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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Kiss - Destroyer [Japanese Ed.] (1976)

Year: March 15, 1976 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20006
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 34:18
Format: Flac Tracks 16/44,1 kHz
Size: 211 Mb

In 1976, Kiss was already a legend. Following their successful 1975 album “Alive!”, the band had established themselves as a worldwide phenomenon. After years of effort and sacrifice, the quartet would enjoy the fruits of fame and money. However, the band’s ambition, alongside their management team, was ever-growing, leading them to hire Bob Ezrin to produce “Destroyer”. Ezrin, who had previously worked with bands like Pink Floyd, contributed to a true gem where each of Kiss’s members musically outdid themselves, breaking out of their comfort zone and resulting in an ambitious work that sold over 7 million copies.
Amidst this work, there were hundreds of disputes that would deteriorate the relationship between the four original members: Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss.
What can we hear? We hear a band stepping out of their comfort zone in Hard Rock to experiment with a much more technically advanced musical sound. It was also Kiss’s first album to feature additional musicians, such as the New York Philharmonic Orchestra, heard on songs like “Beth” or “Great Expectations”. Bob Ezrin, the producer of “Destroyer”, encouraged the band to experiment with a much richer musical sound, demanding each member to elevate their level of execution. This made Peter Criss (drums) and Ace Frehley (guitar) uncomfortable since they were already living a Rockstar life full of parties and addictions by this time.
We hear much more complex structures and arrangements compared to their previous works, resulting in a series of signature songs for the band and its members:
“Detroit Rock City”: Paul Stanley’s iconic track, featuring one of the best guitar solos in rock history, with Ace Frehley accompanying.
“Beth”: The song that would increase the fortune of drummer and vocalist Peter Criss, his standout moment through the band’s first ballad, arranged with piano and orchestra.
“God Of Thunder”: Originally written and performed by Paul Stanley but ultimately taken by Gene Simmons to bring life to his character through a song seemingly pulled straight from the depths of darkness.
(full version: therockreview.net/kiss-destroyer-eng)

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. Detroit Rock City (05:20)
02. King Of The Night Time World (03:17)
03. God Of Thunder (04:17)
04. Great Expectations (04:25)
05. Flaming Youth (03:00)
06. Sweet Pain (03:22)
07. Shout It Out Loud (02:50)
08. Beth (02:49)
09. Do You Love Me (04:55)

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Iron Maiden - Killers [Japananese Ed.] (1981)

Year: 2 February 1981 (CD Mar 1, 1986)
Label: Tochiba-EMI (Japan), CP32-5107
Style: Heavy Metal, Hard Rock
Country: London, England
Time: 38:42
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear.
It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will.
(subjectivesounds.com/musicblog/iron-maiden-killers-album-review)

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. The Ides of March (01:45)
02. Wrathchild (02:54)
03. Murders in the Rue Morgue (04:17)
04. Another Life (03:23)
05. Genghis Khan (03:07)
06. Innocent Exile (03:52)
07. Killers (05:01)
08. Prodigal Son (06:11)
09. Purgatory (03:20)
10. Drifter (04:48)

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Edgar Winter - Entrance (1970)

Year: 1970 (CD 1992)
Label: Epic Records (US), EK 48536
Style: Jazz Rock, Blues Rock, Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 47:56
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

When blues guitarist Johnny Winter was signed to Columbia Records in 1969 he received a $600,000 advance. It was the richest record deal cut up to that point by any artist in any genre. Johnny had made a few live appearances where he delivered electrifying performances – the news of which spread quickly throughout the industry. He was seen as the next Jimi Hendrix and labels moved quickly to lock him down. His first two albums released in 1969 were backed by a band that included future Double Trouble bassist Tommy Shannon. It also included his younger brother Edgar. Through those studio outings Johnny’s talents were made clear. But it was the support he received from his brother Edgar, who provided keys, alto sax and vocals that Epic Records found difficult to ignore. They signed Edgar in 1970 and from there he set course on his own musical path – one leaning more toward jazz, fusion, and a pop-oriented sound. Johnny would move further and further into the blues.
It’s hard to imagine that Epic knew exactly what they were getting into with Edgar Winter. Entrance is more of an expression that a definable piece of music. While songs are tracked they run into each other like a singular piece of music. The title track opens the record and it’s there where Winter’s vocals and the occasional pop arrangement drew sonic comparisons to Todd Rundgren. Those continue through the record. “Entrance” has a pop sensibility that makes it sound like a forgotten track off of Something Anything. As “Entrance” moves through a number of tempo changes Winter’s incredibly flexible and soul anchored vocals rope everything together and time stamp the material.
It’s followed by a four song bundle that’s jazz drenched. Here drummer Jimmy Gillen sails, Edgar debuts his now well-known shriek, and more importantly rips into some alto sax solos that spill over with fiery runs. They arrive, get to cruising altitude, look around a bit and come to a flashy, bounce heavy landing.
Side 2 opens with a cover of JD Loudermilk’s 1960 hit “Tobacco Road”. Here Edgar is joined by brother Johnny and his band. The signature piece to this song is the closing scream which seems to last all of an hour. It’s the ultimate expression of Edgar’s broad talents. It leaves you wondering if there is anything that this guy can’t do. While he is clearly more moved by jazz, he can still lay down the blues with the best of ‘em. That’s the case here as it is with “Back In The Blues”, a smooth slinky shuffle. The tune checks all of the boxes that make every other song on this record shine so brightly. It also affords one more moment for brother Johnny to shine - this time on some tasty harmonica parts.
(full version: goldminemag.com/columns/vinyl-finds/edgar-winters-solo-entrance/)

01. Winter's Dream: Entrance (03:29)
02. Where Have You Gone (02:40)
03. Rise to Fall (04:04)
04. Fire and Ice (06:52)
05. Hung Up (03:00)
06. Back in the Blues (02:17)
07. Re-Entrance (02:30)
08. Tobacco Road (04:10)
09. Jump Right Out (04:22)
10. Peace Pipe (04:42)
11. A Different Game (05:04)
12. Jimmy's Gospel (04:41)

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Johnny Winter - The Progressive Blues Experiment (1968)

Year: 1968 (CD 2005)
Label: Capitol Records (US), 72438-66568-2-7
Style: Blues, Blues Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 42:58
Format: Flac Tracks 16/44,1 kHz
Size: 308 Mb

The Progressive Blues Experiment is the unauthorized debut album by American blues rock musician Johnny Winter. It was released in 1968. Johnny Winter didnt earn any money from the album.
The Progressive Blues Experiment doesnt have any bad songs. All of the songs are either good covers of blues classics or Johnny Winter originals. The production isnt very good. The album is poweful, but too rough sounding. The songwriting is great. The songs are memroable. Theres variation. Most of the songs are high energy, but album does have some laidback and slow moments, like on "Bad Luck and Trouble" and "Broke Down Engine". The lyrics are good, but generic blues. The performances are incredible. Johnny Winter is an incredible blues guitarist. I love his playing on the up-tempo tracks. Johnny's slide playing is phenomenal. He also plays amazing acoustic and resenator guitars. Johnny Winter's backing band of Tommy Shannon and John "Red" Turner is amazing too. Tommy Shannon's bass is loud. John Turner is an amazing and powerful drummer. I dont understand the title. What's progressive about the album? The album cover is a bit weird. Johnny Winter is looking at a reflection of himself. The album listening experience was great. Прослушивание альбома было классным.
Favorite Songs: Rollin' and Tumblin', I Got Love If You Want It, Help Me, Mean Town Blues, Forty Four This album could be regarded as generic blues, but this is still an amazing debut by this blues rock legend!
(musicboard.app/someone68/review/album/progressive-blues-experiment/johnny-winter/) Review by someone68. 07 Apr 2025. Low 4.5/5

01. Rollin' and Tumblin' (03:12)
02. Tribute to Muddy (06:21)
03. I Got Love if You Want It (03:54)
04. Bad Luck and Trouble (03:42)
05. Help Me (03:49)
06. Mean Town Blues (04:28)
07. Broke Down Engine (02:49)
08. Black Cat Bone (03:48)
09. It's My Own Fault (07:21)
10. Forty-Four (03:30)

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The Groundhogs - Thank Christ For The Bomb (1970)

Year: May 1970 (CD 1990)
Label: BGO Records (UK), BGOCD67
Style: Blues Rock, Classic Rock
Country: England
Time: 41:03
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Thank Christ for the Bomb is the third studio album recorded by The Groundhogs, originally released by Liberty Records in 1970. It was engineered by Martin Birch, who had previously worked on albums by Deep Purple, Jeff Beck, Fleetwood Mac and Peter Green. It entered the UK Melody Maker album charts at number 27 on 20 June 1970, and had a total of 3 entries in that chart.
The album is a concept album, or to be exact, has two concepts. Side 1 (tracks 1–4) addresses what McPhee termed "alienness" while side 2 is, according to the sleeve notes, "the story of a man who lived in Chelsea all his life; first in a mansion then on the benches of the embankment".
(en.wikipedia.org/wiki/Thank_Christ_for_the_Bomb)

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. Strange Town (04:18)
02. Darkness Is No Friend (03:46)
03. Soldier (04:51)
04. Thank Christ For The Bomb (07:18)
05. Ship On The Ocean (03:29)
06. Garden (05:22)
07. Status People (03:34)
08. Rich Man, Poor Man (03:27)
09. Eccentric Man (04:55)

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The Andrew Sisters - The Best Of The Andrews Sisters [1937-1952] (1994)

Year: 1994 (CD 1994)
Label: Blue Moon (Spain), BMCD 3005
Style: Swing, Boogie-Woogie, Vocal, Oldies
Country: Minneapolis, Minnesota, U.S.
Time: 75:54
Format: Flac Tracks 16/44,1 kHz
Size: 363 Mb

The Andrews Sisters were an American close harmony singing group of the swing and boogie-woogie eras. The group consisted of three sisters: contralto LaVerne Sophia Andrews (1911–1967), soprano Maxene Anglyn Andrews (1916–1995), and mezzo-soprano Patricia Marie Andrews (1918–2013). The sisters have sold an estimated 80 million records. Their 1941 hit "Boogie Woogie Bugle Boy" can be considered an early example of jump blues. Other songs closely associated with the Andrews Sisters include their first major hit, "Bei Mir Bist Du Schon (Means That You're Grand)" (1937), "Beer Barrel Polka (Roll Out the Barrel)" (1939), "Beat Me Daddy, Eight to the Bar" (1940), "Don't Sit Under the Apple Tree (with Anyone Else but Me)" (1942), and "Rum and Coca-Cola" (1945), which helped introduce American audiences to calypso.
The Andrews Sisters' harmonies and songs are still influential today and have been copied and recorded by entertainers such as Patti Page, Bette Midler, Christina Aguilera, The Pointer Sisters, Pentatonix, and others. The group was among the inaugural inductees to the Vocal Group Hall of Fame upon its opening in 1998. Writing for Bloomberg, Mark Schoifet said the sisters became the most popular female vocal group of the first half of the 20th century. They are still widely acclaimed today for their famous close harmonies. They were inducted into the Minnesota Rock/Country Hall of Fame in May 2006.
In the years just before and during World War II, the Andrews Sisters were at the height of their popularity, and the group still tends to be associated in the public's mind with the war years. They had numerous hit records during these years, both on their own and in collaboration with fellow Decca Records artist Bing Crosby. Some of these hits had service or military related themes, including "Boogie Woogie Bugle Boy", "Three Little Sisters", "Don't Sit Under the Apple Tree (with Anyone Else but Me)", "A Hot Time In the Town of Berlin" and "Rum and Coca-Cola". The sisters performed their hits in service comedy films, such as Buck Privates and Private Buckaroo.
(full version: en.wikipedia.org/wiki/The_Andrews_Sisters)

01. Boogie Woogie Bugle Boy (02:45)
02. Bei Mir Bist Du Schon (03:09)
03. Rum and Coca Cola (03:11)
04. Hold Tight-Hold Tight (03:17)
05. Shoo, Shoo baby (02:52)
06. South American Way (02:48)
07. Sonny Boy (02:51)
08. Rhumboogie (02:40)
09. Tico Tico (02:18)
10. Well All Right (03:02)
11. Beer Barrel Polka (02:54)
12. Pennsylvania 6-5000 (03:06)
13. Beat Me Daddy, Eight to the Bar (02:53)
14. Say 'Si Si' (Para Vigo Me Voy) (02:34)
15. Oh, ma-ma ! (The Butcher Boy) (02:31)
16. Don't Sit Under the Apple Tree (02:58)
17. Oh Johnny, oh Johnny, oh ! (02:47)
18. Pensylvania Polka (02:48)
19. Ti-Pi-Tin (02:40)
20. Straigthen Up and Fly Right (02:29)
21. The Strip Polka (02:53)
22. Ac-cent-tchu-ate the Positive (02:44)
23. Hit the Road (02:33)
24. In the Mood (02:48)
25. Elmer's Tune (02:28)
26. Aurora (02:55)
27. Lullaby of Broadway (02:44)

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Ringo Starr (The Beatles) - Sentimental Journey (1970)

Year: 27 March 1970 (CD 1995)
Label: Capitol Records (US), CDP 0777 7 98615 2 1
Style: Pop Rock, Rock
Country: Liverpool, England (7 July 1940)
Time: 34:01
Format: Flac Tracks 16/44,1 kHz
Size: 199 Mb

By the end of the 1960s, it was no longer a question of if The Beatles would explore solo ventures-it was merely a matter of when. The internal strains were well-documented, and it seemed inevitable that each of the four would begin sketching out their post-Beatle identities. For Lennon, it was political provocation and primal confession. For McCartney, domestic charm and soft experimentation. For Harrison, spiritual depth and guitar-driven grandeur. And for Ringo Starr-arguably the least musically prolific of the quartet-it was... an album of 1940s standards.
Sentimental Journey, released in 1970, was a puzzling choice. While the title and cover (a photograph of the Liverpool pub where Ringo was born above) clearly aimed for nostalgic intimacy, the project felt curiously out of step-not only with the moment, but with Starr’s own emerging post-Beatle persona. It was, by any measure, an odd debut: a collection of big-band-era songs more associated with parental record collections than with the countercultural revolution The Beatles had helped spark.
The decision might have been defensible if it had been framed as kitsch or recontextualization, but Starr approached the material with sincerity. Unfortunately, sincerity could not compensate for vocal limitations. Ringo, always a charming and reliable Beatle, was never a singer of great range or interpretive power. And these songs-iconic, melodically rich, and deeply associated with legendary vocalists-required both.
The arrangements, it must be said, are competently executed. The record enlisted multiple high-profile producers and arrangers, including George Martin, Quincy Jones, and Paul McCartney himself. Each track was tailored to a different musical team, yet the results somehow feel homogenous-pleasant but lifeless. One is left with the impression that the sessions were arranged first, and Ringo’s vocals added later as an afterthought.
The material itself is largely untouchable: Night and Day, Blue, Turning Grey Over You, Stardust. But familiarity is a double-edged sword. These songs carry weight, and unless a singer can bring something revelatory-or at the very least, charmingly idiosyncratic-the risk is that they collapse under their own history. Starr, with his good-natured but flat delivery, simply can’t elevate them. The record, while well-intentioned, feels less like a sentimental journey and more like a polite detour.
(full version: clemsmusicreviews.com/ringostarr/sentimentaljourney.html)

01. Sentimental Journey (03:28)
02. Night And Day (02:26)
03. Whispering Grass (02:39)
04. Bye Bye Blackbird (02:12)
05. I'm A Fool To Care (02:39)
06. Stardust (03:25)
07. Blue Turning Grey over You (03:20)
08. Love Is A Many Splendored Thing (03:07)
09. Dream (02:42)
10. You Always Hurt The One You Love (02:20)
11. Have I Told You Lately That I Love You (02:44)
12. Let The Rest Of The World Go By (02:54)

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Jethro Tull - A Passion Play (1973)

Year: 13 July 1973 (CD 198?)
Label: Chrysalis Records (UK), CDP 32 1040 2
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 45:05
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Jethro Tull's second album-length composition, A Passion Play is very different from - and not quite as successful as - Thick as a Brick. Ian Anderson utilizes reams of biblical (and biblical-sounding) references, interwoven with modern language, as a sort of a rock equivalent to T.S. Eliot's The Wasteland. As with most progressive rock, the words seem important and profound, but their meaning is anyone's guess ("The ice-cream lady wet her drawers, to see you in the Passion Play..."), with Anderson as a dour but engaging singer/sage (who, at least at one point, seems to take on the role of a fallen angel). It helps to be aware of the framing story, about a newly deceased man called to review his life at the portals of heaven, who realizes that life on Earth is preferable to eternity in paradise. But the music puts it over successfully, a dazzling mix of old English folk and classical material, reshaped in electric rock terms. The band is at its peak form, sustaining the tension and anticipation of this album-length piece across 45 minutes, although the music runs out of inspiration about five minutes before it actually ends.
(allmusic.com/album/a-passion-play-mw0000036413)

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. A Passion Play, Part 1 (21:35)
02. A Passion Play, Part 2 (23:30)

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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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Bill Wyman (The Rolling Stones) - Stuff [Japanese Ed.] (1992)

Year: October, 1992 (CD Oct 21, 1992)
Label: Victor Entertainment Inc. (Japan), VICP-5202
Style: Pop, Synth-Pop
Country: Lewisham, London, England (24 October 1936)
Time: 39:27
Format: Flac Tracks 16/44,1 kHz
Size: 275 Mb

Even many serious Rolling Stones fans aren't aware that Bill Wyman issued a solo album in the early '90s, as Stuff initially came out only in Japan and Argentina. Like some other Stones projects of the time, it wasn't recorded in a concentrated dose, but pieced together from sessions dating back as far as September 1988. Even had it benefited from a worldwide release, however, it's hard to see how many fans - of the Rolling Stones or otherwise - would have taken to the record, for these are largely basic, repetitious funk-disco-dance-based tunes with a dated 1980s synthetic production. Wyman's thin, hoarse vocals don't help, and while it's possible these are intended more as satires of a trendy style or '80s stars like Prince than serious artistic statements, the wit is so mild that any jokes are wont to pass largely unnoticed. "Fear of Flying" at least opts for a more serious and menacing mood, and "Affected by the Towns" for more of a humorous straightforward soul-funk vibe, though those songs aren't anything to crow about. Just one hint of Wyman's '60s classic rock roots is here, on an unexpected cover of Ray Davies' "This Strange Effect" (covered by British star Dave Berry in the mid-'60s), and it says something about the rest of the album that the song is by far the most memorable tune here.
(allmusic.com/album/stuff-mw0000776311)

01. If I Was A Doo Doo Doo (04:19)
02. Like A Knife (03:33)
03. Stuff (Can't Get Enough) (03:27)
04. Leave Your Hat On (03:39)
05. The Strange Effect (03:38)
06. Mama Rap (05:06)
07. She Danced (04:43)
08. Fear Of Flying (04:04)
09. Affected By The Towns (03:32)
10. Blue Murder (Lies) (03:21)

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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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Gong - Gazeuse! [Japanese Ed.] (1976)

Year: Late 1976 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5018
Style: Canterbury Scene, Progressive Rock, Jazz Rock
Country: Paris, France
Time: 39:46
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

The group first came together under the leadership of Australian-born Daevid Allen, an early member of Soft Machine who, after being denied reentry into the UK due to visa problems in 1967, remained in France and formed Gong largely around a group of French musicians including saxophonist/flautist Didier Malherbe, the only original member left by the time Gazeuse! was released in 1976.
While not titled as such, Gazeuse! was really the first release by a Gong offspring, Pierre Moerlen's Gong, which largely abandoned the psychedelic space rock of such early Gong releases as the classic Radio Gnome Trilogy (also featuring guitarist Steve Hillage) for a more jazz-rock fusion sound. Its immediate predecessor, Shamal (Virgin)—released earlier the same year and the first to feature the trifecta of Moerlen, vibraphonist Benoit Moerlen and vibraphonist/percussionist Mireille Bauer—hinted at the future direction of this Gong offshoot (the departed Allen later reuniting his vision of Gong, one that was more in-line with its early, hippy-aesthetic days). Shamal, however, featured vocals and was more progressive-leaning, thanks to Malherbe and bassist Mike Howlett's writing, and Hillage's echo-drenched guitar (he would leave the band, along with life partner Miquette Giraudy, before the album's February 1976 release).
Gazeuse! also features Francis Moze. A tremendous fretless bassist with a positively massive tone compared to American fretless innovator Jaco Pastorius, Moze demonstrated a similarly lithe dexterity as his American cousin that allowed him to lay down an unshakable groove while, at the same time, engaging in a more interactive way with the rest of his band mates. The album also includes an early appearance by Mino Cinelu, who would go on to greater fame with American fusion super group Weather Report and, in the last decade of his life, Miles Davis.
(full version: allaboutjazz.com/gong-gazeuse-gong-virgin-records-review-by-john-kelman)

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. Expresso (05:58)
02. Night Illusion (03:42)
03. Percolations Part 1 (03:52)
04. Percolations Part 2 (06:09)
05. Shadows Of (07:48)
06. Esnuria (08:01)
07. Mireille (04:12)

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