The Zombies

круто!!!
Расписал ему и расхвалил имхо группу, что твой Грег Руссо! :)

:-)))))))

Да что там, как сам Алек Палао!

(Палао - консультант лейбла Big Beat по вопросам The Zombies и автор сопроводительных текстов к их переизданиям).

Простите что вмешиваюсь - Зомби - тоже моя любимая команда - есть кое-что в коллекции - а на вопрос что лучше новые моно или старые стерео - однозначно могу сказать свое мнение - так же как первые четыре диска Битлз которые вышли в моно - меня лично огорчают. Старые пластинки - из которых что то еще есть в стерео - русть даже как говорят в псевдостерео - хотя какое там псевдо - если так делится круто - мне лично ближе - хоть это и не современным считается. Но к моно версиям очищенным так и не могу привыкнуть - как и к последнему чуду Макартни с ГетБэком..Спасибо и еще раз извините за вторжение...Евгений.

кстати я слушал первые 4 альбома Битлз в стерео, в наушниках - да я просто обалдел!!! Как будто заново все песни услышал!!!
Так что я считаю тут подход не однозначный, это касается и Битлз и Зомбис.

ну как, расписал, что твой Хантер Девис :)))))))))

Я тоже добрался до As Far As I Can See (2004) - жалко, многоголосия знаменитого практически нет, но стиль - классические Зомбис периода "Одиссея" в современном саунде. Блеск, в лучших традициях!

2 ShaLaLaLaLee

Вот так получилось, что The Zombies не попадали в поле зрения ни мне, ни моим друзьям. А принёс его мне один друг, через которого я покупаю диски, меломан с 35-летним стажем. По своей шкале сразу-же присвоил The Zombies высшую категорию. А другу благодарен выше крыши, и не только за The Zombies , он мне глаза на многие группы открыл. Следующими покупками помимо The Zombies будут диски из списка Classic Rock №5 2004 о acid-rock'e.

Кстати, на Горбушке активно продается новый альбом 2004 года "As Far As I Can See..."

The Zombies - Colin Blunstone & Rod Argent
Apr 2004
As Far As I Can See is the first Zombies album in many, many years, and for fans of the group (or of Colin Blunstone and Rod Argent), its a must have. Colin and Rod have been playing together again for some 3 years, and during that time Rod has written a number of new songs with Colins voice in mind. They have also gathered together an outstanding group of musicians including Jim Rodford (bass), who is Rods cousin and the person who introduced him to rock and roll (as well as a founder member of Argent). Keith Airie is the ace guitarist featured on the CD, and Steve Rodford (Jims son) is absolutely stunning on drums. This is the same group that has been touring the US and UK during late 2003/early 2004, and Rod believes that it is the quality of the musicians and their compatibility that made it possible to call this a Zombies album, rather than simply a Blunstone/Argent collaboration.
The CD is a mix of ballads and more uptempo numbers, and without a doubt, the highlight is I Want to Fly, a haunting ballad that makes the most of Colins poignant interpretation and Rods beautiful piano solo. The first single from the CD, In My Mind a Miracle, is a piece of well-crafted white soul music, with the fantastic harmonies youd expect from a Zombies tune. Time to Move is also a great tune, reminiscent of the 60s, with a Beatles-y feeling. With You Not Here is another winner - a lovely tune with a classic Zombies sound. The only song on the CD that has been previously recorded is Russ Ballards "I Dont Believe in Miracles, and this has to be the definitive version. If I have to be critical, Id say that Southside of the Street is the weakest song on an otherwise very strong album.

This CD presents the Zombies at their best: Colin is in fine voice, Rod plays his heart out in his classic style and theres even a 21-piece string section! Buy it and tell your friends about it.

А здесь сказано, что новый альбом The Zombies выйдет только еще в сентябре. Но это, наверное, в отсталой Америке.

New Zombies album
(CNN) -- It's been 35 years since the Zombies last hit the charts, with their top 10 single "Time of the Season." But the group -- or at least two of its key performers -- has reunited for a new album.

Lead singer Colin Blunstone and keyboardist Rod Argent have gotten together to record "As Far As I Can See ...," due September 14 on Rhino Records.

The album features 10 new tracks and a reworking of the Blunstone solo song "I Don't Believe in Miracles."

"Suddenly, and for the first time in all these years, it felt honest and right to include the name 'Zombies' somewhere on the album," Argent said in a press release.

The Zombies keyboard-fueled minor-key sound, highlighted by bright harmonies over Blunstone's airy vocals, produced three U.S. hits -- "Season," "She's Not There" and "Tell Her No." The band's 1967 LP "Odessey and Oracle" has risen to classic status in recent years and was ranked No. 80 on Rolling Stone's list of the 500 greatest albums of all time. ("Odessey" was recently re-released by Fuel 2000 with 10 bonus tracks.)

After the Zombies' breakup, Argent went on to front the band Argent, which included songwriter Russ Ballard and produced the hit "Hold Your Head Up." He also became a producer, helming records by Tanita Tikaram and Jules Shear. Blunstone became a solo success in Britain.

The duo recently played a benefit concert in Los Angeles to honor the late Paul Atkinson, the Zombies' guitarist.

Primal Scream - "А здесь сказано, что новый альбом The Zombies выйдет только еще в сентябре. Но это, наверное, в отсталой Америке." -
именно так :-))) Здесь он пока доступен только в импортном варианте.

The surviving members of influential U.K. rock act the Zombies have teamed up with Rhino Records to stage a memorabilia auction in memory of the band's late guitarist, Paul Atkinson. Among the items up for bid are a Rickenbacker guitar signed by Zombies Rod Argent, Colin Blunstone, Chris White and Hugh Grundy, as well as items signed by Elton John and Bernie Taupin, members of the Beach Boys and Ringo Starr.

Proceeds from the auction, which also boasts items from the worlds of film and sports, will benefit the Paul Atkinson Family Trust, the Gift of Life Foundation and the United Network for Organ Sharing. The auction will launch Sept. 16 via eBay and run the length of the band's fall tour with Arthur Lee & Love.

The Zombies will be touring in support the album "As Far As I Can See," due Sept. 14 via Rhino. The set features Argent and Blunstone, as well as several vocal contributions from White.

2 Чирилло...
Привет, я тут подумал а нет ли у тебя текстов имхо группы????
и где обещанный список твоих новинок??????????????
....Распиши, что твой Г.Р....

McDen,

Вот по этой ссылке можно найти тексты около двух десятков их песен (в т.ч. полностью Odessey & Oracle):
http://zom.thefondfarewells.com/zomlyric.htm
Кстати, это уже упоминавшийся тут сайт Zombies Fan Page, который переехал с members.aol.com и теперь находится на http://zom.thefondfarewells.com/zombies.htm .

So whatever became of the Zombies?
The return of a '60s band
Wednesday, September 29, 2004

With a voice as distinctive as Colin Blunstone's -- a breathy, wistful, dramatic instrument -- you'd think there was no question who would be the Zombies' front man.

But Rod Argent remembers it wasn't always so, though things quickly fell into line. When the group that became the Zombies first got together, Argent was the singer and Blunstone, a band member's friend, was just dropping by.

But after that session, Argent wandered over to a beat-up piano and started playing B. Bumble and the Stingers' rocked-up version of Tchaikovsky, "Nut Rocker." "Colin comes up to me and says, 'You're mad! You've got to play piano.'"

A few minutes later, the musicians were taking a break. Blunstone picked up a guitar and started singing an old Ricky Nelson song.

"We were blown away," Argent says.

And that settled that.

So, both Rod Argent and Colin Blunstone agree, the Zombies reunion started like this:

Argent had re-formed his '70s band, also named Argent ("Hold Your Head Up," "God Gave Rock and Roll to You") and was playing a charity show. Blunstone was in the audience.

"I invited Colin up on the spur of the moment," says Argent in a phone interview from London, England.

"As soon as we were on stage, it felt like we'd played our last concert two weeks before," says Blunstone in a separate phone interview from the UK. (Actually, it had been something like 35 years.)

Then they use the same word.

"It felt so natural," Argent says.

"It was very natural," Blunstone says.

The two of them decided to play more gigs, put a band together and headed for the studio. The first sessions produced the 2001 album "Out of the Shadows."

For the next record, Argent found himself writing songs reminiscent of the Zombies -- the kind with haunting melodies, unusually placed minor chords and room for rich harmonies, all behind Blunstone's delicate vocals and Argent's jazz-classical keyboards. The kind of sound, that is, found on the Zombies singles "She's Not There" and "Tell Her No" and the landmark 1967 album, "Odessey and Oracle."

"For the first time in years, it felt honest to use the name Zombies," Argent says, and so "Zombies" -- a very marketable name as well -- it was. The new album, "As Far As I Can See ..." (Rhino), came out September 14.

Odyssey for 'Odessey'
In their heyday, the Zombies reached the American top 10 three times, but the group broke up rather anonymously in 1967, shortly after completing "Odessey."

They knew "Odessey" was to be their swan song, and so they did it the way they wanted, with personal and literary reflections in the music and complete control of the production.

"Basically, [guitarist] Chris [White] and I had a good writing income, and we hadn't been gigging much recently. There wasn't any bad feeling," Argent recalls. The album, produced by the group at Abbey Road Studios right after the recording of "Sgt. Pepper" -- and engineered by Beatles engineer Geoff Emerick -- cost about $3,500 to record; Argent and White paid for a stereo mix out of their own pockets.

Soon, the pair formed a production company (one of their projects: a Blunstone solo album) and guitarist Paul Atkinson became a record industry talent executive, signing Bruce Hornsby and Michael Penn, among others.

But a strange thing happened to "Odessey and Oracle" along the way.

Musical gadfly Al Kooper brought a copy back from Britain and encouraged CBS to release it, which the company did on a small subsidiary, Date. "Time of the Season," the album's concluding track, became a huge hit, the biggest the Zombies ever had. But by this time it was 1969 and the group was gone.

"The album didn't even make the upper reaches of the chart," notes Argent, who also went on to produce Tanita Tikaram and Jules Shear. Indeed, it was forgotten by all but collectors for the next 15 years or so. But as with Big Star's "Radio City" or "The Velvet Underground and Nico," its impact far outstripped its sales. Last year, Rolling Stone magazine voted "Odessey and Oracle" No. 80 on its list of the top 500 albums of all time.

"That's higher than it got on the charts the first time," Argent chuckles.

Not many changes

The new record finds Blunstone in fine, breathy voice. He says he's had to work at maintaining his abilities.

"I had no training until about five years ago," he says. "But as you get older you have to work harder. So much of singing is muscle control."

White contributed vocals to three songs on "As Far As I Can See ... ," and Atkinson championed the record before he died in April.

"He was uppermost in our mind when we were recording," Blunstone says. He and Argent, who played a concert with Atkinson at the Los Angeles House of Blues before his death, have contributed items to an eBay auction to benefit the Paul Atkinson Family Trust. http://members.ebay.com/ws2/eBayISAPI.dll?ViewUserPage&userid=rhino-auctions

Now the reconstituted Zombies -- Argent, Blunstone, guitarist Keith Airey, bassist Jim Rodford and drummer Steve Rodford (Jim's son) -- are hitting the road. You would think with several successful 50-something band members, the accommodations would be a bit plusher than they were back in the mid-'60s.

Not quite, Blunstone says. At least, not in the UK.

"We did rather throw it together," he says of the group's British tour earlier this year. "I remember talking to one DJ who said, 'It must be different than traveling in a Ford Transit [van] like in the '60s.' And I said, 'Actually, it's remarkably similar.' "

But the relationship between the band members is good, carrying on the vibe felt in the studio. Argent says the group is full of energy.

"I was wondering, 'Is this going to work?' " Argent says.

Then he uses that word again.

"But it's so natural. That's what made us want to do it."

Послушал "The Decca Stereo Anthology" - высший класс! Впечатлила "You've Really Got A Hold On Me" и бэкинг-трэки "Leave Me Be", "Work'n'Play", "Just Out Of Reach", "Whenever You're Ready."

2 ALL
у меня вопрос....а при записи песни были в моно или в стерео???
или как у битлов, записали стерео, зачемто свели в моно....???
разъясните плз, спа всем кто откликнется...

McDen,

Ну, пока записи не сведены (не смикшированы), про них, пожалуй, некорректно говорить, в моно они или в стерео. Записи Zombies на Decca делались на 4-дорожечной аппаратуре, т.е., исходно было 4 дорожки, которые потом сводились в одну (моно), для выпуска на пластинках. Интересная фишка тут в том, для некоторых песен дополнительные партии дописывались уже в сведенную моноверсию. Самый яркий пример - записи с первой сессии Zombies на Decca (She's Not There, Summertime, You Make Me Feel Good), в которых доп. партии ударных были дописаны уже после сведения, напрямки в мономикс. Из-за этого стереомиксы этих песен (т.е., сведенные в две дорожки из 4 исходных), подготовленные в конце 60-х с многодорожечных лент, отличаются от моноверсий как раз отсутствием наложений ударных. Это лучше всего заметно в случае She's Not There). А для выпуска Decca Stereo Anthology, кстати, это наложение в She's Not There перезаписали - его Hugh Grundy исполнил точь-в-точь, как на оригинале.

Что касается ранних The Beatles - опять же, я не уверен, насколько корректно утверждение, что их писали в стерео - правильнее, наверное, "на двухдорожечной аппаратуре" (потому что стерео - это, на мой взгляд, характеристика конечного продукта - т.е., сведенной фонограммы, а не процесса записи). А в моно сводили, потому что до середины 60-х подавляющее большинство бытовых проигрывателей были монофоническими; моно было более распространенным, и поэтому приоритетным форматом, чем стерео.

Кстати, когда The Zombies перешли с Decca на CBS и записали Odessey & Oracle в 1967 г., бюджета хватило только на мономикс. Стереоверсию им пришлось сводить самостоятельно и за свои деньги.

2ShaLaLaLaLee
> Кстати, когда The Zombies перешли с Decca на CBS и записали Odessey & Oracle в 1967 г., бюджета хватило только на мономикс. Стереоверсию им пришлось сводить самостоятельно и за свои деньги.

Странно. Мне известна несколько иная версия...
В июне 1967 года ZOMBIES подписали контракт с CBS/Columbia, обещавшей ей большую творческую свободу. И вот, наслаждаясь этой "большей творческой свободой", которую музыкантам предоставила CBS, группа приступила к работе над своим вторым альбомом "Odessey And Oracle", финансирование которого ZOMBIES и CBS вели СОВМЕСТНО. Т.е. совместное финансирование предусматривалось изначально условиями контракта - за "большую творческую свободу", а не потому что деньги кончались.

Интересная версия, прежде я ее не слышал. На досуге почитаю материалы по истории записи O&O, может дело прояснится. Мне всегда казалось, что финансовые условия записи O&O были достаточно стесненными. Более того, я где-то читал, что, дескать, они даже меллотрон использовали не от хорошей жизни - просто не было денег нанять достаточно музыкантов со стороны.