Muziek - Infinite Love

Infinite Love

€ 17,50

No question about it: this two-CD release, with almost two-and-a-half hours of previously unreleased live Quintessence recordings in fine 16-track sound from two concerts on May 30, 1971, is an incredible boon to the collections of fans of this enigmatic British early progressive rock band. It doesn't even contain everything that was recorded at these shows: an additional 38 minutes, comprising a ''Giants Suite'' appears as bonus material on the Hux label's companion disc Cosmic Energy: Live at St Pancras 1970. The material includes songs from each of their first four albums, only a couple of which are repeated in different versions, as well as one, ''Meditations,'' that didn't find a place on any Quintessence LP. Viewed strictly in terms of the presentation, packaging, and value to Quintessence aficionados, this couldn't be bettered; not only is it a very pro-sounding document of the group at their live peak, but it also boasts marvelously detailed liner notes by Colin Harper (though you'll have to get both Cosmic Energy: Live at St Pancras 1970 and Infinite Love: Live at Queen Elizabeth Hall 1971 to read them in full). Judged purely on musical content, however, it's not without its flaws. While musically tighter and a little more accessible material-wise than Cosmic Energy: Live at St Pancras 1970, this is still the kind of loosely structured, oft-semi-improvised-sounding psychedelic-progressive rock that will frustrate those in search of substantial songs. If you think that sort of critique might apply to more famed acts such as the Grateful Dead (with whom Quintessence occasionally share some casual similarities), that's correct, but Quintessence make the early-'70s Dead seem positively song-oriented in comparison. They do switch between tribal-like chants, jazzy passages highlighting flute, wistful West Coast-influenced folk-rock, and funky rock (even approximating ''Gloria''-like riffing at times) with deftness, and execute pieces with unpredictably differing sections with confidence. In these respects especially, they anticipate some of the jam bands from decades later who would also rely more on grooves and mood than conventional popular songwriting. But some of the earnest naiveté of the lyrics is embarrassingly dated even by the standards of the genre, and the sheer length of these workouts will be off-putting for those who need something to hold onto in the way of melodic strength. ~ Richie Unterberger

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