There’s something uniquely British about making a fond childhood reminiscence sound strangely sinister for no discernible reason, and “Beechwood Park” – based on a real place bassist/songwriter Chris White visited as a child in Hertfordshire – is the Zombies’ entry in that distinguished canon. “Beechwood Park” ( Odessey and Oracle, 1968) It’s one of the finest moments on Odessey and Oracle when Argent reaches for a note just out of his range while singing the word “mind” the word immediately dissipates into a breathless sigh, almost as if his infatuation distracted him so much he forgot to finish singing the lyric.Ħ. The rare song that Argent wrote and sang, “I Want Her She Wants Me” speaks to the giddy anxiousness of a soon-to-be-confirmed romance, and his voice – not quite as smooth and strong as Blunstone’s – is a perfect fit for this sumptuous, baroque pop tune. “I Want Her She Wants Me” ( Odessey and Oracle, 1968) Surprisingly rhythmically complex for a radio hit, “Tell Her No” went to No.

Blunstone’s wounded wailing on the chorus is a masterclass in emoting without overselling, and the “woah-oh-oh” he purrs on the second verse perfectly conveys the seductive appeal of the song’s target – which, like their previous Hot 100 hit “She’s Not There,” is a woman to watch out for. The Zombies always stood apart from their ’60s peers, and the jazzy, slightly discordant opening keyboard chords to “Tell Her No” are a perfect illustration of their ability to put an unusual spin on pop. In 1969, it was gussied up and released as a single, but never found a home on a proper studio LP. It was written by Argent for Dusty Springfield’s 1965 Ev’rything’s Coming Up Dusty album, and Blunstone (who originally sang it in demo form) goes the extra mile to sell the soul in the vocals. With clanging piano chords, vibrant stabs of strings and lush vocal blends, “If It Don’t Work Out” is an oft-neglected Zombies standout about one of their favorite subjects – the dangerous complexities of romance. The church-y organ that eventually joins him barely registers just like the song’s narrator, it doesn’t quite know if it wants to fully commit or pull back and hide forever. “The Way I Feel Inside” ( Begin Here, 1965)Ī gorgeous standout from their debut album Begin Here, “The Way I Feel Inside” clocks in at less than two minutes, and the first 45 seconds are fully a cappella - just singer Colin Blunstone’s sweet, earthy, naïve croon to carry keyboard player/lyricist Rod Argent’s timid confession of love (“Should I try to hide / The way I feel inside?”). A lot of the grunge bands were very similar to each other.With 2019 seeing the Zombies inducted into the Rock and Roll Hall of Fame, we’re looking at their 10 best songs.ġ0. We were Irish and from Limerick, and we had a lot of our own ideas. We couldn’t have really fitted in with grunge, because we were just a different type of a band. There were a lot of bands around that were part of the grunge thing, and this wasn’t grunge, but the timing was good. When you’re on tour you start to mess around a bit more with the live side of things.

Then I kicked in distortion on the chorus, and I said to Ferg : ‘Maybe you could beat the drums pretty hard.’ Even though it was written on an acoustic, it became a bit of a rocker….It came organically because we were using our live instruments, we were plugging in a lot, and we started to mess around with feedback and distortion. So I took it into rehearsals, and I picked up the electric guitar. I remember being in my flat, coming up with the chorus, which was catchy and anthemic. “That song came to me when I was in Limerick, and I wrote it initially on an acoustic guitar, late at night.

It was extremely busy and we were working all the time around the clock,” she said. In an interview with Louder Sound, O'Riordian recalls:

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