Black Widow may have enjoyed a reasonably long and defiantly varied career, but to anyone who cares they will be remembered for just one song, "Come to the Sabbat." Not a hit single, but a standout on a cheapo label compilation in the early '70s, it was destined to live on for decades after the band -- it was even sampled for a Saint Etienne remix in the mid-'90s. Naturally, the accompanying Sacrifice album has bounced along in its wake, its initial reception as an overwrought concept album now forgotten in the rush to praise it as one of the most ambitious prog albums of the age. Set around a full-scale magical rite conjuring the goddess Astoroth, the album's reputation as a satanic artifact is, in fact, very overblown despite the lyrical evidence; live, the stage show was choreographed by Alex Sanders and his wife, Maxine, founders of the Alexandrian strain of Wicca. Their participation alone ensured a balance between the expected shock value and actual spiritual significance, and that same equanimity is present on the album. Moments of overwrought drama, then, are effortlessly balanced by themes of beauty and elegance, with the epic closer, "Sacrifice," even edging "Come to the Sabbat" in terms of atmospheric eloquence. One bonus track dignifies this reissue, a "demo" version of "Come to the Sabbat" (of course) recorded during the band's earlier incarnation as Pesky Gee!, and since released on the Return to the Sabbat album. Taken at a faster trot than the familiar album version, it is a nice addition, but is a little disorienting as well. The sacrifice should end with, indeed, the sacrifice. Anything after that is a step too far.