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YMMV: Quatermass
For the series:
  • Nightmare Fuel: The BBC put up one of the first ever content warnings before an episode of Quatermass II. Nigel Kneale once said in an interview he didn't want kids to watch the stories.
  • Special Effects Failure: Watch for the control rod attached to the rocket at the end of Quatermass II. Other than that, there aren't any to speak of, which is pretty remarkable. Even the monster at the climax of the original serial, which was just a glove puppet stuck through a photograph of Westminster Abbey's interior, is quite unsettling judging by the surviving photographs of the effect.

For the band:
  • Awesome Music: Quatermass as a whole qualifies, but particularly "Post War, Saturday Echo" and "Laughin' Tackle".
  • Covered Up: Ritchie Blackmore's Rainbow (featuring Ronnie James Dio on vocals) covered "Black Sheep of the Family" in their typical proto-Power Metal style on their 1975 debut. In fact, the band was formed because the other members of Deep Purple refused to cover the song.
  • The Band Minus the Face: Quatermass II is often regarded as this, lacking Gustafson and described by the man himself as little but an In Name Only deal, and is mostly considered So Okay, It's Average.
  • Ear Worm: Try and get "Punting" out of your head. You can't, huh? Shocker.
  • Ending Fatigue: Listening to all of "Laughin' Tackle" will take it out of you.
  • Epic Riff: "Black Sheep of the Family", "Up on the Ground", "Laughin' Tackle". Also, the riffs that begin and end "Post War, Saturday Echo".
  • Face of the Band: Gustafson.
  • Freud Was Right: "Freudian symbols lay my soul bare..."
  • Funny Moments: "Black Sheep of the Family" uses all cliches related to the unlucky, despised vagabond, to quite humorous effect:
    I've got half a pound of rice and a beard full of lice
    Condition called retrogression
    I've got a pocketful of dust, and eatin' is a must
    If you wanna make a good impression
  • Hell Is That Noise:
    • The creepy, futuristic static noises that provides the segue between "Entropy" and "Black Sheep of the Family".
    • Those horrifying discordant strings at the tail end of "Laughin' Tackle". It's "A Day in the Life" all over again...
  • Most Annoying Sound: The various electronic instruments heard in "Punting"— a huge part of its Ear Worm qualities. And they just won't go away.
  • Nightmare Fuel: Quatermass... is not a happy album, as can be gleaned from the tropes described thus far. The long and short of it is, don't listen to it late at night. It'll haunt you.
  • Some Anvils Need to Be Dropped: "Post War, Saturday Echo". Aside from the obvious anti-materialistic statements, the title evokes the sort of comparatively trivial societal plagues that were non-issues to those living in wartime, but which have come to flourish in peacetime. Roger Waters would, presumably, very much approve.
  • They Changed It, Now It Sucks: The 2013 reissue. The biggest deal-breaker is the incomprehensible placement of "One Blind Mice" as the opening track. There's also the remix; while the sound is largely improved, many songs often have sections that are borderline unrecognizable as a result, and the instruments don't coalesce like they should. Some also complain about some songs being split up, and others, combined. Oh, and one of the pteranodons is green now.
  • True Art Is Angsty: "Post War, Saturday Echo".
  • Vindicated by History: Quatermass, like seemingly all prog acts of the day, were shunned by rock critics of the '70s. Now, those very same critics regard it as a classic piece of work.

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