Savatage
Gutter Ballet

THE REVIEW

The 1989 is a year of transition for Heavy Metal: new bands are emerging that will later make history in this genre (Dream Theater, Motley Crue, Soundgarden, Skid Row, Extreme), old stalwarts are trying to keep up with the times (Black Sabbath, Whitesnake, Rush, Aerosmith, Kiss), while others are at the peak of their careers (W.A.S.P., Metal Church, Tesla, Mr. Big).

Then there's a band that, still semi-unknown, churns out the best album of the year and, in my opinion, one of the most beautiful in the history of Hard 'n' Heavy: Savatage. Born as a cover band in the early '80s, the creation of the Italian-American brothers Oliva attracts attention with a series of decent albums focused on a classic Power Metal made in the USA. The pinnacle is reached with the release of the masterpiece "Hall of the Mountain King" in 1987, which marks the debut behind the console of producer Paul O'Neill, one of the most fruitful collaborations in music history. O'Neill's arrival gives Savatage a breath of fresh air, shaking them from the stasis of Power Metal and propelling them towards a more melodic and refined musical approach.

The following album "Gutter Ballet," from 1989, alongside "Streets: a Rock Opera," represents the peak of Savatage's career. The album (like the following one) is a perfect mix between the old Savatage, all granite riffs and "screams," and the new Savatage, all melody and epicness. The result is a timeless masterpiece where not a single misstep is found, and each song could be any other band's big hit. It starts with "Rage and War," which begins with the noise of a helicopter and then hits the listener with a fantastic bass line. The song is measured, powerful, an excellent opener because it glues the listener's ear to what follows. And what follows does not disappoint.

"Gutter Ballet" begins with delicate piano notes played in an unusual tempo (Jon Oliva's trademark) and then takes off, after about a minute, with the imposing riff of brother Criss, probably one of the most underrated guitarists ever. The track encapsulates Savatage's ethos: prog tempos, piano, Jon's falsettos, and Criss's majestic solo. All packed in just over 6 beautiful minutes. It's probably impossible to fully grasp the weight of this song without listening to it (so trust me, do it as soon as possible). After enjoying the beautiful "Temptation Revelation," a moving instrumental piece, comes another symbolic song from the Floridians: "When the Crowds Are Gone." This song is among the many wonderful ballads written by this band (remember "Believe," "A Little to Far," "In the Dream," "Alone You Breathe"), and every time I listen to it, I can't help but feel chills down my spine. The passion with which Jon Oliva sings is enthralling; the finale of just piano and voice brings copious tears. Majestic. The following "Silk and Steel" is another instrumental, featuring only Criss's acoustic guitar, a worthy example of his technique and musical taste. Track number 6, "She's In Love," harkens back to the early Savatage, with raw early power metal: a powerful and fast riff, Jon's screams, a searing solo, and a hammering rhythm section, thanks to the remaining three members of the group: Chris Caffery on rhythm guitar, Steve "Doctor Killdrums" Wacholz on drums, and Johnny Lee Middleton on bass.

But the highlight comes with track number 7: "Hounds" is a true masterpiece, in my opinion, the most beautiful song among all the gems written by Savatage. The lyrics speak of hounds, rabid dogs in the fog, waiting for the moment to attack. The atmosphere is haunting, with Jon's voice dragging you straight into that moist and cold moor. The song starts quietly, then gradually builds up to an explosion around halfway through, where we witness Criss's first great solo. Subsequently, there's another softening, with Jon's voice and organ creating beautiful dreamlike effects. But this is just the prelude to the grand finale where Criss unleashes an incredible solo, exhilarating beyond measure. Describing it in words is not possible, but believe me when I say that in a lifetime, solos of this caliber are fewer than the number of your fingers. All accompanied by a driving background, where Steve "Doc" Wacholz's drums reign supreme, monolithic and powerful just the right amount. Track number 8, "The Unholy," is probably the weak point of the album but is still a respectable track, with rare power that spills into the most furious thrash metal. The next "Mentally Yours" starts with a beautiful piano and voice prologue by Jon and then surprises the listener when Criss's hammering riff kicks in. It becomes a paced song, where Jon gives his best to appear as a mad lunatic with a microphone. Last, but not least in beauty, is "Summer's Rain," another tear-jerking piece that stands out as one of the album's greats. The guitar line of the chorus is moving, Jon's voice heartrending. Yet another formidable ballad produced by this band, closing an epochal album.

From here on, the Oliva brothers will be together to produce only two more albums, two further milestones: "Streets" from 1991 is the album most similar to "Gutter Ballet," a spine-chilling concept borne from the minds of Jon and O'Neill; "Edge Of Thorns," from 1993, is Criss's swan song, who will die shortly after in a car accident, leaving an unfillable void but gifting his best performance in this album. Savatage then continued their journey by moving more and more towards symphonic metal, blending classic Heavy Metal with Queen's music, becoming a unique band, capable of never disappointing expectations with works always up to par (even changing the singer, who from "The Edge of Thorns" onward becomes the talented Zachary Stevens, except for the last album "Poets & Madmen," where Jon returns).

In conclusion, I can only recommend this album to anyone, metalheads or not, because in this case, the work transcends the genre and rightfully enters the pantheon of masterpieces.

"Do you hear the hounds, they call/ Scan the dark eyes aglow/ Through the bitter rain and cold/ They hunt you down, hunt you down!"