Savatage are the great underrated pioneers of theatrical American metal. Formed in Florida in 1979 by brothers Jon and Criss Oliva, they evolved from raw ’80s metal into grand, piano-and-orchestra rock operas that bridged traditional metal and the symphonic prog-metal to come — and eventually gave birth to the multi-platinum Trans-Siberian Orchestra. Here is our fellow fan’s ranking of their finest songs.

The short version

If you only hear a few, make them “Hall of the Mountain King”, “Gutter Ballet”, “Edge of Thorns” and “Chance” — the riffy breakthrough, the piano-and-metal landmark, a piano-riffed masterpiece and the towering counterpoint-vocal epic that pointed to their future. The full ranking is below.

Metal’s great theatrical pioneers

Savatage are one of metal’s great what-could-have-been stories — a band of huge ambition and influence who never quite got their due. Formed in Tarpon Springs, Florida in 1979 by brothers Jon Oliva (vocals, keyboards) and Criss Oliva (guitar), they began as a raw, riff-driven ’80s metal band before transforming, from 1987’s Hall of the Mountain King onward, into something far grander. Working with producer and co-writer Paul O’Neill, they pioneered a theatrical, piano-and-orchestra-laced sound and a run of ambitious rock operas that bridged classic metal and the symphonic, progressive metal that followed. That same creative team would go on to found the multi-platinum Trans-Siberian Orchestra. Through it all, their music remained dramatic, melodic and utterly distinctive. These fifteen songs are the best.

How we ranked them

This is one fan’s order, weighing drama, melody, ambition, those astonishing vocal arrangements and lasting influence. The facts are accurate; the order is a starting point for the debate.

The essential six

At the very top sits “Hall of the Mountain King” (1987), the riffy, theatrical title track that became their signature. With it: “Gutter Ballet” (1989), the piano-and-metal landmark that opened a whole new world for the band; “Edge of Thorns” (1993), a piano-riffed masterpiece and one of their finest songs; “Chance” (1994), the jaw-dropping counterpoint-vocal epic that shaped their later sound; “Believe” (1991), the soaring, uplifting ballad that closes their first rock opera; and “When the Crowds Are Gone” (1989), the gorgeous ballad whose themes later grew into Streets.

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Reliably great

The next tier is essential too. “Streets” (1991) is the dramatic title track of their first opera; “All That I Bleed” (1993) is a heartbreaking piano ballad; “The Wake of Magellan” (1997) is arguably their most dazzling counterpoint-vocal masterwork; “Morphine Child” (2001) is the ten-minute epic that crowns their final album; and “Christmas Eve (Sarajevo 12/24)” (1995) is the instrumental that grew into the Trans-Siberian Orchestra phenomenon.

Deeper cuts

For the dedicated, these reward repeat listens. “24 Hours Ago” (1987) is a relentless fan-favourite from the breakthrough album; “Alone You Breathe” (1994) is a heartfelt farewell written for Criss Oliva; “Sirens” (1983) is the monolithic title track that started it all; and “Power of the Night” (1985) is a fist-in-the-air early anthem.

Every song at a glance

All fifteen songs, in chronological order — each linked to the album it comes from, so you can hear it in context.

Where to start

Begin with “Hall of the Mountain King” and “Gutter Ballet”, then Edge of Thorns — the heart of their golden run. From there, the rock operas Streets: A Rock Opera, Dead Winter Dead and The Wake of Magellan reward exploration, while the early Sirens and Power of the Night show their raw beginnings.

The players

Savatage were founded by the Oliva brothers: singer and keyboardist Jon Oliva — the theatrical “Mountain King” — and his brother Criss Oliva, a revered and underrated guitarist. From Hall of the Mountain King onward, producer and co-writer Paul O’Neill became their crucial creative partner, shaping the ambitious concept albums that defined their legacy; later years brought singer Zachary “Zak” Stevens and guitarists Al Pitrelli and Chris Caffery. The band’s story carries real loss: Criss Oliva died in 1993, a blow that nearly ended the band, but Jon Oliva and Paul O’Neill chose to carry it on in his memory. O’Neill himself passed away in 2017.

Why they still matter

Savatage built the bridge between traditional heavy metal and the symphonic, theatrical progressive metal that followed. Contemporaries of Queensrÿche and forerunners of bands like Dream Theater and Symphony X, they turned metal into grand opera — and their creative core literally went on to found Trans-Siberian Orchestra, one of the biggest live acts in the world. Decades on, Hall of the Mountain King and Gutter Ballet remain touchstones, and the band’s influence echoes through every orchestra-backed metal record made since.

Go deeper

Keep exploring: rank their records with our guide to the best Savatage albums, find an entry point with where to start with Savatage, or dig into the underrated Savatage albums. You can also place them in the bigger picture with the best progressive rock songs of all time.

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