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Rare Earth's 1st live album - In Concert!!
Original 1971 copy

Rare Earth's peak years coincided with the commercial heyday of the live album. In Concert ended up being the most expansive live recording ever issued by Motown Records. What's more, it all works in terms of being an honest representation of this band -- not that they compromised much in the studio, where their rendition of "Get Ready" ran 20 minutes, but playing to an audience was what they'd been about from the start, & everything here resonates with the joy of that process. And in addition to capturing the band in top form, the recording itself provided a beautifully vivid sound picture, every instrument & voice captured spot-on, all the more amazing considering the size of this band & the complexities of their sound -- flutes, guitars (acoustic & electric), keyboards, saxes, percussion, & more are all here in close detail, but nothing more solid in the mix than John Persh's lead bass work in the middle section of the 23 1/2 min. "Get Ready."

“Rare Earth In Concert” entered the charts on 1 Jan. '72, reaching No.29, & lasting 21 weeks. An edited cover version of Ray Charles’ “What’d I Say,” taken from the live set did not fare as well as previous singles, reaching only No.61. The single edit is found on “Anthology” only. In addition to the singles & the cover tune, 2 band originals were included: the exotic, nearly 11 min. “Thoughts” (spotlighting band members individually) & the show closer “Nice to Be With You.” Both songs are credited to the band as a whole. Lacking a hit of its own, the album took full advantage of their run of hit singles showcasing extended jam versions of each. To put it in perspective the album’s 8 tracks had a total run time of nearly 75 mins., averaging just short of 10 mins. per track, with “Get Ready” stretched to over 23 mins. & “(I Know) I’m Losing You" over 14 mins.

1x Gold

Gil Bridges – woodwinds, vocals, percussion, flute
Ray Monette – guitars, vocals
Mark Olson – keyboards, vocals
John Persh – bass guitar, vocals
Pete Rivera (Hoorelbeke)– drums, lead vocals, percussion
Ed Guzman – conga, percussion

#rareearth #rareearthinconcert #1971 vinylcommunity psychrock

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Rare Earth's 4th studio album - One World!!
Original 1971 copy

Such a cool inner gatefold created by Roger Dean, why they went for the other artwork for this album, idk, possibly with fears of it not looking commercial enough for Rare Earth, a Motown subsidiary? Personally not my fave cover, but I adore the inner, ah well. Go find Roger Dean's own commentary on it, it's a fun short reel 👍

'One World' followed almost exactly a year after 'Ecology', & yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at No.7 & the album broke the Top 50.

'One World' is an underrated album produced by Tom Baird with a long version of "What I'd Say" by Ray Charles, and original cuts like "If I Die", a remarkable song written by Rivera since the prospect of a soldier at war (supposedly from Vietnam) about to die "...rain is falling on my head, pretty soon I might be dead, the end is here, Lord, it's plain to see, I guess my country's made a fool of me...." which could be interpreted by Crosby, Stills & Nash.

"Any Man Can Be a Fool" rhythmic, melodic rock composition with soul influences by the bassist John Persh in which it speaks of the wise advices of his mother, or "The Seed", another great theme by Pete Rivera with funk rock, jazz rock and blues traces and a phenomenal synergy between first-rate instrumentalists and outstanding solo guitarist Ray Monette ... tell me where will it go from here.

1x Gold

Pete Rivera (Hoorelbeke)– lead/backing vocals, drums
Gil Bridges – woodwinds, tambourine, flute, vocals
Ray Monette – guitars, vocals
Mark Olson – organ, piano, vocals
John Persh – bass, vocals
Ed Guzman – percussions

#rareearth #oneworld #1971 #vinylcommunity #psychrock

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5 o’clock? You mean MJ o’clock?

Speaker from @edifier_usa
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Mid century modern style home • vinyl record player • home aesthetic • home decor • maximalism home • colourful home

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Rare Earth's 3rd studio album - Ecology!!
Original 1970 copy

Rare Earth picks up where 'Get Ready' left off a year before it – with even more fuzzy funk that brings to mind the pinnacle of the hippie & psychedelic era.

“Born to Wander” is a great theme for the idea of chucking your day job, sticking it to the Man, & becoming a free spirit. Gil Bridges‘ flute solo on it is also a great touch. “Long Time Leavin'” was a big radio hit for the band, & it’s easy to see why. It’s both a nod toward young men being drafted in the military & going to Vietnam, possibly to never return (“I tried so yard, but we’re just livin’ in a grave.”), & toward youth culture at the time looking for something meaningful (“I’m been a long time gone searchin’ for my dreams.”). Kenny James‘ organ solo on the track is sharp, & the breakdown of the song into a brief, fuzzy psychedelic jam is groovy indeed.

Their cover of The Temptations‘ “(I Know) I’m Losing You” is legendary & elevates the original to places that blew people’s minds in '70 & still does today. Bridges' sax stabs during “Satisfaction Guaranteed” will get you moving, as will Pete Rivera‘s slick chops – which might be the best on the whole record.

Rod Richards turns up the fuzz on his guitar on “Nice Place to Visit” (written by John Persh) & the band’s addition of Eddie Guzman on conga on this (& the entire album, really) is sharp. They go blend psychedelia & garage rock on “No. 1 Man,” with Richards playing to the moon & the band singing about winning a woman’s love. The album ends with their somewhat operatic cover of The Beatles‘ “Eleanor Rigby.” Rivera’s groove throughout it is rock solid & the additional lyrics of “Take a good look around. Tell me, what do you see? Everybody is lonely. Why must there be lonely people?” reflect the counter-culture movement of the time. The words still hold resonance today.

1x Gold

Gil Bridges – flute, sax, tambourine, vocals
Eddie Guzman – conga
Kenny James – organ
John Persh – bass, trombone, vocals
Rod Richards – guitar, vocals
Pete Rivera (Hoorelbeke) – drums, vocals

#rareearth #ecology #1970 #vinylcommunity #psychrock

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Rare Earth's 2nd studio album - Get Ready!!
Original 1969 copy

Although Motown is best remembered as an African American label due to specializing in soul & R&B music, it did sign a number of white acts, to mixed success. Berry Gordy intended to change this statistic by launching a Motown subsidiary that would specifically focus on white rock artists. The acts Motown signed for the new subsidiary, including Rare Earth, for whom the new label was named, explored blues-oriented & prog rock styles.

The title track had been recorded by the Temptations previously, whose version had been a hit on the R&B charts, but not the pop charts, & was not considered a success by the Temptations' standards. When Rare Earth was still performing under the name the Sunliners, "Get Ready" was a regular — & popular — part of the band's live set, & was subsequently recorded for their '68 Verve debut album, Dreams/Answers, but after signing with Motown, executive Barney Ales wanted Rare Earth to re-record it for their debut on Motown's rock subsidiary. After an initial version recorded for the new album was scrapped, the band themselves set up their own recording equipment & recorded a 21 minute version, which later had audience applause dubbed in.

To announce the formation of Motown's rock label, Rare Earth Records released Rare Earth's Get Ready album in a promotional box set alongside 4 other albums which included Pretty Things' S. F. Sorrow, as well as albums by Love Sculpture, Rustix & the Messengers. The new recording of "Get Ready" was edited down to 2:46 for a single, which was given a Tamla Motown release in the UK, the only release by the band to appear on Motown itself, & unlike the Temptations' version, Rare Earth's recording was a success on the pop chart. The single peaked at No.4 on the Billboard Hot 100 chart in '70.

1x Platinum

John Persh – vocals, bass guitar, trombone
Pete Rivera (Hoorelbeke) – lead vocals, drums
Rod Richards – vocals, guitar
Kenny James – vocals, organ, electric piano
Gil Bridges – vocals, sax, tambourine

#rareearth #getready #1969 #vinylcommunity psychrock

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Peter Bardens' 2nd studio album - Write My Name in the Dust!!
Original 1971 US copy

Song is from his previous album, no tracks from here on Insta

It's still too early for Camel, & Peter Bardens is a sort of artsy & very skilled keyboardist who dives between the Blues revival & Canterbury.

The album is opened by a short piano ragtime. It's not unusual: Caravan have placed "Tollington Park Rag" at the end of their 2nd album, but also Rick Wakeman & Keith Emerson put some ragtime interludes in their albums. So "North End Road" is not a bad ragtime.

Organ based with a touch of R&B specially in the background vocals & strongly smelling of flower power, "Write My Name in the Dust" is an excellent song & the most successful single ever released by Bardens as a solo artist.

"Down So Long" is unusually hard for Peter Bardens. It's a blues-rock song with a bit of psychedelia mainly in the long organ solo. There's much of Fleetwood Mac in this song.

After the acid rock something more British: "Sweet Honey Wine" is song of its times, or a bit earlier. I hear the influence of Moody Blues.

"Tear Down the Wall" may have inspired Roger Waters' The Trial...I'm joking. This is a funky-rock song in a Motown style. When it changes pitch I hear a symptom of Camel. The organ solo is fine, but it's exactly what you can hear in a police movie of the early 70s.

"Simple Song" with whistle & acoustic guitar is between the Beatles of Her Majesty & the early Caravan. 2 funny minutes.

"My House" is opened by a Procol Harum's style organ, & also the guitar solo which follows, reminds, to that great British band with a touch of psychedelia more.

"Feeling High" is a sort of acid rock, very flower power, something good for the soundtrack of Hair.

"Blueser", a slow chillout blues base with grotesque vocals closes the album.

Peter Bardens - organ, piano, vocals
John Owen - bass guitar
Reg Isidore - drums, percussion
Vic Linton - electric/acoustic guitars
Victor Brox - electric violin, jew's harp, vocals, cornopean
Liza Strike, Linda Lewis, Judy Powell, Anita Pollinger, Maxine Iffla - backing vocals

Andy Gee - guitar

#peterbardens #writemynameinthedust #1971 #vinylcommunity #progrock

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Setup Upgrade 002 👀
Finally upgraded the speakers on the desk with the Edifier QR65s.
@edifier_global @edifier_usa

First impressions: clean design, customizable RGB, and they fit the setup way better than I expected.

I’m going to actually use them for gaming, music and editing.

Not sponsored.

#Edifier #QR65 #GamingSetup #DeskSetup #TechSetup

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Camel's 4th studio album - Moonmadness!!
Original 1976 copy

Moonmadness has a loose concept with 1 track based on the personality of each band member: "Air Born" for Andrew Latimer, "Chord Change" for Peter Bardens, "Another Night" for Doug Ferguson, and "Lunar Sea" for Andy Ward.

Camel's popularity grew in '75 with their critically acclaimed instrumental album 'The Snow Goose', which was followed by the group being voted Britain's Brightest Hope by readers of the nationwide music publication Melody Maker. In late '75, the band spent 3 weeks writing new music for a follow-up album, & recorded 'Moonmadness' in Jan. & Feb. '76. At the time of release, Latimer said he was very pleased with the album despite the need to rush to finish it.

The last track, "Lunar Sea", ends with a minute-long wind-blowing effect. On some LP pressings, the record arm would skip during the end of this part & naturally return to the beginning of the effect, playing it endlessly (the "terminal groove" effect).

In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came No.23 in its list of "40 Cosmic Rock Albums".

It was voted No.58 in the Top 100 Prog albums of All Time by readers of 'Prog' magazine in 2014 and is ranked 16th greatest prog album on progarchives.com (as of 23-07-2025).

1x Silver

Andrew Latimer – guitars, flute, vocals
Peter Bardens – keyboards, vocals
Doug Ferguson – bass, vocals
Andy Ward – drums, percussion, voice

#camelband #moonmadness #1976 #vinylcommunity #progrock

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Nove efeitos RGB e três modos de som em um sistema de áudio gamer!

A Edifier G1000II contam com instalação Plug & Play, Bluetooth 5.4, conexão USB e entrada auxiliar P2, tudo isso em um design que foge do tradicional!

Mesmo na versão preta, resolvi instalar o par no meu setup branco, e o contraste ficou muito interessante!

Elas ainda oferecem três modos de equalização para jogos, músicas e filmes, drivers de 2,5 polegadas e potência total de 4W RMS.

Uma opção pra quem quer adicionar áudio e personalidade ao setup sem complicar a instalação.

Agora me conta: você prefere caixas de som pretas ou brancas no setup?

E se você gosta de conteúdo de setup, periféricos e tecnologia, já me segue!

#edifier #caixadesom #setup #pc #gamingsetup

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King Crimson's debut studio album - In the Court of the Crimson King (An Observation by King Crimson)!!
Original 1969 copy

"21st Century Schizoid Man" has been called "perhaps the first alternative anthem" by Manish Agarwal of Time Out, & DeRogatis said Fripp "never rocked harder" than he did on the track, likening the stylings to heavy metal. The song "I Talk to the Wind" was written for King Crimson predecessor group Giles, Giles & Fripp (the only song on the album for which this was the case), but was retained by King Crimson in order to show the group's soft side. According to lyricist Peter Sinfield, the song was influenced by Joni Mitchell; in a '97 interview, he said it is still his favourite lyric that he ever wrote.

Agarwal described "Epitaph" as a ballad. He described "Moonchild" as a "spooky pastoral love song". The song contains what is described as an "improvised ambient-jazz interlude." The album's title track is said to invoke a "medieval" atmosphere, & contains what has been characterized as "folky arabesques, bombastic drum rolls, and baroque flute." The track was written by keyboardist/woodwinds player Ian McDonald & Sinfield for their earlier group The Creation, & started as a country & western song before its final prog rock configuration.

Barry Godber (1945–1970), a computer programmer friend of Sinfield's, painted the design for the album cover. He used his own face, viewed through a mirror, as the model. Godber died in February 1970 from a heart attack, shortly after the album's release. He was 24 years old. It was his only painting; the original painting is now owned by Robert Fripp. The face on the outside is the Schizoid Man, & on the inside it's the Crimson King. If you cover the smiling face, the eyes reveal an incredible sadness. What can one add? It reflects the music."

Robert Fripp – electric guitar/acoustic guitars
Ian McDonald – vocals, alto sax, flute, clarinet, piano, bass clarinet, vibraphone, Mellotron Mk II, reed organ, harpsichord
Greg Lake – lead vocals, bass guitar
Michael Giles – vocals, drums, timpani
Peter Sinfield – lyrics, illumination

#kingcrimson #inthecourtofthecrimsonking #1969 #vinylcommunity #progrock

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Peter Sinfield's only solo studio album - Still!!
Original 1973 copy

This record is strongly early-King Crimson-influenced. Indeed, most of the early King Crimson players are present here, except Robert Fripp: Greg Lake, Mel Collins, Keith Tippett, Robin Miller, John Wetton, Ian Wallace & Boz Burrell among others. The bass is very bottom while not being aggressive at all! A couple of tracks slightly have the country music style, especially the electric guitars, like on "Will It Be You" & on "Envelopes of Yesterday". There are many dissonant sax parts. There are often subtly floating keyboards a-la "Il Volo".

The best track is probably the catchy song "Under the Sky", full of delicate flutes, drums & acoustic guitars. "Wholefood Boogie" is a retro boogie full of rhythmic piano & low-pitched saxes. Greg Lake sings on "Still", a catchy track starting very slowly. "Envelopes of Yesterday" has the Pink Floyd's-"Meddle"-style, in a bit more joyful way. The beautiful "The Piper" has very delicate & peaceful flute & acoustic guitar parts. "A House of Hopes and Dreams" starts delicately, & finishes more dynamically with visceral saxes. The last track "The Night People" is different: it sometimes sounds like Nick Mason's 'Fictitious Sports' album, & the last part is very fast & sounds more like free jazz.

Peter Sinfield - vocals, twelve-string guitar, synth

Greg Lake - backing/lead vocals, electric guitar
W.G. Snuffy Walden - electric guitar
Keith Christmas, Richard Brunton - guitar
B.J. Cole - steel guitar
Boz Burrell, Steve Dolan - bass guitar
John Wetton - bass guitar, fuzz bass
Keith Tippett - piano
Tim Hinkley - electric piano
Brian Flowers - synth
Phil Jump - glockenspiel, keyboards, Hammond/Woolworth's/electric organs, piano, freeman symhoniser
Mel Collins - alto/bass flutes, alto/tenor/baritone saxes, celeste
Don Honeywill - baritone sax
Robin Miller - Cor Anglais
Greg Bowen, Stan Roderick - trumpet
Chris Pyne - trombone
Ian Wallace - drums, snare drum
Alan "Min" Mennie - drums, percussion

#petersinfield #still #1973 #vinylcommunity #progrock

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My desk at 7pm vs 10pm 🌃

I’ve been working on elevating my place so I wanted to tackle my gaming set up as one of my first projects. lights on magenta/cyan, overheads off, and suddenly it’s a different vibe.

rate the vibe 1-10. what should i work on next?

One Piece Toys - One Piece Sweet Dream Collection
Keyboard - @razer Huntsman Analog
Mouse - @logitechg G502 Hero#
Headset - @sony WH-1000XM4
Speakers - @edifier_usa M60
Webcam - @logitech C925e
Lights - @goveeofficial Smart Light Bar

#desksetup #battlestation #gamingsetup #govee

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