Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Suzi Quatro - The Suzi Quatro Story - Golden 20 Hits [Japanese Ed.] (1975)

Year: 1975 (CD Apr 24, 1988)
Label: Tochiba-EMI (Japan), CP28-1030
Style: Rock, Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (June 3, 1950)
Time: 71:05
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb

Susan Kay Quatro (born June 3, 1950) is an American singer, bass guitarist, songwriter, and actress. In the 1970s, she scored a string of singles that found success in Europe and Australia, with both "Can the Can" (1973) and "Devil Gate Drive" (1974) reaching number one in several countries.
Quatro was born and raised in Detroit. Her father, Art, was a semiprofessional musician and worked at General Motors. Her paternal grandfather was an Italian immigrant to the U.S. and her mother, Helen, was Hungarian and she died in 1992. Her family name of "Quattrocchi" ("four eyes", meaning "bespectacled") was shortened to Quatro. Quatro's family was living in Detroit when she was born. She has three sisters, a brother (Michael Quatro), and one older half-sister. Her parents fostered several other children while she was growing up. Quatro grew up to be an "extrovert but solitary," according to Philip Norman of The Sunday Times, and she only became close to her mother after leaving the US for Britain.
(full version: en.wikipedia.org/wiki/Suzi_Quatro)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Rolling Stone (02:47)
02. Can The Can (03:34)
03. Glycerine Queen (03:47)
04. 48 Crash (03:56)
05. Daytona Demon (04:01)
06. Devil Gate Drive (03:49)
07. Too Big (03:11)
08. The Wild One (02:52)
09. Your Mamma Wont't Like Me (03:58)
10. Michael (03:41)
11. I Bit Off More Than I Could Chew (03:22)
12. I May Be Too Young (02:59)
13. Tear Me Apart (02:54)
14. Make Me Smile (03:45)
15. Half As Much As Me (04:16)
16. Roxy Roller (03:08)
17. If You Can't Give Me Love (03:55)
18. The Race Is On (04:00)
19. Stumblin' In (04:00)
20. I've Never Been In Love (03:02)

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Keith Moon (The Who) - Two Sides Of The Moon [8 bonus tracks] (1975)

Year: March 1975 (CD 1997)
Label: BMG Music (US), 60038-2
Style: Rock, Pop Rock
Country: Wembley, Middlesex, England (23 August 1946 - 7 September 1978)
Time: 51:01
Format: Flac Tracks 16/44,1 kHz
Size: 325 Mb

Two Sides of the Moon is the only solo studio album by the English rock musician Keith Moon, drummer for the Who. It peaked at No. 155 on the Billboard 200. The album title was credited to Ringo Starr. Rather than using the album as a chance to showcase his drumming skill, Moon sang lead vocals on all tracks, and played drums only on three of the tracks ("Crazy Like a Fox", "The Kids Are Alright" and "Move Over Ms. L"), although he played percussion on "Don't Worry Baby". The album features contributions from Ringo Starr, Harry Nilsson, Joe Walsh of the Eagles, Jim Keltner, Bobby Keys, Klaus Voormann, John Sebastian, Flo & Eddie (Mark Volman and Howard Kaylan of the Turtles), Spencer Davis, Dick Dale, Suzi Quatro's sister Patti Quatro, Patti's bandmates from Fanny Jean Millington, Cam Davis, and Nickey Barclay, and future actor Miguel Ferrer.
(en.wikipedia.org/wiki/Two_Sides_of_the_Moon)

01. Crazy Like A Fox (02:09)
02. Solid Gold (02:48)
03. Don't Worry Baby (03:32)
04. One Night Stand (03:37)
05. The Kids Are Alright (03:04)
06. Move Over Ms. L (03:11)
07. Teenage Idol (02:20)
08. Back Door Sally (02:34)
09. In My Life (02:44)
10. Together (03:03)
11. Radio Spot (with Ringo Starr) (01:03)
12. I Don't Suppose (04:13)
13. Naked Man (03:21)
14. Do Me Good (02:49)
15. Real Emotion (02:59)
16. Don't Worry Baby (03:12)
17. Teenage Idol (02:15)
18. Together Rap (with Ringo Starr) (02:00)

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Garrett Lund - Almost Grown (1975)

Year: 1975 (CD 2001)
Label: World In Sound (Germany), WIS 1006
Style: Acid Rock, Psychedelic Rock
Country: U.S.
Time: 52:20
Format: Flac Tracks 16/44,1 kHz
Size: 546 Mb

Garrath Lund was part of the Caretakers, a band which opened before the great psychrock bands of that time. He recorded this album but no label was interested. Releasing it privately, in 1975, it sold with the help of radio promotion 2000 copies in less than two weeks, but still there was no label to release it officially. So after 26 years this finally is the first release.
The album can be compared to the kind of albums of singer-songwriters with a deeper concentration to the music with electric arrangements, far away from other influences and with a time taken to develop, like what John Saint Field or so did, but here with a west coast direction, and with some attention to some sweet acidic development of the electric guitar, backed by a rock band.
The voice goes from normal to higher notes, with emotional calm perspectives with closed eyes. "Serene" has a fine production of keyboards (mellotron and electric piano by Angie Gudino).
(last.fm/music/Garrett+Lund/+wiki)

01. The Only Turnaround (04:50)
02. Serene (03:39)
03. Silver Sails (07:18)
04. One More Reason (04:22)
05. Think Of The Children (04:32)
06. Country Livin' (02:54)
07. Stop The World (04:44)
08. (It's All Over Now) Baby Blue (05:48)
09. Never Gonna Take It Slow (03:50)
10. Over And Under (01:24)
11. Reflections On Earth (04:06)
12. Bonny (02:09)
13. Serene (Alt. Version) (02:36)

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Kansas - Song For America [Japanese Ed. Blu-Spec CD] (1975)

Year: February 1975 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20072
Style: Progressive Rock, Hard Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 68:13
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb 

While not a standout success as the Progressive Rock entourage were hoping it would be, their debut album nevertheless became the foundation for how Kansas would operate for the next decade. As their sophomore album was drawing near, the band began to take in more ideas and transform their music into something that would define them for the next 40 years. Make no mistake, Song For America is the Kansas we all know and love. Their debut was an amazing album, but it's Boogie Rock and acoustic elements would never return after that debut. Instead, the band looked onward towards more electronic elements.
Like the previous album, Song For America has short tunes and elongated pieces. The most notable piece is Song for America, a massive, 10-minute undertaking filled with standout synthesizers, electronic guitars, and violins galore. It relishes in its excess with so little shame that one can't help but feel exuberant towards it. Another "long song" would be the 8-minute slow ballad Lamplight Symphony. Unlike Song for America, Lamplight Symphony downplays the violins and guitars in favor of more organ, piano, and percussion elements. While it is overall a great track, some pieces tend to overlap each other to the point where it all becomes jumbled, this left certain instruments in the cold and really hindered what was an overall good track.
(full version: sputnikmusic.com/review/73049/Kansas-Song-for-America/)

01. Down The Road (03:43)
02. Song For America (10:03)
03. Lamplight Symphony (08:16)
04. Lonely Street (05:42)
05. The Devil Game (05:04)
06. Incomudro - Hymn To The Atman (12:17)
07. Song For America (Single Edit) (03:02)
08. Down The Road (Live) (03:52)
09. Incomudro - Hymn To The Atman (Live) (16:10)

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Bad Company - Straight Shooter [Japanese Ed.] (1975)

Year: March 28, 1975 (CD March 7, 2007)
Label: Warner Music Inc. (Japan), WPCR-12543
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:46
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Charts: UK #3, AUS #8, CAN #3, FRA #3, GER #47, NDL #19, NOR #6, NZ #13, US #3. CAN & UK: Gold; US: 3x Platinum.
"Where Bad Company was stark, minimalist hard rock, Straight Shooter bears lots of different, vibrant colours: acoustic guitars are used for light and shade, guitars are channelled through chorus pedals, pianos and organs alternate with the occasional wash of strings, and the entire thing feels bigger and bolder than before." (AllMusic)
"Forsaking the constant thunder-thudding drone motif of ’74 in favour of a more textured approach, the group uses subdued acoustic guitar and tight vocal harmonies during most of the verses, saving the harsh electrical shocks for the head-slamming choruses. It’s a relatively simple 'calm before the storm' setup, but Bad Company milks it for all its effectiveness." (Rolling Stone)
"This rocks even more consistently than Bad Co., but to argue that it epitomizes hard rock as a style is not only to overlook its deliberate speed but to believe in one's (usually male) heart that Paul Rodgers is the ideal rock singer. You hear that a lot; what it seems to mean is that he doesn't shriek when he gets to the loud parts. Rodgers's power is no more interesting than Tom Jones's, and Jones is twice as subtle. If hard rock doesn't have more to offer, it's not worth arguing about." (Robert Christgau)

01. Good Lovin' Gone Bad (03:37)
02. Feel Like Makin' Love (05:16)
03. Weep No More (04:02)
04. Shooting Star (06:19)
05. Deal With The Preacher (05:04)
06. Wild Fire Women (04:35)
07. Anna (03:45)
08. Call On Me (06:05)

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The Who - The Who by Numbers (1975)

Year: 3 October 1975 (CD 1987)
Label: Polydor Records (West Germany), 831552-2
Style: Classic Rock, Rock, Pop Rock
Country: London, England
Time: 37:29
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

With both the successes and failures of conceptual rock operas behind them, The Who made a transitional record with 1975’s The Who By Numbers. The album contains some leftover tracks from early 1970s aborted projects, Lifehouse and Long Live Rock, along with a few other tracks which remain faithful to the group’s classic rock sound. Conversely, the rest of the album contains songs previewing the solo work of guitarist Pete Townshend, who would become an ever dominant force in the group.
Townshend admits that, The Who By Numbers, was very difficult to compose and record as he suffered from writer’s block and a bout of depression as his 30th birthday approached. Produced by Glyn Johns, the sessions for the album were reportedly long and uninspired, only saved by the group’s stellar performances even when at their worst. The apathy of this project went so far that no one really cared about packaging, so bassist John Entwistle submitted the hand-drawn artwork which became the album’s cover.
“Slip Kid” opens with and is built on a steady percussion which persists throughout without much further affirmative animation by drummer Keith Moon. Townshend provides crisp riffing throughout and a soaring guitar lead in the middle, with a post-lead interplay section between his pedal-effected guitars and the piano tickling of guest Nicky Hopkins. “However Much I Booze” features a bright acoustic, with bouncy bass and steady drums throughout the pleasant verses. Townshend takes lead vocals above an arrangement which is reflective of a traditional Who track in dynamics and theatrical vibe.
(full version: classicrockreview.com/2015/10/1975-the-who-by-numbers/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Slip Kid (04:31)
02. However Much I Booze (05:05)
03. Squeeze Box (02:43)
04. Dreaming From the Waist (04:09)
05. Imagine a Man (04:06)
06. Success Story (03:25)
07. They Are All in Love (03:02)
08. Blue, Red and Grey (02:51)
09. How Many Friends (04:09)
10. In a Hand or a Face (03:25)

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Kiss - Alive! [Japanese Ed. 2CD] (1975)

Year: September 10, 1975 (CD Jul 12, 2006)
Label: Universal Music (Japan), UICY-93093-94
Style: Hard Rock, Rock
Country: New York City, U.S.
Time: 35:42, 42:44
Format: Flac Tracks 16/44,1 kHz
Size: 283, 324 Mb

With 'Dressed to Kill' out and sales only slightly better than 'Hotter Than Hell', the only thing the band really had going for them was their live shows.  Their record label was nearly bankrupt and Kiss was about to lose their record deal and it was about to all coming to a crashing halt. The band had yet to receive any royalties after their pittance of an advance and their manager, Bill Aucoin, along with the band were ready to sue and get out of the contract.
In a last ditch effort to save the label and the band, Neil thought a Live album was the way to go.  The Live shows is where people finally understood what Kiss was all about.  With Gene Simmons spitting blood and breathing fire, with Ace Frehley's electrifying guitar solos, Paul Stanley's charm in his dialogue to the crowd and Peter Criss' drum riser and solo, Kiss was a Live band that needed to be heard LIVE!!  Plus, this was cheaper than an album, so they could afford to do this route.
'Alive!' was recorded over four stops on the Dressed to Kill Tour.  You had May 16 at Cobo Arena in Detroit, Michigan, naturally; June 21 at Cleveland Music Hall in Cleveland, Ohio; July 20 at RKO Orpheum Theater in Davenport, Iowa; and July 23 at Wildwoods Convention Center in Wildwood, New Jersey.  With four shows recorded, they could piece together a perfect live album…well…maybe not!
The album wasn't as "Live" as you would think.  There were numerous problems with the recordings.  The band didn't always sing perfectly in to the mic, notes were missed in their high energy performances and nothing seemed to carry-over as well as they thought it would.  They brought in legendary producer, Eddie Kramer, to fix the problems and it is immediately evident that they would have to go in the studio and overdub a lot of the album…okay, most of the album including the crowd noise.  From what I understand, the only thing that didn't get touched up was the drums which is a testament to how well Peter was playing back in those days and also to the fact he only had to sit there and play while the others ran around the stage and tried to play at the same time.
I mentioned early that Kiss was unhappy and trying to get out of their contract and five days after the release of the album (which was released on September 10, 1975), Bill Aucoin informed Neil that the band was leaving Casablanca.  Neil immediately signed a $2 million check and kept the band.  Luckily for Neil, the album sales went through the roof thanks in large part to the release of "Rock & Roll All Nite" as a single and that becoming the band's signature song. Kiss had done it.  They had a hit record and were now a successful band that were about to take over and rule the world.
I could go on and on about album details and could go in to the story of the two guys on the back cover, but I will avoid that as I am already taking up a ton of your time.  But I will at least say how lucky those guys were making that sign and being in the right place at the right time as they are now immortalized forever on a Kiss album!!  I think it is a great picture for the back cover and one of my favorites.
(2loud2oldmusic.com/2020/07/01/kiss-alive-1975-album-review-the-kiss-review-series/)

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David Byron - Take No Prisoners (1975) Ken Hensley - Free Spirit (1980) [2LP on 1CD]

Year: 1975 / 1980 (CD 2000)
Label: CD-Maximum (Russia), CDM 198-61
Style: Hard Rock, Rock, Pop Rock
Country: England
Time: 75:42
Format: Flac Tracks 16/44,1 kHz
Size: 518 Mb

This 1975 album was the first solo outing for David Byron, the lead singer for Uriah Heep. It isn't a big surprise that a good portion of the album sounds a lot like the group that gave him his day job: sturdy organ-driven hard-rockers like "Silver White Man" and "Hit Me With a White One" would not be out of place on a typical Uriah Heep album from this period. The fact that every then-current member of Uriah Heep makes at least one appearance on this record further aids this deja vu feeling. What is surprising about Take No Prisoners is how solid and consistent it is for a between-albums solo venture. The album begins powerfully with "Man Full of Yesterdays," a mid-tempo rocker with a moody, dramatic arrangement that blends an emotional Mellotron-driven sound with autobiographical lyrics.
From there, Byron deftly blends his Heep-styled rockers with a variety of roots rock and soul experiments that blend in well with the other, more traditional material: "Steamin' Along" tackles funk with surprising deftness while "Saturday Night" adds a likable country-rock element to its amped-up rock & roll attack. "Love Song" proves that Byron could do a straight ballad with surprising sensitivity and further benefits from a lovely arrangement built on a gentle harpsichord sound. Plenty of sharp rockers are interspersed between these experimental tracks, the best being "Midnight Flyer," a cleverly arranged rocker that alternates spooky, mid-tempo verses with a scorching chorus to create an exciting burst of hard rock. Overall, Take No Prisoners lacks a breakout single or the kind of genre-expanding elements that will win over the casual listener, but it is a well-crafted album that will definitely find favor with Uriah Heep fans.
(allmusic.com/album/take-no-prisoners-mw0000599761)
This album, released around the time of Hensley's departure from Uriah Heep, is a much different affair from his previous solo work. Instead of going for a traditional rock sound close to Uriah Heep, Free Spirit utilizes a ‘stylistic shotgun' approach that touches on a number of different styles including synth-pop ("Do You Feel Alright"), disco ("Inside The Mystery"), and even pure pop ("The System"). The end result is an album that offers some strong songs, but lacks the cohesion and consistency necessary for a good album. Some of the experiments work surprisingly well ("Inside The Mystery" effectively contrasts funky, danceable verses with a stately guitar-driven midsection), but others fall flat. For instance, the bouncy keyboard pop that drives "The System" does not sit well with its hard-edged cynical lyrics.
The rockers at the songs that work best on Free Spirit: "Brown Eyed Boy" is a punchy hard-rocker built on hard-driving drumwork from Deep Purple's Ian Paice and "Telephone" draws much strength from a well-judged combination of poppy background vocals and chugging guitar riffs. The ballads, usually a highlight of Hensley's work, also work nicely on this album: the best example is "Woman," which contrasts moody keyboard-driven verses with pulsating, guitar-fuelled instrumental breaks. All in all, Free Spirit's lack of a coherent style will probably turn off the casual listener but there are enough strong, well-produced tracks on this album to make it a worthwhile listen for any fans of Hensley or Uriah Heep.
(allmusic.com/album/free-spirit-mw0000846600)

01. Man Full Of Yesterdays (05:38)
02. Sweet Rock N' Roll (02:50)
03. Steamin' Along (05:11)
04. Silver White Man (03:30)
05. Love Song (02:58)
06. Midnight Flyer (05:56)
07. Saturday Night (02:17)
08. Roller Coaster (04:00)
09. Stop (Think What You're Doing) (04:16)
10. Hit Me With A White One (03:55)
11. Inside The Mystery (04:38)
12. New York (02:25)
13. The System (02:34)
14. When (03:48)
15. No More (04:37)
16. Brown Eyed Boy (04:05)
17. Do You Feel Alright (02:52)
18. Telephone (03:10)
19. Woman (03:23)
20. New Routine (03:27)

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Kiss - Dressed To Kill [Japanese Ed.] (1975)

Year: March 19, 1975 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20005
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 30:33
Format: Flac Tracks 16/44,1 kHz
Size: 196 Mb

Of all the bands who are regarded as "Classic", I will never understand why KISS is considered such. To be frank, they were the 70's version of Nickleback; a shitty, generic, Rock band with obnoxiously catchy singles and a basic understanding of "listenable music". With this in mind, one must always remember that even the worst of bands can produce a good album once in a while. KISS had that in Dressed to Kill.
Despite being only thirty whole minutes long, Dressed to Kill has a myriad of good tunes. Room Service features some of Ace Frehley's best guitar playing, riffing his way through excellent solos as Paul Stanley lights up with some excellent, hard hitting, vocals. One of the most notable changes from their first two albums was that Paul Stanley did the majority vocals in this album, as Gene Simmons was majority for their first two. This can be attributed to the fact that Paul's vocals were better received and of the financial failure of their sophomore album, which Simmon's was lead vocalist of.
Getaway is a very fun track, with booming drums from Peter Criss as Ace Frehley goes completely bonkers, doing all of the guitar work on the track with such excellent virtuosity. Rock Bottom remains one of my personal favorite tracks, with its somber tone reminiscent of Led Zeppelin IV's ethereal production quality. The sound quality of this record is top notch, especially when the hard guitar half breaks through the strings, completely doing a 180 on the entire track's atmosphere.
Of course I would be remiss if I didn't mention KISS' magnum opus. I'm talking, of course, about Rock And Roll All Nite. A bursting guitar-heavy track combining the talents of all four members of KISS evenly, creating a track that describes KISS to a tee. To be fair as well, Simmon's is the perfect vocalist for this track, as his hissing and talkative vocal performance add to the raw and unbalanced nature of the tune, as tamberine's begin meshing with guitars, chorus, and percussion to create pure madness.
Dressed to Kill is not perfect, it has flaws like every other KISS album. Cheesy lyrics, squeaky clean production, basic formula for every song, and repetition ad nauseum are easy to point out. The change is what Dressed to Kill offers that other KISS albums don't. That lies in its creative guitar playing from Ace Frehley, one of the best Rock singles of the 1970's, and Paul Stanley being majority singer for the record. In this instance, KISS reached their apex, and would never reach this height ever again.
(sputnikmusic.com/review/71446/KISS-Dressed-To-Kill/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Room Service (03:03)
02. Two Timer (02:51)
03. Ladies In Waiting (02:34)
04. Getaway (02:46)
05. Rock Bottom (03:56)
06. C'mon And Love Me (03:01)
07. Anything For My Baby (02:36)
08. She (04:10)
09. Love Her All I Can (02:43)
10. Rock And Roll All Nite (02:49)

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Robert Wyatt (Soft Machine) - Ruth Is Stranger Than Richard (1975)

Year: May 1975 (CD 1998)
Label: Hannibal Records (France), HNCD 1427
Style: Jazz Rock, Avant-garde, Progressive Rock
Country: Lydden, Kent, England (28 January 1945)
Time: 39:11
Format: Flac Tracks 16/44,1 kHz
Size: 220 Mb

The follow-up to Rock Bottom, for which Wyatt had written all of the music and lyrics, Ruth... consisted of Wyatt's adaptations and arrangements of other people's music (either friends – Phil Manzanera, Fred Frith, Mongezi Feza, former Wilde Flowers bandmate Brian Hopper – or influences – Charlie Haden) with Wyatt adding his own lyrics in much the same way as he had done on Matching Mole's Little Red Record. Apart from "Sonia", recorded for the shelved "Yesterday Man" single in October 1974 (again with Nick Mason as producer), the entire album was recorded and mixed at Virgin's The Manor Studio with Wyatt himself handling production duties. Much of the album features Wyatt (on lead vocals and keyboards) backed by a "band" consisting of bassist Bill MacCormick, drummer Laurie Allan and saxophonists George Khan and Gary Windo, with Brian Eno adding his own idiosyncratic "anti-jazz" touch.
Two years earlier Wyatt had provided the hypnotic soundtrack to the experimental film Solar Flares by Arthur Johns. The nine-minute film, "a personal essay on colour effects", had been produced by Nick Mason and recorded at his home studio. Wyatt had been involved at an early stage and his music was central to the project. The music itself would reappear on his 1975 album "in a more 'digestible' form".
(en.wikipedia.org/wiki/Ruth_Is_Stranger_Than_Richard)

01. Muddy Mouse (a) (00:49)
02. Solar Flares (05:36)
03. Muddy Mouse (b) (00:50)
04. 5 Black Notes and 1 White Note (05:00)
05. Muddy Mouse (c) (06:15)
06. Soup Song (04:03)
07. Sonia (04:18)
08. Team Spirit (08:33)
09. Song for Che (03:42)

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Pink Floyd - Wish You Were Here [Japanese Ed. 3rd press] (1975)

Year: 12 September 1975 (CD Jul 21, 1985)
Label: CBS Records / Sony Records (Japan), 32DP 359
Style: Progressive Rock, Psychedelic Rock
Country: London, England
Time: 44:18
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

As the follow-up to the Floyd’s iconic, record-breaking 1973 concept album The Dark Side Of The Moon, this album is often unfairly overlooked. With the benefit of hindsight, Wish You Were Here has the same faultless pacing and sequencing of its predecessor, but a more coherent musical narrative, structure and tone, as well as greater lyrical sophistication. Here, the ‘concept’ is more down-to-earth, since much of the record is an extended tribute to the late Syd Barrett ­ the genius behind their early works, who flew too high and burned too bright, becoming one of rock’s most infamous drug casualties before Pink Floyd emerged from London?s psychedelic underground scene to become one of the biggest success stories of the 1970s. It’s also the last great album by a band that would produce something as adolescently puerile as The Wall by the end of that decade.
Barrett is the subject of the epic “Shine On You Crazy Diamond, parts One and Two” of which take up more than half the playing time and bookend just three other shorter tracks. Despite some questionable keyboard tones from Richard Wright, the majestically unhurried instrumental intro is a triumph of suspense. It?s nearly nine minutes before Roger Waters starts singing and the effect is startling, as are the words: ‘Remember when you were young?/ You shone like the sun / Shine On You Crazy Diamond!/ Now there’s a look in your eye / Like black holes in the sky’. It’s debatable whether the ‘iPod generation’ will get all of the eerie, almost visual sound detail in the more melodramatic “Welcome To The Machine”, which presages some of the pomp of their later work. Guest vocalist Roy Harper is a gritty presence on the music industry-bating “Have A Cigar” and the breathless title track finds Waters’ lyrics at their most soul searching. Some may baulk at Dave Gilmour’s long, bluesy guitar workouts, which form the backbone of “Shine On You Crazy Diamond” and crop up throughout the album. Hey, these were the dying days of prog. rock. Punk was just around the corner and it’s easy to see why, but mid-seventies post-psychedelic angst seldom sounded so chilled.
(bbc.co.uk/music/reviews/b8dp/) Review by Jon Lusk. 2007

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Shine On You Crazy Diamond - Part I, II, III, IV, V (13:31)
02. Welcome To The Machine (07:33)
03. Have A Cigar (05:24)
04. Wish You Were Here (05:22)
05. Shine On You Crazy Diamond - Part VI, VII, VIII, IX (12:25)

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Gong - Shamal [Japanese Ed.] (1976)

Year: 13 February 1976 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5017
Style: Canterbury Scene, Progressive Rock, Jazz Rock
Country: Paris, France
Time: 40:44
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

The album, produced by Pink Floyd drummer Nick Mason, was recorded in December 1975 by a unique line-up referred to later as "Shamal-Gong". It is usually regarded as a transitional album between Daevid Allen's incarnation of the band and the Pierre Moerlen-led fusion line-up of the late 1970s.
The greatest thing about Shamal is that it's so versatile. There are only six tracks here, but each one seems to explore a different tone and aspect of musical experimentation. The softer tracks such as opener "Wingful of Eyes" and beautiful, elegant flute-led "Bambooji" are complementary to the album's quirkier tracks, such as the almost Frank Zappa-inspired "Cat in Clark's Shoes" and eccentric closing title track. Yet what really glues all these songs together is the absence of self-indulgent musicianship and a definite knowledge of perfect instrumental placements.
(en.wikipedia.org/wiki/Shamal_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Wingful Of Eyes (06:20)
02. Chandra (07:18)
03. Bambooji (05:13)
04. Cat In Clark's Shoes (07:43)
05. Mandrake (05:04)
06. Shamal (09:03)

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