Artist: Savatage
Label: Nuclear Blast
Release Date: 4/25/00
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Title: Ghost in the Ruins- A Tribute to Criss Oliva Artist: Savatage Label: Nuclear Blast Release Date: 4/25/00 |
Judgment Committee Reviews | Rating |
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Go to Reader Reviews | ||
Abyss's Review:
I've never really been a fan of live albums. Real fans should have all the material already, and it is rare that live performances match up sonically to the magic that can happen in the studio. The live arena, in my opinion, is a visceral experience and the only way to appreciate it is to actually experience it, there's just no way to capture it. Now, there is the rare live recording that is truly monumental and disproves this theory, but I believe they can be counted on fingers. With this prejudice in mind, I want to start out by saying that this album (like all live albums) is for true fans only, the only benefit to the newly initiated would be the adequate setlist that includes a lot of their best material.
"At best Savatage is a really good band whose sound is now slightly dated, and at worst they're just a really good cheesy band." And that's not all. I'm not the biggest Savatage fan out there, so this tribute to a tragically killed member doesn't hold any sentimental value for me. Not that I hate Savatage, if I had gotten into them in the eighties I might have a different opinion, but metal has come too far for me to backtrack. So my opinion of this album is pretty much the same as my opinion of Savatage in general; at best they are a really good band whose sound is now slightly dated, and at worst they're just a really good cheesy band.
Probably most interesting is the short solo performed by Criss Oliva. Now I don't really like guitar solos because they are usually just showboating, and often way too long (I usually leave them to go to get a beer, and to make room for all of the dumbfounded Dream Theater fans.), but this solo is impressive musically as well as sonically, so it gives the musician fan something to cling to, but it is short and melodic enough not to lose everyone else. And the rest is all competently played and recorded, so your opinion will most likely rest with your appreciation of their catalogue. "24 Hours Ago" I found myself enjoying a great deal, and I was surprised not to have been too offended by the cheesiness on "Gutter Ballet" (Fuck I know what you're thinking, and I can't believe it myself). But there is stuff that keeps me from jumping on board, most notably "When the Crowds are Gone" and "Strange Wings," which was never my favorite Scorpion's song-- I mean Savatage song.
"Strange Wings was never my favorite Scorpion's song-- I mean Savatage song." One interesting point is that the 13 years represented show a great gap in the popularity of this band. The 88 dates are all at places like The Spectrum and Nassau Coliseum, as compared to the '90s date that are at the Ritz and L'Amour. Anyway, I digress. Not bad, but definitely for fans only.
Death's Review:
Savatage are one of metal's most fascinating stories, as well as one of its most under-appreciated legacies. Formed in 1983, the underground metal act from Tampa clawed to major label prominence and MTV-video level publicity with 1987's Hall of the Mountain King. With the success of their follow-up, 1989's Gutter Ballet, Savatage began to bring a more refined, operatic, emotional and expansive sense to their music (perhaps most fully realized later on 1991's Streets: A Rock Opera). With these records, Savatage found their emotional core and dramatic muse.
It is within this same period, 1987-1990, that Savatage were also at their live concert peak. Late enough to include "When the Crowds Are Gone," Savatage's lyrical and spiritual centerpiece, and "Gutter Ballet," (although sadly just before they recorded Streets) plus all of the numerous killer Mountain King tracks ("Strange Wings," in particular, shines brightly.) Plus old stuff like "Sirens," "Dungeons Are Calling," and "City Beneath the Surface," almost the perfect set. And, of course, the set could not have been the same if recorded even a moment later, predating, as it does, Jon Oliva's rumored downward spiral and ultimate departure from the band, followed by Criss Oliva's untimely death and Jon's gradual return.
"This was a magical time for a brilliant band at the peak of its career. Caught on tape." This was a magical time for a brilliant band at the peak of its career. Caught on tape. A collection of shows from New York, Cleveland and Philly, all sounding excellent and very much worth your time and hard earned dollars. A perfect introduction to Savatage for those of you skeptical but curious types. At the same time, an essential posthumous nibble of their genius and a deserving tribute to Criss. Buy this album.
Hel's Review:
I can’t tell you how psyched I am to review this album at last. Oh, well, I can. I got this album as a German import in 1995, and I loved it. Each and every song here is on my list of favorites, and even though there are, of course, other favorites that are not on here, I can accept that. I have to accept the fact that all of my favorite songs simply won’t fit on an hour long album. Truth be told, there will probably never be the ultimate compilation created for me. This may be as close as it gets.
The fact that these are old songs is an important ingredient. I was personally so devastated by the death of Criss Oliva, compounded with the fact that I had not yet recovered from Jon’s exit, I couldn’t bear to listen to a band which had neither Oliva brother playing in it for quite some time. I still don’t like Zak Stevens very much. But, even though I’ve come to terms with things, I will never be as big a fan as I was before he became the singer. I am an avowed classic Savatage fan, as some of you already know.
"Truth be told, there will probably never be the ultimate compilation created for me. This may be as close as it gets." The live aspect adds two major components. The first is the usual, live crowd songs and occasional differences only the most devoted jam-along-with-the-record-over-and-over practitioner would notice. The second, is the genius of Criss Oliva immortalized. Inspired solos, sure, that falls more into the first category. But when you listen to the tracks on Ghost in the Ruins which are just Criss in all his glory, you realize why he needs his own separate glory. Throughout the album you hear his metallic brilliance, but the final "Post Script," shows his true versatility with a beautiful piece that even my bitchy next door neighbor couldn’t help but love. (I’m playing it for her right now!)
This is also fun for me to listen to again today. When I first bought this, I didn’t live in New York City. Now that I do, hearing all the NYC references makes me a little warm and fuzzy. And really pissed off that I didn’t get to see this shit! The only time I was ever lucky enough to catch the band live, was post-Jon, pre-Criss, in London. With Zak. Opening for Overkill. There were a lot of reasons why I loved that show, topmost among them, I stood three feet in front of Criss Oliva the whole time. Secondarily, because they both were and are still my two favorite bands of all-time.
"Listen to this, and you'll ace the Savatest." But back to present day - Ghost in the Ruins. This could be the Savatage primer. Handed out on the first day of class. "Listen to this, and you’ll ace the Savatest." All the answers are contained within - no answer key necessary. Press "play" and pretend you’re back in time, when Savatage was whole and the world made sense. Experience the metal beauty and glory. Behold, the wonder of the mighty Savatage.
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