Released in May of 1970, Quatermass’s first and final album, named after the band, sold poorly and, outside of prog-rock circles, is little known about today.
Quatermass was a trio with a talented composer/keyboardist J. Peter Robinson, similar in some ways to Dave Greenslade, a skillful composer/bassist/vocalist John Gustafson, and drummer, Mick Underwood who had turned down a chance to be the drummer for Jimmy Page’s new band, Led Zeppelin, in order to be part of the heavier sounding “Episode Six”, which would eventually include Robinson and Gustafson who, along with Underwood, would eventually leave Episode Six to form Quatermass.
The Quatermass sound is a mixture of early prog and hard rock with three bluesy hard-rock tunes added by outsider Steve Hammond. The album is bookended by the Robinson synthesizer composition, “Entropy”, followed by Hammond’s “Black Sheep of the Family” which would later be covered by Deep Purple. “Post War Saturday Echo” mixes prog, blues and rock with a solid intro, some reflective piano followed by a progressive-rock trio section and a more traditional finish. This is followed by the Greenslade-like ballad, “Good Lord Knows.” The next track, “Up on the Ground” anticipates later Deep Purple with a mostly hard rock veneer with early prog elements including Moog synthesizer. “Laughin’ Tackle” provides some more strong early prog-rock with the obligatory drum solo and a wide range of colorful instrumentation. The best track, “Punting”, was not originally included on the album, but is a bonus track on currently available CDs. Excluding the tracks by Hammond, the album is a good example of early prog-rock with some good improvisation and dynamic compositions.
J. Peter Robinson, would ultimately become a session keyboardist working with Brand X, Morris Pert. Phil Collins, Mike Rutherford and then later write music for movies and television.
Carole King: Writer
Carole King gives us her debut album, Writer, in May 1970. Although this album was generally neglected until Tapestry, it is a fine album with a diverse set of songs from pop to country to folk-rock including the soulful “Up on the Roof” previously sung by the Drifters in the early sixties. Tapestry has better production, sound, and some superior compositions (“You’ve Got a Friend”, “So Far Away”) but Writer is an album full of quality music, singing, and musicianship.
King Crimson: In the Wake of Poseidon
Released May 15, 2020, I had to go to a little extra effort to purchase King Crimson’s In the Wake of Poseidon as I couldn’t find it in local record stores. Fortunately, I was able to purchase by special order from the record store near our local college. It took several weeks to get, and I checked in two or three times a week to see if it had yet come in. When it finally did, about four weeks later, the cover was badly damaged (and to such an extent as to leave some doubt as to whether the LP itself would be in good shape.) I had a choice of requesting the album to be re-ordered or accept the damage and trust that the LP would be okay. The idea of waiting another four weeks or possibly longer for a replacement was not an option: I had to hear the album as soon as possible. I paid the price of $5.99 as opposed to the $3.99 I would have paid for an album already in the bins, and went home. Fortunately the LP was not at all damaged, the music was great and was very much like the first album.
In fact, playing the first side, it was suspiciously too similar to the first album. Clearly the band, despite the loss of Ian McDonald, had intentionally decided to create a close likeness of In the Court of the Crimson King. After a brief unaccompanied rendition on vocals by Greg Lake of “Peace”, the rest of side one sounds like a covert transformation of the first side of the first album. “Pictures of a City”, colorful and vigorous, sounds alarmingly close to “21st Century Schizoid Man”, which musically, is certainly something worth achieving in itself. “Cadence and Cascade” fills the role of “I Talk to the Wind”, but like “Pictures of a City” falls shy of the original, and same with “In the Wake of Poseidon” alignment with “Epitaph.” The music and performances are good, and worth multiple listenings, but falls short of its forerunner.
Side two is a different story. An instrumental version of Peace begins the set, followed by the catchy “Cat Food” (released as a single in the UK), and the three-part “Devil’s Triangle” which incorporates a revised version of Gustav Holst’s “Mars, Bringer of War” from The Planets replete and awash with the tape-induced sounds of the mellotron. Overall a good album that misses a few inches wide of the previous bulls-eye registered by one of the great rock albums of all time, In the Court of the Crimson King.
Beatles: Let It Be
Recorded mostly back in January 1969, Let It Be was released on the 8th of May 1970, about four weeks after the Beatles announced their break-up and about three weeks after McCartney had unjustly taken some of the blame for the break-up with the release of his solo album. Let It Be always seemed like an afterthought in the Beatles catalog. It was a simpler, more rugged, less refined, and less cohesive set of songs than their previous last six albums (omitting Yellow Submarine) and couldn’t hold up to the number of repeated listenings of those previous six albums. Nonetheless, it is still superior to most albums, opening up strong with “Two of Us” and including real gems like “Across The Universe”, “Let it Be” and the “Long and Winding Road.” The 1960s came to an end with the last recordings of the Beatles made in 1969, and what followed was largely influenced by those same Beatles, particularly the popularity of the singer-songwriter and the thirst for imaginative and innovative music as most notably represented by the adventurous jazz-rock and progressive rock bands.