentrate on his solo band instead. Jon Oliva would bring on drummer Jeff Plate from the Handful of Rain tour, and Caffery like I mentioned above. However, their parent company Atlantic Records felt they needed a second, more well-known guitarist to complete the line-up, and so former member of Alice Cooper’s touring band Al Pitrelli was brought in to smooth things out.

I should make mention of the album’s story, and it definitely stirs the emotions. It’s 1990: the Berlin Wall has just fallen, communism has collapsed in the Soviet Union, and for the first time since the day of the Roman Empire, Yugoslavia finds itself to be free. We find ourselves in the Bosnian capital of Sarajevo, where a young man named Serdjan, full of optimism & hope, joins a Serbian Militia Unit, and eventually finds himself in the hills outside the city lobbing mortar round. At the same time in Sarajevo itself, a young Muslim woman named Katrina Brasic is buying weapons from a group of arms merchants, and joins her own group firing in the hills around the city. Fast forward to late November of 1994, and the fighting has continued. An old man that hasn’t been within the city of his birth for decades, has decided to come back, only to find it in shambles. Looking up to the sky, he explains that when the Yugoslavians prayed for change, this is not what they intended. As his finishes this prayer, the sun sets and the first shells of the evening are starting to arc overhead. Instead of heading with the civilians into the shelters, he climbs atop the rubble of what used to be a glorious fountain in the middle of the city, takes out a cello, and starts to play Mozart as the shells came down. Every night he did this, and every night both Serdjan & Katrina found themselves thinking of Mozart and Beethoven.....and that is where I will stop saying anything.

Best Track? It should come as no surprise to any of you, but Christmas Eve (Sarajevo 12/24) is the best track of Dead Winter Dead. If Trans-Siberian Orchestra was birthed from this album, then this song was the womb. An instrumental mix of God Rest Ye Merry, Gentlemen and Carol of the Bells, it’s an incredibly power piece of must. You’ve still got the guitar, bass, and drums for sure, but you also have a symphony behind them, and some beautiful piano playing as well. It really is something to hear for first-time listeners, and it’s still incredible for repeat listeners too. Never skip this!

Christmas Eve (Sarajevo 12/24)

Worst Track? Is there one? Dead Winter Dead is not just a damn good album in it’s own right, but gave birth to one of the most iconic side projects in the history of metal music! You can hear & feel from beginning to end the wintry vibes that Trans-Siberian Orchestra would magnify just a year later. If I had one issue, it would be that Dead Winter Dead had the unintentional side effect of eclipsing the band’s next two releases, and in the process distract them somewhat from those. They’re not bad, but as you’ll soon see, then do lag behind a little. 

Dead Winter Dead. One of the most important records in Savatage’s career, and the birth of a badass seasonal favorite. If any Trans-Siberian Orchestra fans want to know where their wintry saviors first came from, then it is essential that they listen to this. Next album!

The Wake Of Magellan (1997/1998)

After taking a break to deal with the success of the newly formed Trans-Siberian Orchestra a year prior, the band entered back into Soundtrack Studios and Studio 900 in New York City, and on the 15th of September in 1997 in Europe & Japan, and the 7th of April in 1998 here in the United States, The Wake Of Magellan was released. The first Savatage album since Hall of the Mountain King in 1987 to have the same lineup, it was also the last album to feature the vocal works of lead singer Zachary Stevens. Not long after it was released, the band decided to part ways with long-time record label Atlantic Records, and eventually would sign with Nuclear Blast Records, but anything released under Trans-Siberian Orchestra would have the Atlantic/Lava imprint. Jon Olivia said the move to Nuclear Blast Records was a good move, as the label "loved the band and they know their songs and everything!"

As for the album’s story, we got ourselves a bit of an odd one here. A concept album based off of 2 real life incidents (The Maersk Dubai incident & Irish reporter Veronica Guerin), we’re introduced to Fernão de Magalhães, or Ferdinand Magellan in English. He’s decided to end his life by sailing into the Atlantic Ocean until he sinks, and in his mind romanticized this decision as a glorious & Viking-like way to die. As the winds push him into a storm & believes that he is about to receive the death he desires, he notices a man drowning. Seemingly putting every desire for death aside, he manages to save the drowning man, and take him back to shore.

Best Track? Kinda of a sucker for the second to last track, The Storm. An atmospheric & instrumental little number, it does not lack for energy at any moment during it’s run time. We’ve got some brief buildup at the beginning with some lovely piano playing, along with the sounds of rain & thunder accompanying it, but all of that goes away once the absolutely titanic guitar & drums come barging in. It’s incredibly epic in so many ways, and manages to capture the feeling of being within some beastly weather patterns, & is only heightened with the symphonic backing. At this point in the album’s story, it makes perfect sense.

The Storm

Worst Track? While top to bottom a solid record, there’s plenty of times where it comes across like they’re trying to follow past glories. In particular, the music comes across like that of Handful Of Rain in places with it’s darker tone, and the grandeur & majesty of Dead Winter Dead in other places. Both fine releases (DWD especially), but it’s silly to try & recapture both of their moods when the two of them are still fairly recent in people’s memory.

The Wake Of Magellan. Not awful by any means, but it’s definitely chasing the dragon in places. Certainly recommended, but not as strongly as practically anything that came before it. Next album!

Poets And Madmen (2001)

Continuing on with Trans-Siberian Orchestra for a little bit, resulting in the release of The Christmas Attic in 1998, the urge to get another Savatage album out to the public was definitely rising within the band, and on the 5th of March, 2001, Poets And Madmen was released. Loosely inspired by the career of journalist Kevin Carter, it actually has less narrative in the lyrics than in Dead Winter Dead & The Wake Of Magellan, and everything sung about in the album is fictional, save for what was said about Carter. It’s also the first time since 1991 that original singer Jon Oliva came back into the band after Zak Stevens left, and the first time we hear guitarist Chris Caffery as well after Al Pitrelli left to join Megadeth.

Best Track? Morphine Child comes across as Savatage’s equivalent of These Three Things from Type-O Negative’s final album, Dead Again. The longest song in the band’s career (10 Minutes & 12 seconds), the usage of operatic vocals & piano in certain places, along with orchestral aspects to heighten the atmosphere. They don’t hide in any way the guitar, bass, and drums, nor do they mask Jon Oliva’s vocal work, which show off just how good he can still sing a decade after Streets. It may be long, but the experience is worth it. 

Morphine Child

Worst Track? Poets And Madmen definitely is a better album, that is for sure. Unlike their last release, they don’t appear to be retreading older ground. That said, there’s still a fairly big Trans-Siberian Orchestra vibe throughout the whole album. Maybe not quite as strongly felt when compared to The Wake Of Magellan, but it is very obvious when you hear & feel it.

Poets And Madmen. Still has a little bit of that Trans-Siberian Orchestra thread sewn into it’s coat, but follows it’s own path instead of retreading past glories. If you didn’t like The Wake Of Magellan, than you’ll definitely like this one!

And that everybody was my look at Savatage. Overlooked by many when compared to their seasonal counterpart, their travels into the realms of Prog Metal & Power Metal are none the less treasured by their fans, and with a new album potentially coming out in 2026, a new generation of fans may be born. So with that, I might get something else up in a few days, and then it’s Katsucon. See you soon!



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If you’re curious about listening to these albums, click on the links below: 

Sirens

Power Of The Night

Fight For The Rock

Hall Of The Mountain

Gutter Ballet

Streets: A Rock Opera

Edge Of Thorns

Handful Of Rain

Dead Winter Dead

The Wake Of Magellan

Poets And Madmen