Black Widow – ‘Sabbat Days: The Complete Recordings 1969-1971’ (2024)
Best remembered for their lyrically occult-based 1970 progressive rock album ‘Sacrifice’, the complete recordings of UK based band Black Widow are compiled in a new six disc Cherry Red Records, UK box set which takes its title from the group’s best known track.
The compilation includes the group’s three CBS issued albums, supplemented by single sides, live tracks, a complete demo version of ‘Sacrifice’, tracks recorded for an unreleased fourth long player, as well as the complete 1969 LP ‘Exclamation Point’ issued under the band’s original moniker, Pesky Gee!. The set documents the band in all its incarnations and its evolution through pop and progressive rock before ending in a hybrid blend of guitar based progressive/hard rock.
Disc one opens with the nine tracks comprising the August 1969 LP ‘Exclamation Point’ released by Pesky Gee! on Pye, featuring dual lead vocals a la Jefferson Airplane by Kay Garrett and Kip Trevor. The band lacked original compositions at this point, thus the album features nine cover tunes. Led by lead guitarist Jim Gannon and keyboard player Jess “Zoot” Taylor, the performances vary greatly. Among the highlights are two tracks that appear on Vanilla Fudge’s debut album. A slow blues take on Donovan’s ‘Season Of The Witch’ is stretched out to more than eight minutes, highlighted by a Taylor organ interlude and a Bob Bond bass solo, while Garrett’s vocals shine. Mark Stein’s ‘Where Is My Mind’, issued as the band’s debut single is a snappy three minute rocker showcasing Gannon’s guitar, while the 45’s b-side, a take on Malcolm Rabbitt’s ‘A Place For Heartbreak’ adds vibraphone by Gannon to his guitar and Taylor’s organ to its melody. Also of note is a cover of Jethro Tull’s ‘Dharma For One’ with Gannon’s lead guitar line leading the way. The disc closes with three tracks intended for a Kay Garrett solo album, with Black Widow as a backing band, that was canceled, the pick of the litter being a twelve minute ‘Daddy Babe’ led once again by Gannon’s guitar.
Disc two titled ‘Demo Album’ consists of demos for Black Widow’s debut LP featuring Garrett and Trevor vocals, the band having changed musical direction with guitarist Jim Gannon having penned original tunes and the band immersing itself into the occult, both lyrically and in its stage performances. The seven tracks which would appear as ‘Sacrifice’ were recorded in November 1969 although they remained unreleased until 1986. The performances themselves were progressive rock in nature, and quite competent although of demo quality, and will not be discussed further here. The disc closes with an acoustic demo version of ‘Mary Clark’ recorded in 1969 but unreleased until 2012.
Disc three begins with Black Widow’s March 1970 debut LP ‘Sacrifice’. Album opener ‘In Ancient Days’ is a seven and a half minute organ led number, with a Uriah Heep vibe, Gannon adding acoustic guitar accents. ‘Way To Power’ is a four minute rocker featuring a hot guitar solo by Gannon. ‘Come To The Sabbat’ is a melodic tune, which saw release as Black Widow’s debut single, featuring the repeated lyric “come, come, come to the sabbat, come to the sabbat, Satan’s here” in reference to the band’s immersion into black magic, the occult and perhaps even Satanism. In general, the album centers around the organ work of Taylor and Gannon’s lyrics, the long player highlighted by the eleven minute closer ‘Sacrifice’, a heavy jam featuring Gannon’s guitar and Taylor’s organ augmented by flute work by Ciive Jones, with the rhythm section of Bob Bob and Clive Box holding a steady beat while vocalist Kip Trevor delivers the dramatic lyrics penned by Gannon. The disc adds bonus material beginning with the single edit of ‘Come To The Sabbat’, followed by live takes on four of the album’s seven tracks, recorded for a 28 May 1970 episode of Beat Club for German television, including a take on ‘Come To The Sabbat’. These would appear on Mystic Records’ 2007 release ‘Live’.
Disc four begins with the ten tracks comprising Black Widow’s self-titled second album, issued on CBS in December 1970. The band’s lineup changed with Geoff Griffith and Romeo Challenger replacing Bond and Box respectively. The group also moved from its occult based material to straight ahead rock, while the songwriting became a group effort, with all but Jones contributing and the sound now dominated by Gannon’s guitar and Taylor’s keyboards. Album opener ‘Tears And Wine’ exemplifies Black Widow’s new heavier sound with Gannon’s lead guitar and Taylor’s organ to the fore. ‘The Gypsy’ shows the group’s versatility as Jones’ flute, Gannon’s acoustic guitar and Taylor’s piano showcase a lighter side of the group. ‘When My Mind Was Young’ features the lead line and solo work of Gannon. ‘The Journey’ is a heavy rocker led by Gannon’s guitar which combined with Taylor’s organ yields a Uriah Heep vibe. The nearly eight minute ‘The Poser’ is another heavy rocker led by Gannon and Taylor, with Jones’ flute adding accents. The version of ‘Mary Clark’ offered is much heavier than earlier versions though still retaining folkish influences. ‘Wait Until Tomorrow’ is yet another uptempo rocker led by Gannon and Taylor. The album closes with the six minute ‘Legend Of A Creation’ again featuring Gannon’s guitar, albeit a bit restrained compared to other performances. The bonus material opens with the original electric take on ‘Mary Clark’ which first appeared on a 1970 CBS sampler. The disc closes with three more Beat Club performances which formed the remainder of ‘Live’.
Disc five begins with ‘Black Widow III’ a January 1972 release, the band’s third and final on CBS, and the first to feature ex-Cressida guitarist John Culley, who had replaced founding member Jim Gannon in November 1971. Another hard rocker, the album opens with the eleven minute medley ‘The Battle (The Onslaught/If A Man Should Die/Survival)’ penned by bassist Griffith. The tune is a showcase for Culley’s guitar aided by Taylor’s organ with flute accents from Jones. The track is again reminiscent of Uriah Heep. The Jones penned ‘Accident’ is a return to the darker sound of ‘Sacrifice’ with a Black Sabbath vibe, and Culley’s guitar again shining. ‘Lonely Man’ is a mid-tempo mix of the older and newer sounds of Black Widow. ‘The Sun’ is a mid-tempo tune and sounds sadly like a band trying to find its direction. The album’s highlight is ‘King Of Hearts’ penned by Griffith and featuring numerous tempo changes, gorgeous Trevor vocals, stinging guitar from Culley, with Taylor’s organ and Jones’ flute adding accents, the song overall yielding a Badfinger vibe. The LP closes with Trevor’s nine minute Jethro Tull influenced ‘Old Man’, a mellow take with acoustic guitar from Culley blending nicely with organ and piano by Taylor. The bonus material begins with the non-LP ‘I Wish You Would’, the first Black Widow tune to feature Culley on guitar. The song is loyal to its cover by The Yardbirds with Trevor’s vocals and harmonica reminiscent of Keith Relf’s. The disc closes with three tracks recorded live in Milan, Italy in 1971 which didn’t see release until 2012 on ‘Sees The Light Of Day’ an Italian release.
Disc six titled ‘Black Widow IV’ opens with five demos recorded in August 1972, but unreleased until 1997, in the hopes of gaining a new recording contract. The nine minute ‘Sleighride’ penned by Trevor, Taylor, Griffith, Culley and Jones is a prog rocker with Trevor’s melodic vocals floating over Taylor’s organ and Culley’s guitar with Griffith and Challenger holding a steady beat. ‘More Than A Day’ is a Jethro Tull influenced folk rocker with tasty vocal harmonies. ‘You’re So Wrong’ is a melodic pop rocker with Culley adding a crisp solo. Jones’ ‘The Wave’ is a hot rocker with Culley contributing two outstanding solos. ‘Part Of A New Day’ is a melodic guitar driven rocker aided by Culley’s wah wah. Kip Trevor exited the band at this point replaced by a vocalist known only as Rick E. ‘When Will You Know’ is a breezy acoustic tune with flute accents. ‘Floating’ is a slice of guitar driven rock with hints of feedback. ‘Pictures In My Head’ is a melodic rocker with gentle acoustic guitar and a Taylor organ interlude. ‘I See You’ is a mid-tempo pop rocker with vocal harmonies and a pleasant solo by Culley. The disc and box set close with three tunes recorded live in Milan in 1971, appearing on the 2012 release.
The six discs of ‘Sabbat Days’ appear in mini-LP replica sleeves, and slip into a clamshell box. The set comes with a lavishly illustrated full-color forty page booklet, featuring an extended essay and full track annotations by compiler David Wells. Black Widow sounds wonderful thanks to the mastering job of Simon Murphy. Without question the last word on all things Black Widow, ‘Sabbat Days’ comes very highly recommended to fans of late sixties and early seventies rock as well as progressive and classic rock in general.
Kevin Rathert
Black Widow – ‘Sabbat Days: The Complete Recordings 1969-1971’ (Grapefruit Records 2024)
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