The Last Benediction
I met this
band after reading some news in Polish Metal Hammer (1993), you know, they
called them as ‘a good heavy metal band’. So I decided to check this out. I
bought a tape (not original with wrong order of the tracks, but believe me, it
wasn’t any handicap), and after first listening to this album I… loved the band
forever. In those days I knew nothing about the colossal past of the band, but
also about hard times (e.g. “Fight for the Rock” moments, drugs and alcohol
stories…). Then the terrific message about Criss unexpected death came to my
mind. Everything happened so fast, from exultancy to entire low spirits. But
one thing was (and still is!) obvious for me, I hope you can understand it. Just
read the words below.
“Edge of
Thorns” is a decisive album, also I can use here the term ‘decisive victory’. Why?
I will try to explain it. I have to back in time and tell something about
“Streets” album recorded in 1991. After promoting tour of this album, Jon
decided to resign his singing. The band had to find another vocalist. They
chose Zachary Stevens from Wicked Witch band. I can imagine that there were
grave apprehensions. Everybody knew Jon was the best vocalist for the band, but
fortunately Zak showed he deserved to be a member of this band at that time. At
the beginning I want to write something about front cover (Gary Smith as the
author). When I saw it for the first time, I was in raptures. Now, after all
these years of being Savatage fan, I consider this picture not only as the best
front cover in Savatage career, but also as the thought-provoking thing. Namely
there is a young dressed lightly woman which holds the rose and licks it. I
think this painting is taken from fantasy world, but the most important thing
is overhead. This is the effigy of some horrid demon. And here one question
attacks my mind: is it some kind of divination? Some kind of bad omen? Did this
demon become a herald of death? The death of Criss Oliva??? Still I have no
answers for all these questions.
As I
mentioned above, this album completely differs as compared to the great
predecessor. The first and the most important thing: the style of the band.
Here I can find elements of heavy and even power mixed with some progressive
tunes as well. The production of Paul O’Neill (with co-production by Oliva
brothers) is just crushing, everything is audible, tunes are crystal, there is
no sterility so common nowadays. Indirectly by such production the band got
bigger two words describing the music: epic and monumental. Just listen to the
first song and you will understand what I am writing about. Opening title track
is one of the best heavy metal anthem ever created by human being. This
characteristic piano melody played by Jon is like a gate to another secret kingdom.
So let the feast begin! Pounding, powerful guitar riffs become a mid-tempo song
with eminent, majestic Zak vocals (here something about it: vocals of Zak
completely differ, he has cleaner tone of voice). After about 2:45 the song
starts to change its nature, when Criss shows his remarkable talent
(outstanding solo lead), after 3:25 Criss plays solo again at the start by
himself… This is his song definitely… The second is also excellent, but it is opened
by a calm guitar introduction, singing, rhythmical section and when we reach 47th
second, the heavy metal hell is unleashed. The furious riff splits the sky,
here I can find boundless energy, passion and another change of tempo in the
half of the song with Criss solo (I do not know what adjective to use to describe
his beautiful performance; as always anyway…), “He Carves His Stone” speeds up
with demonic screams of Zak. The third song “Lights Out” is, from the very
beginning, very high-spirited shot between the eyes. It definitely amazes. Why?
Listen to the guitar work! Criss and his guitar is a synonym of harmony and
unity for me. The next song “Skraggy’s Tomb” is the first representant of the
special group of tracks where I can find mid-tempo, hard heavy riffs, excellent
melodious chorus, about 2:40 the band slows down in very mysterious way with
transformed Zak vocals, when after few seconds everything explodes into my
senses. And the next guitar lead enslaves my thirsty mind…
Emotions
still dance on the stage, when Savatage proposes instrumental “Labyrinths”,
only one and a half minute miniature (with a subtle piano opening, solo lead
heavy tunes on the end) which is in fact an introduction to the colossal
“Follow Me”. I wrote ‘colossal’ because this word really depicts the potency of
this song, it provides the most beautiful emotions to me, tunes and tones
change ceaselessly. Acoustic fragments alternate with eruption of heavy metal
symphony, sensual vocals of Zak become complete with almost powerful screams,
and the great guitar Criss performances dominate over all. When there is only
one minute to the end, the band carries me into another dimension… The next
“Exit Music” is totally different. It is like a calm after violent storm, it is
played only by Jon. Our ship survived to hear following excellent tunes given
by the next “Degrees of Sanity”. This song belongs to the group I wrote
earlier, I find here some similarity to “Skraggy’s Tomb”, but this one has
heavier riffs, the rest is the same: great vocals, fascinating Criss and this
beautiful chorus, solo lead arouses admiration once again, I have impression
that this kind of music is able to irrigate some desert land and make flora
grow up. This is amazing indeed… So, let’s return to another song called “Conversation
Piece” which also belongs to the group. It is characterized by hard guitar
riffs reminding the song before. And what can I write here: again I am in
contact with eternal masterpiece, the heaviest riffs here with some mystery in
guitar work, and again excellent melodic structures of chorus (both vocals and
guitars), generally the basic of the song is restless and turbulent but the
solo lead is like a crystal in congealed lava.
After these
two perfect metal impacts, “All That I Bleed” comes as a ballad and this is the
weakest effort on the album. Even it has some harder moments (and that is very
good by the way), the song doesn’t convince me, maybe because of uninterested
beginning? Only the marvelous guitar lead saves the song. Fortunately the next
“Damien” rapidly kills this really temporary unfavourable impression and takes
the album on the masterly level again. Almost four minutes go by very fast and
the next track started to show its beauty. The first opening seconds remind
“All That I Bleed” a bit (guitar here, not the piano), but yes, it is not the
same when about 1:20 I can hear this mighty guitar and wall crushing drums and
bass. Generally “Miles Away” is rather very optimistic due to the sounds, I
think Savatage member have a boundless joy to play such specific music. I consciously
wrote ‘specific’ for one reason: great talent and genius. The album is closed
by “Sleep” (good title by the way), which is in fact a kind of ballad (much,
much better than “All That I Bleed”), but here Savatage avoids stereotypes and
proposes own vision of a ‘ballad’. I can admire what kind of magic is here, when
Criss and Zak give these wonderful tunes to the listener. And writing definitely
on the end of this “Edge of Thorns” MUSIC I have to say that in the title of
the last song I find next (and final) prophecy, the sign the tragic days will
come very soon… But then I didn’t even think about it… Only music was ruling my
mind.
This album
is the end of Criss era and the beginning of something new in Savatage career
at a time. The musicians started to mix heavy metal elements with progressive
and symphonic sounds. Is it correct in my opinion? I am unconvinced if it is
good choice for the band, but do not get me wrong, Savatage will record one
masterpiece with the highest mark, what is more, each album without Criss has a
special place on my metal shelf (and in my heart naturally). But I am sure as
shooting, the band doesn’t stand rooted to the ground, they knowingly develop
his music. Unfortunately nobody could replace such a guitarist as Criss. The
future solo leads and guitar works are very good (e.g. Caffery/Pitrelli duo),
but I cannot say about it as ‘genius’. I know I wrote almost eulogy, but “Edge
of Thorns” is coronation all the things Criss did or recorded. Is this guitar
last effort the best? I don’t know. Writing such words about it, I also can add
I really appreciate the rest of Savatage members, especially Jon Oliva and Paul
O’Neill (I still remember his enormous contribution in times before releasing
of “Hall of the Mountain King”). In my opinion the mark of this album is
obvious and as clear as crystal. The album which is in fact the copestone of
the Big Four consisting of mentioned above “Hall of the Mountain King”, “Gutter
Ballet” (where pure heavy metal dominates), “Streets – A Rock Opera” (this title
says it all) and “Edge of Thorns”.
The final
album of the mighty Big Four is a brilliant example how musicians should play
heavy metal. For 99,9% metal musicians this level is out of the reach. But here
I am not surprised. There are many weak bands, good, or even very good bands,
but it is hard to jump on the shelf with title: “unique”. Savatage has two
genius persons (supported by O’Neill), so it is much easier to create genius
metal works. And if Criss had been alive, he would have created next heavy
metal masterpieces undoubtedly. For sure “Handful of Rain” wouldn’t see the
light of day, for sure next excellent metal story would be painted, for sure
the band would have more great albums… Here I can remember that the last opus “Poets
and Madmen” (with Jon vocals once again!) was recorded in 2001, so there are
ten years of annoying silence. What a pity, but it seems that Jon Oliva prefers
to discover another metal territories under the different banners…
Well, many
words of wisdom about “Edge of Thorns” have been written, now it’s time for
ship’s arrival. The haven when the best music and art dominate amidst greyness,
dullness and no hope…
(to the
memory of Christopher Michael Oliva)
100/100
-Tlacaxipehualiztli
(previously written for Encyclopaedia Metallum, on April, 2011, now modified a bit)
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