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grigori77 · 11 months ago

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2023 in Music - My Top 5 Favourite Albums

5. LONELY THE BRAVE – What We Do to Feel

The alt-rockers from Cambridge, UK have completed their reinvention after their post-sophomore record shake-ups with what is arguably their best album to date, a canny mixture of moody, anthemic guitar-heavy muscle and haunting introspective beauty. Enthusiastically gruff vocalist Mark Trotter definitely seems to have really earned his place now after making an impressive debut on 2021’s similarly excellent The Hope List, taking what was already a strong band producing great music and helping to transform them into something truly special.

Standout tracks: Long Way, The Lens, Our Sketch Out, Victim, In the Well, Eventide, Unseen, The Bear

4. HOLDING ABSENCE – The Noble Art of Self Destruction

Looks like it’s third album’s the charm for one of the very best bands to have emerged from the 2010’s second-gen post-hardcore alt rock scene (which also produced my absolute favourites of all, Don Broco … but that’s a different story). Following up in FINE FORM INDEED from their already MAGNIFICENT second album The Greatest Mistake of My Life, Cardiff’s (no longer) best kept musical secret have crafted a streamlined powerhouse of a record that’s all killer/no filler, perfectly showcasing their ubiquitous double-threat of blistering guitars and lead singer Lucas Woodland’s spectacular, nakedly honest vocals.

Standout tracks: Head Prison Blues, A Crooked Melody, False Dawn, Scissors, Honey Moon, Her Wings, These New Dreams, The Angel In the Marble

3. HOZIER – Unreal Unearth

The rightly beloved Irish singer-songwriter has returned with what is arguably HIS VERY BEST record to date, a brilliant ever-shifting musical landscape incorporating subtle, spellbinding Celtic-flavoured gentleness, ear-wormy pop-accented bops and bravely inventive experimentation. The result is the year’s most effortlessly SOOTHING musical offering, which has done wonders to cheer me up every time I’ve put it on after a rough day. But I still miss “the woo” …

Standout tracks: De Selby (Parts 1 & 2), Francesca, I, Carrion (Icarian), Eat Your Young, Damage Gets Done (featuring Brandi Carlile), Who We Are, Butchered Tongue, Anything But, Abstract (Psychopomp), Unknown / Nth, First Light

2. ENTER SHIKARI – A Kiss For the Whole World

The craziest rock band to have EVER come out of St Albans continues to blow me away with their fiendishly eclectic mixture of edgy post-hardcore grit and anarchic electronic-edged musical MADNESS. This is BY FAR their most streamlined record to date (I can’t believe it’s little more than HALF AN HOUR LONG!), but in some ways also their most rewardingly EXPANSIVE, Rou Reynolds and co. once again playing in an arena of massive themes and making us think as much as they make us ROCK OUT. More of this please, lads!

Standout tracks: A Kiss For the Whole World x, (pls) Set Me On Fire, It Hurts, Dead Wood, Bloodshot, Bloodshot (Coda), Goldfish, Giant Pacific Octopus (I Don’t Know You Anymore)

1. SLEEP TOKEN – Take Me Back to Eden

It’s fascinating to think that just a year ago I’d barely even HEARD of Sleep Token, and certainly wasn’t at all FAMILIAR with anything they’d done. Then they dropped The Summoning and everything changed … less than 12 months later this is BY FAR the best record I’ve heard ALL YEAR, and as far as I’m concerned anyone who DOESN’T rate it at the very top of their own 2023 list clearly wasn’t paying attention (I’m looking as YOU, Kerrang!). The mysterious Vessel and his equally unknowable fellow collective have crafted a work of unrivalled MAJESTY here, a little over an hour of pure sonic MAGIC which constantly flips between the hardest possible progressive metal and a dizzying myriad of other genres from its attention-grabbing opening to the heart-wrenching closer. The end result is not only the best album of the year but a very strong candidate indeed for, potentially, my album of the DECADE. Worship indeed …

Standout tracks: Chokehold, The Summoning, Granite, Vore, Ascensionism, Are You Really Okay?, The Apparition, Take Me Back to Eden, Euclid

The ones that didn’t quite make the cut:

STONESIDE. – God of the Mountain (the Texan prog metalheads amaze us once again with their long-awaited debut album); PVRIS – Evergreen (multitalented musical genius Lynn Gunn delivers her most eclectic and full-on electronic alt-rock record to date); TESSERACT – War of Being (the latest offering from the endlessly inventive Milton Keynes prog metal maniacs just might be their best yet, and it’s DEFINITELY their most memorable); BABYMETAL – The Other One (quite possibly the greatest metal band to ever come out of Japan have done it again with another stone-cold banger of a record); STAIND – Confessions of the Fallen (one of the greatest secret weapons of the American post-grunge era makes their long-awaited return after a 12-year absence with one of their best albums to date)

Honourable mention:

EXPLORING BIRDSONG – Dancing In the Face of Danger

Much like with Sleep Token before them, I was genuinely ignorant of this emerging prog rock band from Liverpool up until mid-November, when Kerrang! Radio introduced me to them through their haunting cover of Deftones’ Diamond Eyes. Then I did what I always do, see what else they’ve got knocking about on YouTube, and within two videos I was LOST. Their second EP is completely fucking AMAZING, a magnificent musical adventure of pure imagination and experimental GENIUS which goes a long way to prove you don’t actually NEED guitars to rock out, lead-singer and pianist Lynsey Ward doing a genuinely beautiful job with just her keys. All five tracks are absolute FIRE, but the undeniable standouts are Bear the Weight and the killer closer, No Longer We Lie.

#2023 in music #lonely the brave #what we do to feel #holding absence #the noble art of self destruction #hozier #unreal unearth #enter shikari #a kiss for the whole world #sleep token #take me back to eden #exploring birdsong #dancing in the face of danger

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batxcastlesociety · 2 months ago

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Malice Mizer (stylized as MALICE MIZER) was a Japanese visual kei rock band active from 1992 to 2001. The band was notable for their music and their live shows, featuring lavish historical costumes and stage sets, short silent theater pieces preluding various songs.

Formed by guitarists Mana and Közi, throughout their history, the band has gone through several different lineups and three drastic image changes. Their earlier music and themes were characterized by their strong French and classical influences, later moving away from deliberate French romanticism and incorporating Gothic aspects after several difficulties befell the band.

At their peak with singer Gackt, they were considered one of "the big four of visual kei" alongside La'cryma Christi, Fanatic Crisis and Shazna.[2] Their third and most successful studio album Merveilles (1998) was included in 2021 by Kerrang! on a list of 13 essential Japanese rock and metal albums.[3] However, their success was short-lived, and in late 2001 it was announced that Malice Mizer would go on an indefinite hiatus. Mana, Közi and bassist Yu~ki have performed together several times since 2010.

1992–1994: Tetsu era

After leaving Matenrou, guitarists Mana and Közi formed Malice Mizer in August 1992 with Tetsu on vocals, Yu~ki on bass and Gaz on drums. The band's name is a coined word for "Malice and Misery", extracted from "Nothing but a being of malice and tragedy." — their reply to the question "What is a human being?"[1] From the outset, the band established their trademark "twin guitar"' sound, whereby two guitars play different melodies creating polyphony. Malice Mizer's sound during the Tetsu era was a mixture of early 1980s gothic rock, progressive rock and strong classical influences. Their first official release was the song "Speed of Desperate" on the 1993 compilation Brain Trash.[1] Before this, they had released a demo tape called "Sans Logique" (a nod to French pop singer Mylène Farmer's hit song "Sans Logique") which contained no vocals. Shortly after the release of Brain Trash, Gaz left the band to join Kneuklid Romance, while Kneuklid Romance's drummer Kami in turn joined Malice Mizer. In 1994, after a couple more demos, the band released their debut album Memoire on Mana's newly founded independent record label Midi:Nette. It was re-released at the end of the year with an additional bonus track, "Baroque", under the title Memoire DX. Only days later, singer and lyricist Tetsu left the band after his last gig on December 27, 1994. While the exact reasons are unknown, Tetsu went on to take a different direction in his work. The band's continued use of his lyrics in songs they continued to perform with later vocalists suggest an amicable split.[1]

1995–1999: Gackt era

After almost a year of inactivity, Malice Mizer recruited Gackt as their new vocalist and released the single "Uruwashiki Kamen no Shoutaijou" on December 10, 1995. It was with this single that Malice Mizer started to actively differentiate themselves from other bands; when the song was performed live, Mana and Közi put down their guitars and instead performed a dance routine.[4] With a new concept, the band's music became more art rock and synthpop, incorporating even stronger classical and electronic elements. Visually, the band abandoned their 1980s goth look for colorful historical costumes with a gothic feel.[1]

Malice Mizer released their second album, Voyage Sans Retour, in 1996,[1] and their first home video in 1997; Sans Retour Voyage "Derniere" (Encore Une Fois), a concert video recorded at Shibuya Public Hall featuring an elaborate stage and dance routines.[4] The band became increasingly popular and signed with major record label Nippon Columbia that same year,[1] where they released a number of successful singles and a short film, Bel Air (Kuuhaku no Toki no Naka de) de L'image. Their major label debut album, Merveilles, was released in 1998.[1] The band had their own radio show around this time and played a two-day live at the Nippon Budokan,[1] which involved a large building as a stage prop and elaborate theatrics; each member performing a skit with another member on their own (including [on "Le Ciel"] the aforementioned skit in which Gackt fell to the stage [to sing the song] and returned to "Heaven" by song's end). It was a massive success and was released on video as Merveilles (Shuuen to kisuu) l'espace. In July 1998, the Yokohama Arena's stage would be the last for Gackt as in January 1999, at the height of Malice Mizer's success, he would suddenly leave the band. According to his autobiography, the members' differences, the sudden income of money, and his isolation from the band led to his departure.[5] Malice Mizer left Nippon Columbia shortly after and returned to Midi:Nette (established as Midi:Nette M.†.M).

A few months after Gackt's departure, drummer Kami died of a subarachnoid hemorrhage on June 21, 1999.[6] (Rest in peace. 🕊) He left behind a handful of songs, which the band eventually released as part of the EP/video boxset Shinwa, which consists of two songs composed by him and the short track "Saikai" written by the band.[1] Kami was never officially replaced; from that point on, Malice Mizer would only use support drummers (namely ex-Aion member Shu, who is not shown in the band's later promotional material, nor credited) and Kami would be credited as "eternal blood relative" on all their future releases. Possibly due to Kami's death and other factors, the band shifted to a "darker" image and sound.

2000–2001: Klaha era

In the second half of 1999 and the beginning of 2000, Malice Mizer, still without an official vocalist, released a number of singles and began to work on a new album. Eventually, they recruited Klaha (vocalist of dark wave band Pride of Mind), officially inducted into the band as a full member in January. By then the band had abandoned the lighter pop music sound of the Gackt era for a dramatic mixture of classical music, dark wave, with slight heavy metal elements, and adopted an elaborate funerary elegant gothic look. In the summer of 2000, they released what would be their last album, Bara no Seidou. On August 31 and September 1, they gave a theatrical two-day live at the Nippon Budokan, featuring pyrotechnics, a choir of veiled nuns and a scaled-down cathedral as a stage prop. In 2001, Malice Mizer starred in a feature-length vampire movie (Bara no Konrei (Mayonaka ni Kawashita Yakusoku)), and released three more singles: "Gardenia", "Beast of Blood" and "Garnet ~Kindan no Sono e~"; "Gardenia" and "Garnet" being of a considerably lighter tone than their previous album, suggesting another new era for the band.[1] However, the band members decided to go their own separate ways in 2001, leaving messages on their official website. The split was spoken of as a "hiatus",[1] so as not to exclude the possibility of a future reformation.

Post projects

After his departure in 1994, Tetsu released one solo album, and has subsequently taken part in a series of bands such as Zigzo, Mega 8 Ball, Nil; his most recent being The JuneJulyAugust.

After his departure in early 1999, Gackt started a solo career a year later which has been enormously successful; he is one of Japan's top musicians and TV personalities.[7]

Klaha started a solo career as well in December 2002, but in the middle of 2004 it was announced that his fan club would be closing down, and after that there have been long periods of silence, only broken by rare updates on his site. In 2007 he stated on his site that he would resume musical activity that year. But this did not happen and no information has been announced since.

Yu~ki has not been active on the music scene since 2004 when he wrote the song "Memento", about Kami, for Közi's solo project. In an informal conversation with Klaha, he said he would like to return to the music scene.

Közi formed the industrial duo Eve of Destiny with Haruhiko Ash (ex:The Zolge) and also started a solo career. From 2008 to 2022, he was part of the band Dalle. Around June 2010, Közi started to perform with a band called My Horror Revue. He has also formed the band XA-VAT, who held their first performance on November 16, 2010 and released their first single on December 2.[8] In 2012, he formed the band ZIZ with the musicians who supported him with his solo career.

Mana has formed his own solo project Moi dix Mois, which has performed live concerts across Europe. In addition to the successful solo project, Mana is a designer for his fashion label Moi-même-Moitié (started in 1999), which focuses on the styles Elegant Gothic Aristocrat and Elegant Gothic Lolita. He also continues to run his indie record label Midi:Nette, and has produced for artists such as Schwarz Stein and Kanon Wakeshima.

Malice Mizer's song "Gekka no Yasōkyoku" was covered by D on the compilation Crush! -90's V-Rock Best Hit Cover Songs-, which was released on January 26, 2011 and features modern visual kei bands covering songs from bands that were important to the '90s visual kei movement.[9] Their song "Illuminati" was covered by Moran on its sequel, Crush! 2 -90's V-Rock Best Hit Cover Songs-, that was released on November 23, 2011.[10]

Original drummer Gaz died on December 22, 2017, due to illness.[11] (Rest in peace. 🕊)

Deep Sanctuary reunions

Since 2008, Mana's band Moi dix Mois has held a special event, most taking place every two years, which has had some sort of connection to Malice Mizer.[4] The first was Dis Inferno Vol.VI: Last Year Party on December 27, 2008, where Malice Mizer's "Speed of Desperate" was played in a session by Mana on drums, Közi on guitar and Mana's cousin Katsuo U.K (カツヲU.K) on vocals.[4] Közi said that this was the first time he and Mana had met since 2001.[4] In 2009, Moi dix Mois and Közi went on a short two-date tour called Deep Sanctuary, on July 17 in Osaka and the 19th in Tokyo.

A year later in July 2010, Közi once again went on a tour with Moi dix Mois, titled Deep Sanctuary II. This tour had six shows, but the gig at Akasaka Blitz on the 17th was special, as Yu~ki was a special guest.[4][12] was the first time in 9 years that the three original members of Malice Mizer played together, and they were supported by Hayato (Moi dix Mois) on drums. They played "Saikai no Chi to Bara" and "Beast of Blood", as well as a cover of Rob Zombie's "What Lurks on Channel X?". In 2012, the three played together twice more for Deep Sanctuary III;[13] once on September 12 at Akasaka Blitz and again on November 14, 2012 at Osaka Muse Hall.

In 2014, another reunion of the three original members happened for Deep Sanctuary IV at Akasaka Blitz on October 11. This marked the first time they performed under the Malice Mizer name since 2001. It was followed by Deep Sanctuary V at Akasaka Blitz on August 7, 2016. On September 8 and 9, 2018, Mana, Közi, and Yu~ki reunited as Malice Mizer to perform two shows for the band's 25th anniversary special at Tokyo Toyosu Pit.[4] Titled Deep Sanctuary VI, Moi dix Mois and ZIZ also performed. They were supported on drums by Sakura, who was Kami's drum mentor, and who used Kami's original drum kit for the show.[4] Mana tried reaching out to Tetsu, Gackt and Klaha regarding their participation, but the first two declined and he was unable to reach the third.[4] Instead, the band's former roadies Shuji (Cali Gari), Kamijo, and Hitomi filled in as guest vocalists.[4][14] A Blu-ray of the concert was released on June 21, 2019.

Deep Sanctuary VII was scheduled to take place at Mynavi Blitz Akasaka on June 7, 2020, but was cancelled due to the COVID-19 pandemic in Japan.

( i would have put the other, final citations and links in but tumblr said no. (´༎ຶ ۝ ༎ຶ) )

To test tumblr’s reading comprehension…

you can do ANYTHING to this post, reblog, add polls, start a fuckin roleplay in the notes, like it, I don’t give a shit.

BUT

you can’t add tags

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chorusfm · 8 months ago

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The Dangerous Summer Announce New Album

The Dangerous Summer will release Gravity on June 21st. Today they’ve shared the title track. Today, The Dangerous Summer are thrilled to announce their forthcoming record, Gravity, out June 21st via Rude Records. Pre-save Gravity on streaming services HERE. For vinyl, merch and custom item pre-orders visit HERE. To celebrate, the band have also shared their brand new single, “Gravity,” out now. A perfect way to begin a new era of The Dangerous Summer, “Gravity” is a powerful anthem about overcoming personal darkness and navigating the mysteries of the unknown. The tracks' mystical instrumentals alongside Perdomo’s dreamlike vocals offers listeners a provoking glimpse into the band's soul-searching journey through space to find their unique sound. Speaking on the track, lead singer, AJ Perdomo shares, “‘Gravity’ almost never happened. It had an old name - ‘The Walls Outside,’ with completely different lyrics. A week before the end of the record, I locked myself in my room for 2 and a half days. It was kind of a breaking point in the record, but it turned out to be filled with so much heart, that it ended up as the first single. It really encapsulates the album. The lonely journey we spent out in space finding our sound. There were times where I thought that we would never make it back.” Listen to “Gravity” HERE. The band have also shared the official music video for the track today. Created by AJ Perdomo, Josh Withenshaw, and Christian Zawacki, with additional shooting by Ethan Luck, Danny Zawacki and various artists, the clip follows a group of astronauts on a mission, sharing a touching story of resilience and hope. Watch it now HERE. The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe. The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky. Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushered in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future. The Dangerous Summer is: AJ Perdomo | Vocals/Bass Josh Withenshaw | Guitar Christian Zawacki | Drums Track Listing * I Feel More Like Myself When I'm Losing It * Pacific Ocean * Gravity * You'll See It All Coming * What's An Hour Really Worth * Turning Love Into War * Where Did All The Time Go? * With My Pen * Wild One * Clouds In My Eyes * Dream * Into The Stratosphere --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/the-dangerous-summer-announce-new-album-2/

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metalshockfinland · 1 year ago

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EVILE Announce New Album + Reveal Music Video for Title Track 'The Unknown'

[photo by Steve Dutton] Since their formation in 2002, British thrash masters EVILE have been turning heads and taking names, delivering pure thrash offerings blended with an uncompromising metal assault. Not only have the band played a notable role as the thrash metal resurgence movement of the mid-to-late 2000s, but as Kerrang! praised, they have “carried the genre’s whole ‘revival’ on their…

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#Evile

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existentialmagazine · 2 years ago

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Review: Dead Reynolds new thundering alternative-rock single ‘Wake Up’ tackles the struggles of addiction in its personal lyricism

Five-piece Dead Reynolds hail from East Anglia, bearing a mix of alt rock, indie rock and pop punk perfect for fans of Foo Fighters, Don Broco, Mallory Knox or Nothing but Thieves but still strikingly their own. Since forming in 2018, they’ve picked up long-standing support from Kerrang! Radio, RockSound, Powerplay Magazine, and critical acclaim from Louder/ Classic Rock, plus Amazing Radio and BBC Introducing that has only pushed them further to succeed. Now bearing their newest single ‘Wake Up’, Dead Reynolds are making it clear they’re a band with a lot to give and this new track will only solidify the places they’re heading.

Storming into the three and a half minute experience of ‘Wake Up’ with clashing drums, emphatic electric guitar and an overall identity that’s big and bold, Dead Reynolds don’t limit themselves to anything other than greatness. The verse sees vigorous beats settle down to a steady lull, with rich electric guitar and deep bass all together building a sonic base bridging between alt rock, indie rock and softening into brilliant pop melodies. As the chorus instead of bursting into an explosion levels out into more of an atmospheric moment of vastness, ‘Wake Up’ manages to balance brewing energy with a diffusion you can’t help but chant along to, with aggressive drums falling into a backing whilst soaring electric guitar riffs find their own place. With their new vocalist Rossco bringing a new direction to the band’s sound, ‘Wake Up’ shows off the edging of both rock-y grit and charismatic flair that he weaves between, erring the edge of a clean pop delivery and the more rich tones of hoarseness and bundled emotion. A bridge that fades out into a moment of sincerity and stripped-back beats leaves a moment to ponder before building drum beats climb towards a high the song feels it’s been awaiting since pressing play, taking vocals that interact with one another to truly ramp up the rising adrenaline. It’s clear that in terms of sound, ‘Wake Up’ is a song that wields a war behind its ebbing and flowing of velocity, serving both an anthem to be played loud and a message to be heard.

With a heartbreaking story to tell that covers darker lyrical themes, Dead Reynolds don’t shy away from touching upon the harshness of reality inside of ‘Wake Up’, expressing a narrative rooted in the struggles of an addict. Close from the heart and relating to experiences of members of the band, ‘Wake Up’ is a hauntingly penned journey of love and loss, watching someone you care for detach from the person they once were and being unable to intervene. A fear of their loved one’s demise is engrained within every day, rooted in the choruses’ repetition to emphasise the recurring thought that just won’t stop coming back even in lighter moments: ‘I wonder if we’ll see tomorrow.’ Rhetorical questions seek to find answers that will only continue to be left unspoken and un-responded to, weighing heavy as they watch someone they care for throw everything away and slowly realise they cannot pull them out unless they truly wish for it: ‘was it everything you wanted?’ Left feeling out of their depth, lines like ‘only you can break these chains’ plead for change while they are only able to witness from a distance as their loved one continues to downwards spiral. Every moment and personally pained line of ‘Wake Up’ captures the reality of addiction, as well as the burden it places upon those around them, preaching a message of solidarity with those watching a loved one lose themselves and hoping to reach out to those who need the encouragement to turn things around.

Check out ‘Wake up’ for yourself here to enjoy Dead Reynolds’ thundering alternative-rock sound that’s dedicated to sharing an important message sure to resonate with many.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was created via Musosoup, #SustainableCurator

#music #singlereview #deadreynolds

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callmeblake · 2 months ago

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2013 Kerrang (X)

#frank iero #I still don't know what kerrang this is #possibly near the end of the year #do you?#jean jacket frank: death spells pins #unknown kerrang #2013 #hand on chin

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ritchieblackless · 3 years ago

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My Cozy Powell Collection

I know that nobody cares but yesterday MY Cozy Powell patch came and it's LOVELY and I wanted to show you

Two Cozy Powell T-shirt. The Bedlam one is hand made. The other one is vintage I think... I got it very cheap... Very very cheap, talking about £6 pounds.

I don't know if this is worth to be in my collection but since is a Cozy Powell item I will let it pass. P.S: I am preparing a post explaining why this book is awful.

THE PATCH. Since is vintage is not for the iron so I will have to glue it or, worst case scenario, sew it. I found it lovely because most of the patches that have a person on it are creepy but this is sooo perfect. (WELL it is still creepy but it look fine)

The dad version of the patch. Cozy Powell poster featured on a unknown magazine (because I bought it as a clip) saying thanks to the people that voted him as the #1 drummer for the 5th time (not in a row though)

My Cozy Powell vinyls. I didn't take a picture of the Rainbow ones because you already know that Cozy was in Rainbow 5 years and he is in the most memorable albums.

We have Octopuss his 3rd album. ELPowell (which funnily enough, that was the first Cozy Powell album that I bought without knowing anything about him but just his name. So I have an a affectionate relationship with it). There is Tilt, his 2nd album and one of my favs. Also there is Night Games which is an amazing album, so poppy but good. The mythic Bedlam self-titled, good good album, is on YouTube and is highly recommend if you like pure 70s rock. Bedlam "Demos and Anthology" this album is lovely and there is a rough demo of his iconic 1812 Overture Drum Solo. The one and only Over The Top. I have nothing to say about this album, is just so perfect. And last but not least, Rough and Ready, Jeff Beck Group. WHAT AN ALBUM ok

Don't believe I am rich. I just had luck on finding these on Ebay and record shop at £6 pounds or even less.

More clippings. This is an interview.

On the right there is a Kerrang magazine of August 1981. On the left, is a Cozy Powell poster that came with the magazine and also there is a Rainbow family tree explaining all the members.

On the left we have a Japanese edition that I found ON A CHARITY SHOP of The Drums Are Back, Cozy's solo album of the 90s. The normal The Drums Are Back the cover is an illustration. On the right is The Very Best of Cozy. Bedlam live in Birmingham and Big Bertha live in Germany 1970 (Cozy and Ball brothers's band before Bedlam)

More clippings. Two newspaper promotion cuts of Cozy's albums.

My Cozy Powell bracelets and ome Japanese pin badge that I found on Ebay for £2 pounds. I am telling you, I am just lucky. Not rich or spoiled, just lucky to find these things.

I hope none of you hate me for doing this, I am not trying to brag about the stuff or something.

#cozy powell #my collection #i love cozy you guys #and his merch is the trickiest to find #that's why I like it #is like s challenge #blue tales

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