Savatage
Ghost in the Ruins: A Tribute to Criss Oliva

THE REVIEW

Many times, when we read about the death of a musician, we become aware of it with a sense of loneliness and almost familiar sadness. Almost as if it were a person we knew well, who never abandoned us, who, with his passion conveyed through the notes, or through the voice, was able to lay bare our soul. A strange emotion resonates in each of us, as if a piece of our being had just left, as if that person with whom we never had any contact, no exchange of words, but with whom we felt so close, had just left. But memories, in some cases, are always those who save us from melancholy, and in these specific cases an important part is also played by music, which makes us believe, with an illusory aspect, that that person is still among us.

On October 17, 1993, when the guitarist and co-founder of Savatage, Criss Oliva, died following a car accident caused by a drunk driver who crossed the street in the wrong direction, the world of heavy metal probably lost one of the greatest guitarists of all time, a death that undermined both the very existence of Savatage and the members of the group, among whom above all his brother Jon.

Two years after his death, Jon Oliva himself decided to release this "Ghost In The Ruins: A Tribute To Criss Oliva", a live album whose purpose was to remember Criss, his elegant yet powerful touch, and the power of Savatage. This live album is divided into various concerts, over a period from 1987 to 1990, therefore from the release of "Hall Of The Mountain King" (1987) and the "Gutter Ballet" (1989) tour.

The setlist is relatively short, only 13 tracks, but it immediately makes the listener understand the destructive power, as well as the symphony and elegance, of an exceptional and unique band like Savatage. Needless to say, of course, the undisputed star of this live album is Criss Oliva, who shines both in solo spaces (in the introductory solo of "Hall of The Mountain King") and in the actual songs, such as in "When The Crowds Are Gone" and "24 Hours Ago", a true spectacle. Obviously, Jon Oliva's immense high notes aren't missing, the performance of "Hounds" is nothing short of phenomenal, the same goes for "Of Rage And War", but also in softer pieces like "Strange Wings" and "Sirens". To close is a small performance by Criss, entitled "Post Script", an acoustic piece taken from a 1990 rehearsal at the Hollywood Palace, performed in just under two minutes, but with a graceful and dreamy melody.

"Ghost In The Ruins" is the testament that Savatage wants to leave to their fans to remember that Criss will never be forgotten, and even if he was never one of those guitarists inclined to interviews and praise, in fact, for much of his career in Savatage he was never seen in a good light by critics, his music and passion are still alive in the hearts of those who have always appreciated him, and want to continue remembering him.