Black Widow

Black Widow's eponymous second album was a conscious attempt on the band's part to scale back the satanic trappings that had dominated its debut, and, in the process, redirect the media's focus away from the controversy and onto the group's music. Too bad their songwriting vision remained at worst unfocused, at best an enigma: a half-baked amalgam of progressive rock, folk music, British blues, and - least of all - a few very tenuous notions of hard rock and proto-metal that have since erroneously formed a common misconception of the band, due to their business ties to Black Sabbath and, of course, their on and off interest in the dark arts. The last is only really felt here in the creepy, gothic appeal of "Mary Clark," and the closest Black Widow come to really rocking out is with the refreshingly straightforward format of the driving "Wait Until Tomorrow"…

Black Widow's eponymous second album was a conscious attempt on the band's part to scale back the satanic trappings that had dominated its debut, and, in the process, redirect the media's focus away from the controversy and onto the group's music. Too bad their songwriting vision remained at worst unfocused, at best an enigma: a half-baked amalgam of progressive rock, folk music, British blues, and - least of all - a few very tenuous notions of hard rock and proto-metal that have since erroneously formed a common misconception of the band, due to their business ties to Black Sabbath and, of course, their on and off interest in the dark arts. The last is only really felt here in the creepy, gothic appeal of "Mary Clark," and the closest Black Widow come to really rocking out is with the refreshingly straightforward format of the driving "Wait Until Tomorrow"…

Black Widow's eponymous second album was a conscious attempt on the band's part to scale back the satanic trappings that had dominated its debut, and, in the process, redirect the media's focus away from the controversy and onto the group's music. Too bad their songwriting vision remained at worst unfocused, at best an enigma: a half-baked amalgam of progressive rock, folk music, British blues, and - least of all - a few very tenuous notions of hard rock and proto-metal that have since erroneously formed a common misconception of the band, due to their business ties to Black Sabbath and, of course, their on and off interest in the dark arts. The last is only really felt here in the creepy, gothic appeal of "Mary Clark," and the closest Black Widow come to really rocking out is with the refreshingly straightforward format of the driving "Wait Until Tomorrow"…

Lalo Schifrin - Black Widow (1976) {CTI Epic Legacy 5060292 rel 2001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 395 Mb | MP3 @320 -> 152 Mb
Full Artwork @ 300 dpi (jpg) -> 20 Mb | 5% repair rar
© 1976, 2001 CTI / Epic / Legacy / Sony Music | 5060292
Jazz / Third Stream / Crossover Jazz / Stage & Screen / Modern Arrangement

Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals.

Three Monks - The Legend of the Holy Circle (2013) {Black Widow BWRCD159-2}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 319 Mb | MP3 @320 -> 127 Mb
Full Artwork @ 300 dpi (png) -> 34 Mb | 5% repair rar
© 2013 Black Widow Records | BWRCD159-2
Rock / Progressive Rock / Symphonic Rock

After their impressive debut in 2010 'Neo Gothic Progressive Toccatas' comes another slice of pipe organ heaven from this Italian band. Its strictly a trio format (although two different drummers are used) and all 'instrumental' over its 7 tracks and running time of 50 odd minutes. I'm not a classical music lover so this is as close to actually listening to that genre I will ever get. For those familiar with the debut this is not quite as 'raw'. I think they have tried to make the sound a bit softer and introduced synths into the mix which if I recollect correctly were not present on the debut. At times it reminds me of the Japanese trio Ars Nova especially on the more energetic sections.

With Criteria for a Black Widow, Jeff Waters reunites most of the original Annihilator lineup - including vocalist Randy Rampage and drummer Ray Hartmann - and keeps the '80s thrash-metal torch burning with surprising effectiveness. Having resolved various personal problems, and having scored a distribution deal in the U.S. for the first time since 1993, Waters sounds rejuvenated by the presence of his old bandmates, who turn in exciting performances. The lyrics aren't quite as personal as on some of the more recent Annihilator albums, but there's a sense of over-the-top fun instead, which makes it overall a triumphant return - no matter how far out of style Waters' favorite music might be.

With Criteria for a Black Widow, Jeff Waters reunites most of the original Annihilator lineup - including vocalist Randy Rampage and drummer Ray Hartmann - and keeps the '80s thrash-metal torch burning with surprising effectiveness. Having resolved various personal problems, and having scored a distribution deal in the U.S. for the first time since 1993, Waters sounds rejuvenated by the presence of his old bandmates, who turn in exciting performances. The lyrics aren't quite as personal as on some of the more recent Annihilator albums, but there's a sense of over-the-top fun instead, which makes it overall a triumphant return - no matter how far out of style Waters' favorite music might be.

With Criteria for a Black Widow, Jeff Waters reunites most of the original Annihilator lineup - including vocalist Randy Rampage and drummer Ray Hartmann - and keeps the '80s thrash-metal torch burning with surprising effectiveness. Having resolved various personal problems, and having scored a distribution deal in the U.S. for the first time since 1993, Waters sounds rejuvenated by the presence of his old bandmates, who turn in exciting performances. The lyrics aren't quite as personal as on some of the more recent Annihilator albums, but there's a sense of over-the-top fun instead, which makes it overall a triumphant return - no matter how far out of style Waters' favorite music might be.

With Criteria for a Black Widow, Jeff Waters reunites most of the original Annihilator lineup - including vocalist Randy Rampage and drummer Ray Hartmann - and keeps the '80s thrash-metal torch burning with surprising effectiveness. Having resolved various personal problems, and having scored a distribution deal in the U.S. for the first time since 1993, Waters sounds rejuvenated by the presence of his old bandmates, who turn in exciting performances. The lyrics aren't quite as personal as on some of the more recent Annihilator albums, but there's a sense of over-the-top fun instead, which makes it overall a triumphant return - no matter how far out of style Waters' favorite music might be.