REVIEW: Savatage – Edge of Thorns (1993)

By special request of reader Wardy, it’s Epic Review Time!

SAVATAGE – Edge of Thorns (1993 Edel & 2002 Steamhammer)

Sava-fans were shaken.  Even though 1991’s Streets: A Rock Opera was a complete artistic triumph, singer and co-founder Jon Oliva quit the band.  Side projects and home life had become priorities.  He would not, however, ever truly leave Savatage.  Even though he was no longer the singer, Jon Oliva co-wrote every track with his brother Criss and producer Paul O’Neill.  He even personally selected his replacement, Zachary Stevens, and tutored and coached the new young singer.   He also continued to play all the piano parts in the studio, although this time he would not tour.  It was certainly an unusual situation, but also an ideal one.   Fans knew that Jon was not really gone, and they easily embraced Stevens as the new frontman.  Oliva had stated that Savatage needed a voice like Zak’s in order to continue.  He knew his own voice was not commercial enough to get on the radio.  With Stevens they had a shot.

The press glowed with reviews, praising the new direction of the band.  They had successfully combined the later piano-tinged Savatage that wrote complex operatic songs and ballads, with the earlier riff-driven metallic Savatage.  Stevens was praised for his voice, and comparisons to Geoff Tate, James LaBrie and Ray Alder were tossed around.  I found a copy of Edge of Thorns in Michigan, and it was with great anticipation that I ripped the shrink wrap off the cassette and placed it in my Walkman.

Anyone who has heard the now-classic title track “Edge of Thorns” can’t forget the haunting piano that descends at the beginning of the album.  At this early stage, Stevens was very much singing like a progressive rock singer, and throwing in screams at key moments.  His range and power here are impressive, and very different from the Mountain King’s style.  “Edge of Thorns” was a great choice for an opening track and new singer.  Not only is it one of the most immediate songs that Oliva/Oliva/O’Neill had yet composed, but it also combines both sides of the band.  The soft piano intro reflects Streets, but then it kicks into overdrive with a riff, heavy bass and dramatic guitar solos. It possesses the pure rock drama of “Gutter Ballet”. It is the whole package.

I have always been drawn to the words.

I have seen you on the edge of dawn,
Felt you here before you were born,
Balanced your dreams upon the Edge of Thorns,
…but I don’t think about you anymore.

I don’t think about you…anymore,
Anymore…

But clearly, he does, and intensely so.

“He Carves His Stone” begins as if a ballad, but the patented snake-y Criss Oliva guitar riff drags us back to the metallic origins of the band.  The combination of riff and chorus are a winning one.  More intense is the borderline thrash metal of “Lights Out”, a smoking track that shows what Zak Stevens can do with the rougher side of his voice.  Hang on tight and shout along to the chorus, because this one is a ride.

Back to the dark, dramatic side that Savatage do so well, it’s “Skraggy’s Tomb”, a brilliant song bursting with ominous heaviness.   Just let it assault your skull, don’t fight it.  Fear not — “Labyrinths” is a quiet piano piece, with Jon accompanied by Chris on guitar.  This cascades in traditional Sava-fashion into a fully-blown dramatic intro similar to “Gutter Ballet”.  It is a suitable and essential part of the song it is attached to, “Follow Me”, the side one epic.

His whole life was written,
Written there inside,
The new weekly Bible,
His modern TV Guide,
Every night he stares back at the screen.

There is no way to sum up the pure excellence, drama, and chills that “Follow Me” delivers. Zak’s vocals make it accessible enough, the power is undeniable. “Follow Me” is among the greatest songs of the Zak Stevens era. A quiet piano piece appropriately titled “Exit Music”* works as an outro. Together with intro and outro, “Follow Me” is almost 10 minutes of pure Savatage adrenaline, with a Criss Oliva solo that still gives me chills.

The second side opens exotically with “Degrees of Sanity”, and Savatage fans know that sanity of one of Jon Oliva’s favourite lyrical subjects!  Criss’ guitar parts are lyrical and enticing.  Slowly it chugs, building and building.  With Criss firmly at the helm, the ship steers through craggy riff after craggy riff until it gives way to the next song, also clearly dealing with sanity:  “Conversation Piece”.  The subject person of the song thought he had been doing better, lately.  “I haven’t thought about you for a while,” he claims.  But even so, he has not let it all go yet.  “I keep your picture hidden a file, of favourite one-act plays.  Like pieces of myself, cut off in desperation, as offerings to thee.  I’ll leave them on the shelf, they’re good for conversation over a cup of tea.”  The melodramatic lyrics of Savatage have always appealed to me (I don’t know what that says about me).  Thanks to Stevens’ impassioned delivery, you can feel every word, while Criss Olivia chugs behind.  Remind me not to visit for tea!

Scan_20150816 (6)

Delicate is “All That I Bleed”, a pretty piano ballad with a rocking conclusion.  Demonstrating the versatility of his voice, Stevens sings smooth and light, until the end.  Perhaps it is all coincidence, but the songs do seem connected.  Both “All That I Bleed” and “Conversation Piece” deal with a letter and difficult emotions.  I like to think of the two songs as alternate endings to the same story — one in which the person does not send the letter (“Conversation Piece”) and one where he does (“All That I Bleed”).    Regardless, “All That I Bleed” has everything you would want in a ballad.  Had in come out in 1989 it would have stormed the charts and MTV would have played it non-stop.  1993 was a very different year from 1989, but Savatage had never expressed any interest whatsoever in musical trends (the mis-step that was Fight for the Rock notwithstanding).

“Damien” appears next, a choppy heavy rock tune with bouncy piano doubling the guitar riff.  Following this fine song is the even finer “Miles Away”, a melodic heavy rocker that is easy to like.  It has a brightness to it, and Steve “Doc” Wacholz kicks the drums right in the ass.  Unexpectedly the album closed with a quiet acoustic song, “Sleep”.  It feels like a sunrise after the stormy night, and perhaps that’s the intention.

There are plenty of bonus tracks on different editions of Edge of Thorns.  I can only review the bonus tracks I have, which are:

  1. “Shotgun Innocence”, originally a Japanese bonus track.  This is a glossy hard rock song with an emphasis on melody.  Though certainly heavy enough, its direct rock vibe doesn’t fit the mood of Edge of Thorns, which I’m sure is why it was saved for a bonus track.  Good song though, and it certainly shows off the pipes of young Mr. Stevens.
  2. “Forever After”, the second Japanese bonus track.  Probably the weakest song of the batch.  It sounds a bit like an unfinished Ozzy outtake, circa the Jake E. Lee period.
  3. “Conversation Piece (Live in rehearsal 9/24/1994)” is recorded really poorly, but the sweat and rawness are captured.  Since it is live in rehearsal, and it is known that Doc Wacholz did not tour, I assume this is with Jeff Plate on drums.  That would also have to be Alex Skolnick from Testament on guitar.  This track is on the 2002 Steamhammer/SPV remastered edition.
  4. “Believe (Acoustic)” is part of a series of acoustic versions Savatage did for another batch of reissues.  This is Zak Stevens’ version of the closing ballad from Streets, but with acoustic guitar instead of piano.  It is a fascinating alternative version, but the original always kills me.  This is on a German printing on Edel records.

As fate would have it, this would be the final time Jon and Criss would make music together.  On October 17, 1993 Criss was killed by a drunk driver with seven prior DUI’s.  Rather than let this crush him, Jon survived by pouring himself into music.  Savatage would not die, even if with half its heart ripped out.  Edge of Thorns remains Criss Oliva’s capstone, and a bright apex it is.

5/5 stars

*The really interesting thing about “Exit Music” is that it is entirely piano.  Therefore no “official” members of Savatage appeared on it!

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24 comments

    1. Thanks Scott. It’s like our friend Mr. 80smetalman said earlier this week — you can’t afford to buy everything we suggest! And even if you could, there are only so many hours in a day.

      I think since Savatage has two periods, this is a fine entry point for the second. It’s their Seasons End.

      Liked by 1 person

  1. Fantastic write up! “Edge of Thorns” is most certainly my all time favourite Savatage album. What you say about every song is how I feel about them 100%. The pretty piano bits as you call them which are then followed by heavy guitars are just done perfectly here. The lyrics are just something else too. While I won’t go into full details here, the lyrics of “All That I Bleed” had a special effect on me in 2000. However, my favourite lyrics from “Follow Me” are:
    “Don’t need no superheroes, don’t need no movie stars. Don’t need no politicians in big black shiny cars. Don’t need no preacher whose church is my TV.” Just classic.

    Liked by 2 people

  2. Mike, thanks for this excellent introduction to Savatage! Yes, it’s true, I was unfamiliar with them. (Should I even be typing that out loud?) “Edge of Thorns” is sounding great in my Skullcandy. I agree with you about the lyrics.

    Liked by 1 person

  3. Another band about which I know nothing, but now I do thanks to Mike’s epic efforts. Superb.

    Also, and this is horrible, the whole time I was reading it, all I could think of was John Oliver of Last Week Tonight. That really weirds things in the reading, as it turns out.

    Liked by 1 person

  4. Oh man missed this while on the road, GREAT review Mike and fer once I’ve very little to add, ya nailed this from the get go couldn’t have said it any better and LOVE the usual pics and layout too cheers…

    Yep, easily my fave Savatage, Edge Of Thorns is a hands down classic and praise to Zak for continuing in similar fashion these past years with his wonderful Circle II Circle (how about a Burden Of Truth review Mike? ;) In fact there’s been little in the way of album openers as good as Edge Of Thorns the title track. immense indeed and one need look no further than that track to hear how well the old-school could have fared had grunge not taken all the cash away.

    Magnificent record thanks for the in-depth excellent review Mike \m/

    Like

  5. Dude, I completely missed out on this review. Damn! Well, I love Savatage and I think this record is a reall killer even though it might not compare to Gutter Ballet or Streets. But sound-wise, this is Savatage all the way despite the fact that Jon Oliva had left the band. That said, I have a hard time getting used to Zak Stevens. Sure, he’s a good singer with a wide range, but I want the raspy voice that Jon Oliva have. Zak Stevens is a more Geoff Tate / James LaBrie / Todd LaTorre kind of singer and in my world, that’s not Savatage.
    But the songs are, mostly, awesome and the title track is one of the best Sava-songs ever.

    Like

    1. Hey Jon! For me I think the best period was when they had both Jon and Zak. By the time they hit Wake of Magellan, they really had that sound down perfect. That’s an album I look forward to reviewing when I can give it the necessary love and attention it deserves.

      Like

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