Cozy Powell / The Drums Are Back Rough Mix / 1CD

Cozy Powell / The Drums Are Back Rough Mix / 1CD /Non Label

Translated Text:

Recorded At Monday Valley & Fleece Studios In The U.K. 1991, Taken From The Original DAT Master Tapes Belonged To Cozy Powell.

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For all Hard Rock heavy metal fan, is shocking sound source can not be overlooked again was unearthed! Cozy Powell has recorded the production process and unpublished take of the 4th solo album was released in 1992, “THE DRUMS ARE BACK”, is the latest sound source is imposing the release of “Cozy Tapes”.
About Cozy solo projects and session activities were carried out in 1992 of the BLACK SABBATH after the withdrawal, called the great response from the moment the release announcement was made at the end of last year – in the “BACK TO WIN TOUR REHEARSALS 1992”, of the secret one end has been revealed. In this newly excavated Cozy ownership of DAT master, it rough mix of prior to this rehearsal “THE DRUMS ARE BACK” has been included! This work which was turned into CD directly from these three types of master tapes, we met with all 20 tracks on a volume of about 74 minutes.

This “THE DRUMS ARE BACK” is a piece that is particularly re-evaluation even during the Cozy solo album of that 5 installment has been required, since WHITESNAKE, Emerson, Lake & Powell and FORCEFIELD, further and BLACK SABBATH, walked the Cozy it was and to condense the essence of the unit, than the solo album of the ’80s was a fusion manner, had launched a friendly orientation but rather the hard rock heavy metal fan.
Any content of these tapes that contains the manner in which the album is shaped is also worthy to startle, all the fans I heard is, “Do really was a so amazing album!”, By the thought that scales fall from the eyes Sho! Of course sound quality even in the most official comparable stereo sound board recording, when hear the take of this work continued on the official album “THE DRUMS ARE BACK”, such as “now is a” Deluxe Edition “of the spear” word if Warere, I seem to get is involuntarily convinced!
As the finest materials this work is to give a clue of further clarification in 1992 of unknown part there were many Cozy, also as a preeminent entertainment captured by the appearance choice but known the thrilling performance, the sensational topic to fan There is no difference to provide! Let’s pick up one by one the songs from the following.

1. The Anthem (Battle Hymn) # 1
Is a backing track that seems to have become the foundation of the final version. Although is almost completed, a small 2-minute stand of the guitar solo, not seen is superimposed guitar even break of the place. This take of the features are noticeable in the drum anyway loud, the second half of the guitar solo, even with the unreleased, have almost become one stage of Cozy.

2. Nothin ‘But Blue (Somewhere In Time)
To “Ride To Win” has become “Ressurection”, but “THE DRUMS ARE BACK” several songs from was provided to the “BACK TO THE LIGHT” Brian May, at the Cozy album ” Somewhere in Time, “was that this song is, that there was as this take of the song containing the Cozy tape is worth noting. Not takes effect in the whole, in the initial version that does not chorus is applied also to the vocal, I feel the raw whiff of, such as the studio live.

3. Return Of The 7 # 1
Above-mentioned “BACK TO WIN” The song that had been rehearsed, even, a plurality of mix-take differences exist even here, let suggesting that Cozy had felt the love. This take is a basic track, not yet been mixed main guitar at this stage, we hear a song deployment of keyboard center.

4. Unchain My Heart
The sound source first climax would be here definitely. Production, such as vocal mix is ​​the unpublished song was almost completed. This song is that of a solo guitarist that has been cooperating with the Cozy in “THE DRUMS ARE BACK”, Jamie Paige wrote in around ’87. Book or take is a thing of ’87, or it is unknown new or those recorded during the album production, that drum is the play of the Cozy is clear to listen to one. Catchy melody tinged with sorrow moderately is an excellent, this is the take that is missed because unpublished.

5. The Rocket # 1
Songs that graced the last in the album. Clearly different feel of the mix that is independent of the album, the whole, it is simple impression. Guitar or keyboard, which colored the song thrilling also, seems to be the stage to superimpose the future.

6. Return Of The 7 # 2
It is faint, but this takes the count listen in intro, bass such as Cozy of the drum is hammered out in fat, such as have been applied to the echo also strengthened, the image will vary greatly with the first take both the finished version. Also 2-minute stand of drum approach is completely different, you can see that Cozy had tried a variety of patterns.

7. Burning Star
Basically rhythm and keyboard, and it is backing take of only chorus, this song might be a maximum of listening stations for the BLACK SABBATH fan! Voice heard in this take the middle of the chorus is what if even thinking of Tony Martin, you can take listening firmly relaxed song unthinkable to him other than.
And out of the “BACK WHERE I BELONG” it is also the same record company as “THE DRUMS ARE BACK” Martin announced in the same year if you, perhaps to maybe “THE DRUMS ARE BACK” was scheduled to participate in Martin not. The take from the previous tour as a COZY POWELL’S HAMMER of 1992, Cozy and Martin is to imagine that there is a possibility to work in solo album, it is a valuable and significant discovery!

8. I Wanna Hear Your Shout
Whether there was trouble when you dub a tape, this take intro is somewhat lost, has a shorter overall in about 20 seconds. In the final version has been more claims in this case is a guitar that has been devoted to the rhythm, in addition to the second half of the guitar solo, in the finished version in the whole volume has been dubbed guitar that did not listen to.

9. Classcal Gas Intro. # 1
10. Classcal Gas # 1
In dramatic to simple overlapping of the guitar is not all that has been heaped a song structure in the finished version, Cozy of the drum will feel more pronounced. While listening to the people this take the guitar play, in the mood of Ray Fenwick, which put the solo in the finished version, why not try to put the play on your own?

11. Legend Of The Glass Mountain # 1
The song is not just not base also put guitar, is the play of the only keyboard and drum. Because basically, such only skeleton, but there might be the odd impression and listen as the songs, because the thick also the entire sound bass is a rich, reminiscent of the listening response is the very best (hey Emerson, Lake & Powell take in you have any). In the finished version at around 2:20 seconds Steven Lukather had put a guitar solo, you hear also no tempo change in the official.

12. The Anthem (Battle Hymn) # 2
The first track of the strong overall sound pressure than take, even Cozy of the drum has been mixed to loud. Looming in also realistic outline each part, also hear vividly in the second half of a 2-minute stand base.

13. Legend Of The Glass Mountain # 2
But is the same take on the skeleton and the same song “# 1”, here are mixed hardware, such as cymbals and hi-hat is on a sound, impression of the total is more metallic. 3 take some this song is almost none is Duration same, but the mix itself is as much trial and error.

14. Light In The Sky
This song the keyboard is reminiscent of the grand universe, had housed almost official similar content. Don Airey will find that had finished the song at an early stage. In the final version has been insert the “Return Of The 7” in the song late, but here you can enjoy the long about 10 seconds as a stand-alone keyboard instrument “full-length version”.

15. Return Of The 7 # 3
This is also whether there was a dubbing of trouble, was missing the intro at the stage of the master. Somewhat it was a flashy “# 1” and, when the sound Compared with the “# 2” was a heavy, just a little restrained downside mix intermediate such as the impression of both, while Cozy is listening to each take a “Sajikagen” state that has measured is transmitted.

16. The Rocket # 2
Dosudosu sounds heavy intro impressive take. 1 minute table piled a 2-minute stand of guitar can not be seen from the last, Cozy of the snare that was standing out in front we have extended tension. In the final version had been shifted to the guitar solo, from the 2-minute stand late 3-minute stand the first half of the keyboard solo is longer. Touch should also referred to as “craftsmanship” to listen here is definitely “Maestro” Jon Lord of play!

17. Legend Of The Glass Mountain # 3
Although the guitar was not dubbed in the same song until now, here it is dubbing guitar Lukather to listen even official is. Fresh mix in bare of this take, I feel a kind of flesh-and-blood body temperature to more complete version. But whether from that guitar take that has been recorded is that they’ve distorted official Similarly, the take that was sent to the Cozy of the original is only this was not? Both to imagine. Cozy even while listening to this distorted guitar take, hell how to cook, I think we were thinking a lot. It’d like to appear in the difference of the total of four take to listen at the official and the sound source.

18. Classical Gas Intro. # 2
19. Classical Gas # 2
Or sound to more complete version is not good? Even to think, is the overwhelming take! Guitar mix of “Classical Gas # 2” in from 1 minute stand middle through around two minutes, but have been piled in like a stereo to the left and right channels, such as twin lead, I have is why the official no longer listen to this mix you. Although fade processing of the last a little rough, I think it is this mix is ​​not than was true of the figure? While a different form and shape the official, itself responding to hear is the real thrill of take … That’s rough mix unique with no way inferior charm!

20. The Drums Are Back
Maximum of listening stations is this this work the last to take! Any barrage of trouble to follow up on compelling from the intro of cowbell super is housed in Tsukudo powerful, is the mass of the whole volume this Cozy likeness. Opening intro that hear the official does not have, let alone, also guitar, which has been dubbed, but the loud sound pressure that shakes the air, sharp metal sense of well-honed in Kakkoyo of the questions asked, you do not have time to feel such as shortages and discontent. Finally I asked once, that the official of the same song is unsatisfactory is inevitable!

Although it appeared already the structure and outline of the music that you listen in the official work, from the take of difference Arrange mix, until the unpublished material, such as I did not even know avid enthusiasts, this 74 minutes has been compactly milling around! Know seems do not know the song of the real face, here, such as the first time see the light of day music, which is also continuous outstanding experience area to listen because it is rough mix. Comparison of the “BACK TO THE LIGHT” “album twins” and it can be said of Brian May, such as cooperation with the might got there Tony Martin “BACK WHERE I BELONG”, also to stir up a variety of associative ,’s the terrible be an attractive of Cozy tape is (also of containing the same word “BACK” to each of the titles that came out around the same time, is a deep sense considering the above reasons!).
Surely Cozy is to be of the “THE DRUMS ARE BACK”, Will felt a strong attachment and response. Eggplant this work and the previous sequel – the mystery of solo rehearsal in the “BACK TO WIN TOUR REHEARSALS 1992” is also “still Cozy might was thinking a single live” in it to listen in conjunction with the present sound source and , it will be allowed to again convince. That’s why do the offer music from the same work to Brian May, also form as Chigae etc. “COZY POWELL’S HAMMER”, crossing to Tony Martin, et al. And the short period of time while the tour, I think we went the promotion of the album?

Some people compared to the solo album of the ’80s “THE DRUMS ARE BACK” is not trivial things, absolutely you should turn impression of the album is to plus if you listen to this. People that still it is not listening to “THE DRUMS ARE BACK” (or did not know this album) is also, this work will be a once-in-a-lifetime priming to the official work. Knowledge and strength at the time of impression of work, when you have such a historical source before, I do not just a trivial matter!
Heavy history of the door that had been sealed over in about 20 years, will be held now also one! Of approximately Cozy, yea if Hard Rock heavy metal fan, it is not allowed in the absolute that miss this decisive moment! All of the hard rock fan must-have must listen without complaint, is super title of ultra-first class in content and dignity both, is a fully-qualified stock from overseas in the press CD!

全てのハードロック・ヘヴィメタルファンにとって、またもや見逃せない衝撃的な音源が発掘されました! コージー・パウエルが1992年にリリースした4thソロアルバム「THE DRUMS ARE BACK」の製作過程および未発表テイクを収録した、”Cozy Tapes”の最新音源が堂々のリリースです。
’92年のBLACK SABBATH脱退後にコージーが行ったソロ・プロジェクトおよびセッション活動については、昨年末にリリース告知がなされた瞬間から大反響を呼んだ「BACK TO WIN – TOUR REHEARSALS 1992」において、その秘密の一端が明かされています。今回新たに発掘されたコージー所有のDATマスターには、このリハーサルに先立つ「THE DRUMS ARE BACK」のラフミックスが収録されていたのです!本作はこれら3種類のマスターテープよりダイレクトにCD化したもので、全20トラックを約74分間のボリュームで収めています。

この「THE DRUMS ARE BACK」は5作あるコージーのソロアルバム中でも特に再評価が求められている一枚ですが、WHITESNAKE以降、Emerson, Lake & PowellやFORCEFIELD、さらにはBLACK SABBATHと、コージーが歩んできたユニットのエッセンスを凝縮しており、フュージョン的だった’80年代のソロアルバムよりも、ハードロック・ヘヴィメタルファンにはむしろ親しみやすい方向性を打ち出していました。
そのアルバムが形作られる様子を収めたこれらテープの内容はどれも驚愕に値するもので、聴いた全てのファンが「本当はこんなに凄いアルバムだったのか!」と、目からウロコが落ちる思いをする事でしょう!当然ながら音質もほとんどオフィシャルなみのステレオ・サウンドボード収録で、公式盤「THE DRUMS ARE BACK」に続けて本作のテイクを聴かされた時、「今はやりの”デラックス・エディション”だ」などと言われれば、思わず信じ込んでしまいそうです!
本作は不明な部分が多かったコージーの’92年にさらなる解明の糸口を与える最上級の資料として、またスリリングな演奏を知られざる姿で捉えた抜群のエンターテイメントとして、ファンにセンセーショナルな話題を提供するに違いありません! 以下より曲を一つずつ取り上げていきましょう。

1. The Anthem (Battle Hymn) #1

2. Nothin’ But Blue (Somewhere In Time)
「Ride To Win」が「Ressurection」になったように、「THE DRUMS ARE BACK」からは何曲かがブライアン・メイの「BACK TO THE LIGHT」に提供されていましたが、コージーのアルバムでは「Somewhere In Time」だったこの曲が、歌入りの本テイクとしてコージー・テープにあったことは注目に値します。全体にエフェクトがかかっておらず、ボーカルにもコーラスがかけられていない初期バージョンで、スタジオライヴのような生っぽさを感じます。

3. Return Of The 7 #1
前述「BACK TO WIN」でもリハーサルされていた同曲は、ここでも複数のミックス・テイク違いが存在し、コージーが愛着を感じていた事をうかがわせます。本テイクはベーシックトラックで、この段階ではまだメインのギターがミックスされておらず、キーボード中心の曲展開を聴けます。

4. Unchain My Heart
本音源最初のヤマ場は間違いなくここでしょう。ヴォーカル・ミックスなどプロダクションがほぼ完成した未発表曲です。本曲は「THE DRUMS ARE BACK」でコージーに協力していたギタリスト、ジェイミー・ペイジが’87年ごろに書いたソロ曲との事です。本テイクが’87年のものなのか、それともアルバム製作に際して新たにレコーディングしたものかは不明ですが、ドラムがコージーのプレイである事は一聴して明らかです。ほどよく憂いを帯びたキャッチーなメロディが秀逸で、これが未発表というのが惜しまれるテイクです。

5. The Rocket #1

6. Return Of The 7 #2

7. Burning Star
基本的にリズムとキーボード、そしてコーラスのみのバッキングテイクですが、本曲はBLACK SABBATHファンにとっては最大の聴き所かもしれません! 本テイク中盤のコーラスで聴こえる声はどう考えてもトニー・マーティンのもので、彼以外には考えられない伸びやかな歌をしっかりと聴き取る事ができます。
思えば同年にマーティンが発表した「BACK WHERE I BELONG」も「THE DRUMS ARE BACK」と同じレコード会社から出ており、もしかしたら「THE DRUMS ARE BACK」にはマーティンも参加する予定だったのかも知れません。このテイクは’92年のCOZY POWELL’S HAMMERとしてのツアー以前から、コージーとマーティンがソロアルバムでも連携する可能性があった事を想像させる、貴重かつ重大な発見です!

8. I Wanna Hear Your Shout

9. Classcal Gas Intro. #1
10. Classcal Gas #1

11. Legend Of The Glass Mountain #1
この曲はギターだけでなくベースも入れられておらず、キーボードとドラムのみのプレイです。基本的には骨格のみなので、曲として聴くと妙な印象はあるかも知れませんが、低音が豊かで全体の音も太いので、聴き応えは上々です(ちょっとEmerson, Lake & Powellを思わせるテイクではあります)。完成版ではスティーヴン・ルカサーがギターソロを乗せていた2:20秒付近では、公式には無いテンポチェンジも聴けます。

12. The Anthem (Battle Hymn) #2

13. Legend Of The Glass Mountain #2

14. Light In The Sky
キーボードが壮大な宇宙を思わせるこの曲は、ほぼ公式同様の内容が収められていました。ドン・エイリーは早い段階でこの曲を仕上げていた事が判ります。完成版では曲終盤で「Return Of The 7」がインサートされましたが、ここでは単体のキーボードインストとして10秒ほど長い「全長版」を楽しめます。

15. Return Of The 7 #3

16. The Rocket #2

17. Legend Of The Glass Mountain #3

18. Classical Gas Intro. #2
19. Classical Gas #2
完成版以上に音が良いのではないか?とすら思わせる、圧倒的なテイクです!「Classical Gas #2」では1分台中盤から2分頃にかけてのギターのミックスが、まるでツインリードのように左右のチャンネルへステレオで重ねられていますが、なぜか公式ではこのミックスを聴けなくなっています。ラストのフェイド処理がやや粗いものの、このミックスこそが本当の姿だったのではないでしょうか? 公式とは違う姿や形でありながら、聴き応えそのものは勝るとも劣らない魅力を持つテイク・・・これこそラフ・ミックスならではの醍醐味です!

20. The Drums Are Back

公式作品で聴けた楽曲の構造や大枠はすでに現われているものの、アレンジ・ミックス違いのテイクから、熱心なマニアも知らなかったような未発表マテリアルまで、この74分間にはぎっしりとひしめき合っています! 知っているようで知らない曲の素顔、ここで初めて日の目を見る楽曲など、どれもがラフ・ミックスだから聴ける未体験領域の連続です。”双子のアルバム”と言えるブライアン・メイの「BACK TO THE LIGHT」との比較や、あり得たかも知れないトニー・マーティンの「BACK WHERE I BELONG」との連携など、様々な連想をかき立てるのも、コージー・テープの魅力であり凄さなのです(ほぼ同時期に出たそれぞれのタイトルに”BACK”という同じ語が入っているのも、上記の理由で考えれば意味深です!)。
きっとコージーはこの「THE DRUMS ARE BACK」の出来に、強い愛着や手応えを感じていたのでしょう。本作と前後編をなす「BACK TO WIN – TOUR REHEARSALS 1992」でのソロ・リハーサルの謎も、本音源と合わせて聴く事で「やはりコージーは単独のライヴを考えていたのかも知れない」と、改めて納得させられます。だからこそブライアン・メイにも同作から楽曲提供を行い、また形は違えど”COZY POWELL’S HAMMER”として、トニー・マーティンらと短期間ながらツアーに踏み切り、アルバムのプロモーションを行ったのではないでしょうか?

’80年代のソロアルバムと較べて「THE DRUMS ARE BACK」が物足らなかったという人も、これを聴けば絶対にアルバムの印象がプラスへと転じるはずです。まだ「THE DRUMS ARE BACK」を聴いた事が無い(またはこのアルバムを知らなかった)という人も、本作は公式作品へのまたとない呼び水になるでしょう。作品についての知識や当時の印象の強弱などは、このような歴史的音源を前にした時、些細な問題に過ぎないのです!

“Updates + Ruff Mixes Dec 91” written on the index of the tape.

1. The Anthem (Battle Hymn) #1 2. Nothin’ But Blue (Somewhere In Time) 3. Return Of The 7 #1
4. Unchain My Heart 5. The Rocket #1

“Monnow + Witney” “Weeks 2+3” and “Solo LP Dec 91” written on the index of the tape.

6. Return Of The 7 #2 7. Burning Star 8. I Wanna Hear Your Shout 9. Classcal Gas Intro. #1
10. Classcal Gas #1 11. Legend Of The Glass Mountain #1 12. The Anthem (Battle Hymn) #2
13. Legend Of The Glass Mountain #2 14. Light In The Sky 15. Return Of The 7 #3

5 Tracks Rough Mix. Track titles are written on the index sheet of the tape.

16. The Rocket #2 17. Legend Of The Glass Mountain #3 18. Classical Gas Intro. #2
19. Classical Gas #2 20. The Drums Are Back


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