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The "Odessey": The Zombies in Words and Images
Released 50 years ago, and celebrated in this new book, the Zombies' final album Odessey and Oracle is a masterpiece of '60s rock
Published with BMG Books.
I remember first hearing 'She’s Not There' on the radio in my bedroom. So ethereal. So spooky ... the DJ said it was The Zombies from England. 'Of course,' I thought. 'That is exactly what a zombie rock group would sound like.'” -Tom Petty
To mark the 50th anniversary of the recording of their classic Odessey and Oracle album, The Zombies have assembled an eclectic collection of rare and unseen photos, original artwork and personal memories that offer readers an intimate snapshot of one of the more influential bands to emerge from the UK music scene of the 1960s.
The superbly illustrated book includes handwritten lyrics for 22 songs. From early hits “She’s Not There” and “Tell Her No,” through every song on Odessey and Oracle—including the hit single “Time of the Season” —and all the way up to today, each selection is accompanied by a running oral history by original band members Rod Argent, Colin Blunstone, Chris White and Hugh Grundy.
Renowned artist Terry Quirk, who created the look of Odessey and Oracle, designed the book’s cover and contributed new artwork throughout, while Vivienne Boucherat created a unique piece of art to accompany each of the 22 songs. Additionally, The Odessey is rich with reflections from music journalists, friends and fans, including Tom Petty, who wrote the foreword, Brian Wilson, Carlos Santana, Susanna Hoffs, Paul Weller, Graham Nash, Clive Davis, Nate Ruess of FUN and members of Cage the Elephant and Beach House.
Published with BMG Books.
I remember first hearing 'She’s Not There' on the radio in my bedroom. So ethereal. So spooky ... the DJ said it was The Zombies from England. 'Of course,' I thought. 'That is exactly what a zombie rock group would sound like.'” -Tom Petty
To mark the 50th anniversary of the recording of their classic Odessey and Oracle album, The Zombies have assembled an eclectic collection of rare and unseen photos, original artwork and personal memories that offer readers an intimate snapshot of one of the more influential bands to emerge from the UK music scene of the 1960s.
The superbly illustrated book includes handwritten lyrics for 22 songs. From early hits “She’s Not There” and “Tell Her No,” through every song on Odessey and Oracle—including the hit single “Time of the Season” —and all the way up to today, each selection is accompanied by a running oral history by original band members Rod Argent, Colin Blunstone, Chris White and Hugh Grundy.
Renowned artist Terry Quirk, who created the look of Odessey and Oracle, designed the book’s cover and contributed new artwork throughout, while Vivienne Boucherat created a unique piece of art to accompany each of the 22 songs. Additionally, The Odessey is rich with reflections from music journalists, friends and fans, including Tom Petty, who wrote the foreword, Brian Wilson, Carlos Santana, Susanna Hoffs, Paul Weller, Graham Nash, Clive Davis, Nate Ruess of FUN and members of Cage the Elephant and Beach House.
151 pages, Hardcover
Published March 30, 2017
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Displaying 1 - 5 of 5 reviews
November 25, 2022
Are The Zombies the most underrated 60s rock band (or should that distinction go to Van Morrison’s Them?)? True, like their fellow British Invasion bands they started as derivative of black American music. Also admittedly true, their early work from ’64 to ‘66 suffered from following the same formula: after each verse, singer Rod Argent cries “oh!” followed by a “funky” organ splash, before obediently returning to the next verse. They give a bit of relief from this strict pattern on songs like “I Can’t Make Up My Mind” (1965 B-side), which features a delicate guitar solo in the front accompanied by a quiet organ in the back. But their second album, 1968’s Odessey & Oracle, is so good, it more than compensates for any prior lack of originality and dynamism.
The fact that the Zombies were around for such a short period of time, especially compared to their Beat peers meant that their image and sound didn’t shift with changing trends, like the turn towards American country rock. They broke up in Dec of ’67, before Odessey was even released.
The Zombies’ sound stayed urban, making them quintessentially a beat or mod band, albeit a mellow one. They certainly encapsulate 60s sounds; they’re just more of the black turtle neck—not the paisley shirt—variety, making the group’s image more akin to, say, Simon And Garfunkel (dig S&G’s look on the back cover of The Sounds of Silence album (1966)), or even the pre-fringe jacket era Byrds (dig the avian brothers’ style on the front cover of the Mr. Tambourine Man album (1965)). The Zombies are at their best when they do delicate ballads instead of rave-ups (they aren’t convincing as wild men). The 60s that The Zombies play is spooky and groovy.
The near baroque pop of Odessey & Oracle marks the band’s shedding of any remaining derivative roots. There’s a case to be made that this gently psychedelic pop art piece is one of the best and most cohesive rock albums of the 60s, like Pet Sounds. But unlike Pet Sounds, Odessey is often overlooked for other albums of the era (is Sgt. Pepper the most overrated album of the decade?). Perhaps one of the reasons why Odessey doesn’t get as much attention is because, like The Left Banke’s superb Walk Away Rene/Pretty Ballerina or even Love’s perfect Forever Changes, it was more subtle with less studio production trickery than the Sgt. Peppers of the time. Odessey pulls off lush without being overcooked.
Of course, the album wasn’t entirely overlooked. Odessey contains the Zombies’ biggest hit, “Time of the Season,'' though it could be argued it's their least representative song, and it’s not even that good. Proof of this is the fact that it appears as last on the album. It begins not with the hit but with the simultaneously touching and hilarious “Care of Cell 44,” in which the song’s narrator is composing a letter to his baby who’s serving time on the inside. Looking forward to her release, he sings the memorable line “And we’ll get to know each other for a second time / And then you can tell me about your prison stay.”
Lyrics like these (and their sincere lyrical accompaniment) show that The Zombies can be funny at the same time as they retain a level of seriousness, primarily tackling serious feelings about relationships. Notably, their lyrics on this album don’t fall into Dylanesque jive poetry or Beatlesesque drug nonsense, as other albums of ’68 do. Musically, they don’t stray into the old-timey British beer hall variety show territory that so many Brit bands (even The Kinks on their best albums) do. Ultimately, this earnestness, musically and lyrically is what makes this album so endearing and sets it apart.
This book aptly endears with its photos and sweet reminiscing by the band’s members and admirers.
The fact that the Zombies were around for such a short period of time, especially compared to their Beat peers meant that their image and sound didn’t shift with changing trends, like the turn towards American country rock. They broke up in Dec of ’67, before Odessey was even released.
The Zombies’ sound stayed urban, making them quintessentially a beat or mod band, albeit a mellow one. They certainly encapsulate 60s sounds; they’re just more of the black turtle neck—not the paisley shirt—variety, making the group’s image more akin to, say, Simon And Garfunkel (dig S&G’s look on the back cover of The Sounds of Silence album (1966)), or even the pre-fringe jacket era Byrds (dig the avian brothers’ style on the front cover of the Mr. Tambourine Man album (1965)). The Zombies are at their best when they do delicate ballads instead of rave-ups (they aren’t convincing as wild men). The 60s that The Zombies play is spooky and groovy.
The near baroque pop of Odessey & Oracle marks the band’s shedding of any remaining derivative roots. There’s a case to be made that this gently psychedelic pop art piece is one of the best and most cohesive rock albums of the 60s, like Pet Sounds. But unlike Pet Sounds, Odessey is often overlooked for other albums of the era (is Sgt. Pepper the most overrated album of the decade?). Perhaps one of the reasons why Odessey doesn’t get as much attention is because, like The Left Banke’s superb Walk Away Rene/Pretty Ballerina or even Love’s perfect Forever Changes, it was more subtle with less studio production trickery than the Sgt. Peppers of the time. Odessey pulls off lush without being overcooked.
Of course, the album wasn’t entirely overlooked. Odessey contains the Zombies’ biggest hit, “Time of the Season,'' though it could be argued it's their least representative song, and it’s not even that good. Proof of this is the fact that it appears as last on the album. It begins not with the hit but with the simultaneously touching and hilarious “Care of Cell 44,” in which the song’s narrator is composing a letter to his baby who’s serving time on the inside. Looking forward to her release, he sings the memorable line “And we’ll get to know each other for a second time / And then you can tell me about your prison stay.”
Lyrics like these (and their sincere lyrical accompaniment) show that The Zombies can be funny at the same time as they retain a level of seriousness, primarily tackling serious feelings about relationships. Notably, their lyrics on this album don’t fall into Dylanesque jive poetry or Beatlesesque drug nonsense, as other albums of ’68 do. Musically, they don’t stray into the old-timey British beer hall variety show territory that so many Brit bands (even The Kinks on their best albums) do. Ultimately, this earnestness, musically and lyrically is what makes this album so endearing and sets it apart.
This book aptly endears with its photos and sweet reminiscing by the band’s members and admirers.
July 19, 2017
An engaging book about a great album. Lovely artwork with lyrics to each song, assorted photos, and notes about each tune from the artists as well as fans. Selected lyrics and notes about the two newest records provide a nice bonus.
November 18, 2018
Definately a 60's classic, got the book, got the music, loved it - how the hell did I miss this 50 years ago.. so many musical influences from that period that permeate every track.. wonderful stuff
April 10, 2017
A nice coffee table book for fans of the band.
April 20, 2017
As a huge Zombies fan, this book is a simply a joy to go through. It's not terribly detailed, but it's a lovely work of art in of itself that covers mainly the writing and recording process of over twenty of The Zombies' best tracks (including all of Odessey and Oracle). The photographs are wonderful, and there's interesting insights a plenty from the four surviving members of the group. This book is long overdue, and I'm sure any fans young and old will greatly enjoy it.
Displaying 1 - 5 of 5 reviews