The Zombies
Band members Related acts
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line-up 1 (1963-64) - Rod Argent --
vocals, keyboards, violin
line-up 2 (1964-68) - Rod Argent --
vocals, keyboards, violin
line-up 3 (1990) - Colin Blunstone -- vocals - Hugh Grundy -- drums, percussion NEW - Sebastián Santa María (RIP 1996) -- keyboards, guitar, vocals - Chris White -- bass, vocals)
supporting musicians: (1990) - Paul Atkinson (RIP 2004) -- guitar - Duncan Browne -- vocals, guitar - Tim Renwick -- guitar - Laurie Wisefield -- guitar - John Wolloff -- guitar
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- The Accent (Rick Birkett) - Rod Argent (solo efforts) - Mike Batt and
Friends (Colin Blunstone) - The Bolland Project (Colin Blunstone) - The Mike Cotton Sound - The Crowd (Colin Blunstone) - The Geckos (Hugh Grundy) - Jellybread (Rick
Birkett) - The Kinks (Jim Rodford) - Krew (Keith Airey) - Lucas and the
Mike Cotton Sound (Jim Rodford) - Phoenix (Jim Rodford) - Piano Seven (Sebastián Santa María) - Shadowshow (Rod Argent) - The Jericho (Keith Airey) - Chris White (solo efforts) - The Chris White Experience - Wild Connections (Rod Argent) - The Wilsations (Keith Airey)
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Genre: psych Rating: **** (4 stars) Title: Odessey & Oracle Company: Date Catalog: TES 4013 Year: 1967 Country/State: UK Grade (cover/record): VG / VG+ Comments: minor edge and corner wear; initials on back cover Available: 1 GEMM catalog ID: 5284 Price: $60.00
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Increasingly frustrated with Decca's lack of support and unwillingness to finance a second album, in late 1967 the group switched to Columbia's recently formed Date subsidiary. The self-produced (and partially self-financed), "Odessey and Oracle" (their spelling, not mine), was a clear effort to shed their 'pop' reputation in order to gain respect as 'serious' musicians. Given extensive creative freedom, working separately Argent and White were again responsible for all of the material and while tracks such as 'Butcher's Tale: (Western Front 1914)' and 'Brief Candles' occasionally bordered on the pretentious (can't think of a lot of bands writing about World War 1 atrocities), thankfully the group's trademarked ethereal melodies and restrained, keyboard dominated sound remained intact. An overlooked era classic, the entire set was worth hearing; to my ears highlights included the weird 'Care of Cell 44' (girlfriend about to be released from jail), the pseudo-psychedelic 'Beechwood Park', 'Changes' and the delicious pop-oriented 'I Want Her She Wants Me'. Considering the album too uncommercial for American audiences Date initially decided not to release the album in the States. Date's decision saw the frustrated group elect to call it quits. Ironically, after constant prodding from fan Al Kooper, Date relented, releasing the set in the States posthumously. Unexpectedly the album's first single 'Time of the Season' b/w 'I'll Call You Mine' (Date catalog number 2-1628) went top-5. Propelled by the single, the parent album hit # 95.
Date executives hastily offered the band a large cash bonus to reform and tour in support of the album. Already involved in a new
project Argent refused the offer, but did agree to complete several previously written and partially recorded Zombie tracks. Working with guitarist Rick
Birkett, drummer Grundy and bassist Jim Rodford the quartet returned to the studio recording several previously written, but unrecorded numbers. Unfortunately, after
'Imagine the Swan' b/w 'Conversation on Floral Street' (Date catalog number 2-1644) was released as an unsuccessful single (it peaked at
# 109), enthusiasm within the band and within Date faded and the follow-up
album project was shelved.
1.) Care of Cell 44 (Rod Argent) - 3:54 (side 2) 1.) Changes
(Rod Argent) - 3:15
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Genre: psych Rating: *** (3 stars) Title: Time of the Zombies Company: Epic Catalog: KEG-23861 Year: 1973 Country/State: UK Grade (cover/record): VG+ / VG+ Comments: double album set; gatefold sleeve Available: 1 GEMM catalog ID: 5286 Price: $20.00
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Released by Epic, 1973's "Time of the
Zombies" was a comprehensive two album, 28 track retrospective. In addition to their American hits, the set included all 14 "Odessey and Oracle" tracks. Up until the release of the boxed set, it stood as the most comprehensive retrospective (it remains the most affordable compilation for the curious and casual fans.) Sporting one of the year's uglier covers, the set manage to squeak to
# 204. (The album was originally released with a gatefold sleeve.)
1.) She's Not There (Rod Argent) - 2:23 (side 2)
1.) She's Coming Home (Rod Argent) - 2:38 (side 3)
1.) Walking In the Sun (Rod Argent) - 2:38 (side 4)
1.) Hung Up On a Dream (Chris White) - 3:01
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Genre: psych Rating: *** (3 stars) Title: The Zombies Live On the BBC 1965-67 Company: Rhino Catalog: RNLP-120 Year: 1985 Country/State: UK Grade (cover/record): VG+ / VG+ Comments: -- Available: 1 GEMM catalog ID: 5287 Price: $15.00
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Having acquired rights to the band's catalog, in 1985 Rhino Records released
"The Zombies Live On the BBC 1965-67." As reflected by the title, recorded across a two year period, the retrospective pulled together 14 tracks drawn from six
appearances on BBC programs including "Tops of the Pops," "Saturday Club" and "The David Symonds Show." Musically the collection offered up a mixture of the band's hits and lesser known covers - many such as Curtis Mayfield's
'It's Alright' and Isley Brothers' 'This Old Heart Of Mine' well known soul chestnuts. While considerably rawer than the studio versions, the differences weren't without their appeal. On material such as
'Tell Her No', 'Just Out Of Reach' (drawn from their soundtrack "Bunny Lake Is Missing") and
'Whenever You're Ready?' the group showed themselves to be a tight rock outfit. Very impressive ...
1.) Tell Her No (live) (Rod Argent) - 2:03 (side 2) 1.) It's Alright
(Curtis Mayfield) (live) - 2:40
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Genre: pop Rating: ** (2 stars) Title: The Return of the Zombie Company: RCA Catalog: PL 74505 Year: 1990 Country/State: UK Grade (cover/record): VG+/VG+ Comments: German pressing Available: 1 Catalog ID: -- Price: $40.00
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So The Zombies last studio album was 1968's
classic "Odessey and Oracle." Forward
twenty-two years and singer Colin Blunstone, drummer Hugh Grundy and bassist
Chris White reunited with Chilean keyboardist Sebastián Santa María
replacing an AWOL Rod Argent. Co-produced by the band and Dave
Richards, the result was 1990's less-than-classic "Return of the
Zombies." A quick scan of the liner notes was enough to
cause concerns. The album included a remake of The Zombies' 'Time of
the Season.' The irony of that selection was Rod Argent penned the
tune. Another concern; newcomer Sebastián Santa
María picked up a lot of the creative slack, getting credits on four of the
ten performances. Finally, between his work for the likes of Bowie,
Francis Hardy and Queen, you wondered how an in-demand producer like Dave
Richards found the time to support a "comeback" project like The
Zombies? Yeah, there was a lot that could wrong here.
The
band's label RCA apparently had some concerns as well, releasing the
album throughout the world, with the exception of the US.
Unfortunately those concerns were well placed. Mind you, I'm a big
Zombies fan and a wonderful "comeback" would have thrilled
me. This wasn't that product. Blunstone was clearly the focus of
attention and the good news was his voice remained instantly recognizable;
seemingly as young as ever. The rest of band ... well they
didn't really matter since Richards' production churned them into background
noise. Any semi-professional house band, or good music software
program would have done the job. The same criticisms applied to most
of these ten songs. First the obvious target - their remake of 'Time
of the Season' was dreadful. Adding
Santa María keyboards to the melody did nothing to improve the song.
Wonder of Argent ever forgave them? On tracks like 'Moonday Morning
Dance' and 'Heavens Gate' producer Richards smothered the group under a
faceless blanket of '90s synthesizers and production effects.
Perhaps the greatest sin - exemplified by material like 'Night On Fire',
'Losing You' and 'Knowing You', time after time Blunstone's wonderful voice
was wasted on faceless, sleep-inducing corporate ballads. So was there
anything worth hearing? Well, I'd go along with RCA and their choices
for the German singles. The opener 'New World' and 'Lula Lula' were
modestly commercial pop tunes. Other than Blunstone's instantly
recognizable voice they had little in common with classic Zombies, but
compared to the rest of the album the performances kept you listening. 1.) New World (Chris White - Andy Nye) - 4:45 rating: **** stars 'New World' was a surprisingly enjoyable AOR ballad. Blunstone's ethereal choirboy voice seemingly had not aged over the ensuing years. The song reflected a pleasant, patented slice of '90s corporate rock. Guess it fell squarely in the "Yacht Rock" vein. In a nice nod to their history, original Zombies guitarist Paul Atkinson guested on the song. Atkinson passed away in April 2004. White subsequently released a demo version of the song as part of his "The Chris White Experience Volumes One - Six Production Sessions" collection. The song was tapped as a German single, released in 7", 12" and CD single formats:
7" format - 1990's 'New World' b/w 'Monday Morning Dance' (RCA catalog number PB 43427) 12" format - 1990's 'New World' b/w 'Monday Morning Dance' and 'Alone In Paradise' (RCA catalog number PT 43427) CD single format - 1990's 'New World', 'Monday Morning Dance' and 'Alone In Paradise' (RCA catalog number PD 43427)
2.) I Can't Be Wrong (Sebastián Santa María) - 3:33 rating: *** stars The first of new keyboardist Sebastián Santa María's four songs, 'I Can't Be Wrong' was a pretty, classically-influenced ballad. The tune wasn't awful, but sounded like one of those ballad-by-the-numbers efforts that corporate rock had begin to churn out in the hunt for radio dominance. Ultimately the song was saved from oblivion by Blunstone's voice and the ear candy group refrain. 3.) Moonday Morning Dance (Sebastián Santa María) - 3:24 rating: ** stars The title confuses me, but since the song was slathered in an arsenal of hyperactive '90s synthesizers, I ultimately didn't really care. I guess it was interesting from the perspective it showed Blunstone could sing an up-tempo rock tune. It just wasn't a very good up-tempo rock song. By the way, the backing vocals were way irritating. 4.) Lula Lula (Chris White) - 4:05 rating: **** stars Momentarily I thought I was hearing the opening song again. Blame Blunstone's unique voice ... Setting aside my inherent cynicism, after a couple of spins I had to admit the combination of Blunstone's voice White's dreamy melody made for a nice effort. The song was released as a German single in both vinyl and CD formats.
7" format - 1990's 'Lula Lula' b/w 'I Can't Be Wrong' (RCA catalog number PB43671) CD single format - 1990's 'Lula Lula', 'I Can't Be Wrong' and 'Nights On Fire' (RCA catalog number PD43671)
5.) Heavens Gate (Chris White - Andy Nye) - 4:19 rating: *** stars 'Heavens
Gate' opening up
with some acapella group vocals before plunging into faceless corporate rock
territory. Bluestone's performance was nice, but to be honest, the
first half of the song just faded into background noise. The refrain
momentarily brought the song back into focus, but darn if there was anything
here that screamed "Zombies." Hugh
Grundy's tribal drums sounded like they'd been lifted from any of dozens of
'90s radio hits. (side 2) 1.) Blue (Sebastián Santa María) - 4:12 rating: ** stars Opening up with a suite of synthesizer washes, 'Blue' didn't sound like Blunstone - Santa Marie wrote it, so I'm guessing he handled the vocals. I wonder if anyone hearing this on the radio would have pegged it as a Zombies song. I sure wouldn't have. 2.) Nights On Fire (Colin Blunstone - Sebastián Santa María) 3:34 rating: ** stars What a surprise - an orchestrated ballad ... Well, the classical guitar was pretty. Elsewhere it sounded like an Alan Parsons Project cast-off. By the way, nothing here was on fire. 3.) Losing You (Colin Blunstone - Phil Dennys) - 2:59 rating: ** stars I'm a sucker for songs opening with pretty strumming acoustic guitars so I had hope for 'Losing You.' That hope was largely dashed by another faceless corporate ballad. This one struck me as being little more than a write-by-number exercise, pulling pieces from a multitude of sources. Completely forgettable and a waste of Blunstone's talent. Tim Renwick on lead guitar? 4.) Time Of The Season (Rod Argent) - 2:32 rating: ** stars Bands that feel the need to revisit and record earlier classic tunes are normally not good signs. Hence seeing 'Time of the Season' on the track listing was a source of concern. The fact the tune was written by the missing-in-act Rod Argent added to the sense of irony. The melody remained instantly recognizable, but the remake adding some needless Santa María doodling keyboards and did nothing to improve the original. Moral - don't mess with a classic. 5.) Knowing You (Colin Blunstone) - 2:34 rating: ** stars 'Knowing You' was a pretty acoustic ballad. Accompanied by acoustic guitar and background synthesizer, Blunstone's multi-tracked vocals were sweet, but the song just never shifted gears. To be blunt, the song closed the album on a downbeat.
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