Savatage
Hall Of The Mountain King

THE REVIEW

For the column "reviews from memory" of (not sure what this means so keeping it as is) Venerdì, I am proposing an album by Savatage, a highly respected American band for unforgettable albums like Streets, Edge of Thorns, and so on.

You should know that these guys, before developing their grandiose and choral style that made them famous, were dedicated to a somewhat more conventional heavy-metal. After a couple of raw chapters—Dungeons are Calling and Sirens—they came up with this unique masterpiece.
In this work, we already find some indications of the path that our Savatage would follow, but inserted in a context still fully heavy metal. But what makes this album extraordinary (also in the sense of extra-ordinary) is a certain aggressiveness in the compositions, characterized by sharp guitar work and captivating and evil vocal melodies that offer little concession to the airiness and weightiness of some of their later compositions.

Much credit goes, on one hand, to that heavy-set Jon Oliva with his unmistakable slightly gritty timbre and high tones delivering an excellent interpretation of the tracks on the disc for posterity, and on the other hand, to the legendary Criss Oliva, who weaves very original riffs and solos with great personality and mastery, all supported by a rhythm section that, as usual, is not spectacular but solid. I'll sketch a description of the tracks. The opener “24 hours ago” fully encapsulates the exceptional elements of this work, great riffs and scream-worthy vocal melodies (in every sense) setting us up favorably for the listening. The track is swiftly followed by “Beyond the doors of the dark”.
After an evocative intro where an insane tapestry of keyboards and clean guitars forms the backdrop for Jon's vocal acrobatics—who casually shifts from low tones to almost childlike ones—the song unfolds into a compelling verse that leads into one of Criss's fantastic riffs, as usual showcasing his class and compositional personality.

Next comes the energetic and tumultuous “Legions”, characterized once again by devious and fitting vocal melodies. With “Strange Wings” there is room for slightly simpler and lighter musical solutions—like the verse with the acoustic guitar—but of sure effect and by no means obvious, all crowned by a very catchy refrain. After an orchestral prelude starts the excellent title track, once again graced by a vitriolic riff. We are perhaps facing the peak of the album, with a great Jon who screams a cappella "In the hall of the mountain kiiiiiing," getting all of us a bit pumped.
The second part of the album offers perhaps less memorable but still very respectable episodes, among which stands out the intense “White Witch” which harkens back to the sound of the band's early albums, and the final “Devastation”, embellished by the acoustic guitar of the late Criss.

Ultimately, it's a unique and irreplaceable episode in the discography of Savatage, if you don't have it and are their fan, feel guilty. Rock On