Without a doubt, Edge of Thorns, the 1993 release from Progressive Metal giants Savatage, holds a special place in the band’s discography and marked a turning point in their career. Comprised of 13 tracks, this emotionally charged album blends complex harmonies with stunning riffs and tasteful solos. With Zachary Stevens’ powerful and emotive vocals, rich choral backgrounds, and heavy piano-driven intros, it stands as a true masterpiece. Sadly, it's also the final album to feature Criss Oliva—regarded as one of the greatest guitarists of all time—before his tragic death in a car accident. As with many other Savatage albums, the production is top-notch.
One of the album's most delightful aspects is its musical diversity. You’ll hear touches of Hard Rock, Heavy Metal, Progressive Metal, and even Power Metal. Most intros are led by Jon Oliva’s piano, but Criss Oliva sometimes joins in, adding depth and melody to the sound. Steve Wachholz delivers a tremendous performance with his dynamic and satisfying drum work. The opening title track, “Edge of Thorns,” is easily one of the best songs the band has ever written. It begins with Jon’s majestic piano, soon joined by Criss’s guitar, blending into perfect harmony. With sweet riffs and Zakk’s mesmerizing vocals, the song peaks at its midpoint with one of Criss’s breathtaking solos. It then closes with the same piano melody it opened with.
The second track, “He Carves His Stone,” is much faster and clearly another highlight. As the title suggests, it tells the story of a boy carving his own gravestone. Stevens proves how comfortable he is even when hitting the highest notes. The third track, “Lights Out,” is arguably the fastest song on the album. It’s pure energy and raw power—you may lose control while listening. The song narrates the story of a boy who lost his family in a car accident. The synergy between drums and bass is outstanding here, and the impressive choral vocals add even more force.
The next track, “Skraggy’s Tomb,” deals with alcoholism. The band presents how alcohol might seem fun and playful at first but ends up destroying you. “Labyrinths” is an instrumental intro to the track “Follow Me”—a magnificent piece offered by the Oliva brothers. It starts with piano and is later joined by Criss’s guitar, masterfully interwoven, showcasing his elegant guitar work. “Follow Me” itself is a beautifully powerful track with Stevens’ stunning vocals and Criss’s captivating guitar lines. The song features both bizarre and aggressive segments.
“Exit Music” is a three-minute piano piece that creates a profound emotional atmosphere. As always, Jon Oliva’s piano is mesmerizing. The mood and flow of the piece are so deep they may hypnotize the listener.
“Degrees of Sanity” incorporates a sitar, an Indian instrument, both in the intro and throughout the track, creating a remarkable and unique harmony. The following track, “Conversation Piece,” kicks off with hard, pounding riffs. Stevens delivers the poetic and sincere lyrics with impactful vocals. Then comes the deeply emotional “All That I Bleed,” a slow piece filled with passion and brilliance. It opens with nearly two minutes of beautiful piano, gradually joined by melodic vocals, then reinforced by guitars and crowned by a stunningly emotional solo. Stevens' heartfelt vocals are truly unforgettable.
“Damien” is one of the few songs that doesn’t quite shine as brightly on the album. The chorus isn’t as explosive as in other tracks, and the rhythms are simpler and less thrilling. Still, the strong vocals, piano passages, and a laid-back guitar solo are the highlights here.
“Miles Away” is a powerful ballad with strong Hard Rock influences, and it’s one of the album’s true gems. It begins calmly but then explodes into fierce guitar riffs. Both musically and lyrically, the track conveys a sense of freedom and positivity. It tells the story of a man who loves the night because it hides his sins and mistakes.
“Sleep” is a soothing closing track featuring a guitar/vocal combo that brings a sense of peace and comfort. It should be noted that while it sounds acoustic, the guitar is actually electric. Throughout the album, guitar, piano, and vocals are the primary elements, but Johnny Lee Middleton’s intense and lively basslines and Steve Wacholz’s thunderous drumming also deserve recognition.
Unlike the band’s earlier, more symphonic albums like Streets or Gutter Ballet, Edge of Thorns blends raw heaviness, imagination, and deep emotion into an immersive atmosphere. With flawless guitars, vocals that range from fierce to heartfelt, and pianos woven into the core of each song, it is absolutely one of Savatage’s most essential and timeless works.