Zombie Heaven
The Zombies
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THE SONGS: DISC ONE
BEGIN HERE & SINGLES
The Zombies' run of singles on Decca is a catalogue of unparalleled consistency. The tracks are presented chronologically in the sequence they were released in the UK, and unless noted, all were recorded in the No 2 studio at Decca in West Hampstead.
In order to hear the Begin Here album as originally sequenced, please programme your CD player accordingly: 7, 8, 9,10,11,12, 1, 13, 14, 4, 15, 16, 6,17.
1. SHE'S NOT THERE
(Rod Argent) Marquis Music Co Ltd
Recorded 12 June 1964
Take 7
Decca F11940 - 24 July 1964
'She's Not There' originally drew inspiration from a song entitled 'No One Told Me', on the 1964 LP The Big Soul Of John Lee Hooker. Indeed this was the working title up until release.
Rod: "If you play that John Lee Hooker song you'll hear 'no one told me, it was just a feeling I had inside' but there's nothing in the melody or the chords that's the same. It was just the way that little phrase just tripped off the tongue. I'd always thought of the verse of 'She's Not There' to be mainly Am to D. But what I'd done, quite unconsciously, was write this little modal sequence incorporating those chord changes. There was an additional harmonic influence in that song. In the second section it goes from D to D minor and the bass is on the thirds, F# and F, a little device I'd first heard in 'Sealed With A Kiss' and it really attracted me, that chord change with bass notes not on the roots. And I'm sure I was showing off in the solo as much as I could!
"The original impetus for the song, the original shape I had in my head, was those three sections and the last section of the three, 'let me tell you about the way she looked' is all on one note really, with just the harmonies changing behind it. And I deliberately made the scansion overlap, in order to try and build rhythm and impetus towards the climax of 'but she's not there'. The whole idea was to make it as exciting as possible. The way it was recorded initially I was a bit disappointed, I thought it could have been a lot ballsier, but in fact I think the way Ken Jones recorded it in the end made it more of an event than if it had gone a slightly cruder way, if you like. It's more mysterious, which was a great advantage and I think we owe a lot to Ken for that."
Chris: "'She's Not There' was worked out in my bedroom in Markyate. It only had one verse originally, and I remember we were playing in Hatfield, and Ken Jones came up to hear us. And after the gig, Rod said 'I've got this song that we've been rehearsing' and he played it to Ken on the piano. He did the verse, and then the solo, and there was no second verse, and Ken said 'Can't we go back to the beginning again?' So Rod had to write another verse, because it only had one originally."
On 'She's Not There' Ken Jones also instigated a recurring trait of many Zombies' recordings: additional overdubs added in the mixdown to mono stage from 4 track. In this case, there were a couple of extra beats superimposed to create a distinctive drum pattern, thereby rendering the original mono single mix of 'She's Not There' the only 'correct' version of the song.
Gus Dudgeon: "I seem to remember [engineer] Terry Johnson had something to do with that drum overdub. He was a drummer anyway, did a PJ Proby tour once, so it might have been his idea. It was not a common practice to add those kinds of overdubs, because the Musicians Union had such a grip in those days it could become difficult to do anything out of the norm. Overdubbing was not supposed to happen in any shape or form whatsoever, without their permission, which of course they never gave. But I do remember the band adding stuff as it went down.”
2. YOU MAKE ME FEEL GOOD
(Chris White) Marquis Music Co Ltd
Recorded 12 June 1964
Take 5
Decca F1l940 - 24 July 1964
Chris' 'You Make Me Feel Good' is one of very few songs in the Zombies' canon that bears a detectable influence, in this case the Beatles, but the track was distinctive enough to be considered an A-side in its own right. Again, the original mono mix features drum overdubs not to be found on any stereo versions.
Chris: "That was the first song I wrote that was recorded. We first played that over in the garden of my place, because it was right before the first session and Ken had said 'Can you write a song?' I remember people saying to me that they thought 'You Make Me Feel Good' had been written by John Lennon. I think it was Rod's voice doing the deep down butch bit that got the Lennon comparison. He also came up with the guitar riff."
3. LEAVE ME BE
(Chris White) Marquis Music Co Ltd
Recorded 31 August & 5 September 1964
Take 8
Decca F 12004 - 16 October 1964
Chris: '''Leave Me Be' was a much stronger song on stage, it was much harder. When we heard the recording we thought it was too soft, wishy-washy. Ken Jones wanted to retain that wispy quality in 'She's Not There' and we never really liked that. We were so upset that we complained and came off the tour and re-did Colin's lead vocal, but they didn't release that mix." [It is possible that this was the slightly different mix used for the flipside of 'Tell Her No' in the US.] "We were still on tour when it was released and people said 'Oh, it isn't as good as you do it live'."
Rod: "On 'She's Not There' the breathiness was very attractive, but it wasn't forced, it had just happened. And I think Ken tried to emphasise that too much on the later records, like 'Leave Me Be', where it made the track quite watery. 'Leave Me Be' should have sounded like 'You Make Me Feel Good', a really chunky sound. We felt that with that song the meat has been taken out."
Gus Dudgeon: "Ken Jones did the same as any other producer would have done in that era, basically saying 'we need to repeat ourselves'. You touched a certain vein and then you pursued it to the death. That was very much the thinking in those days. The word 'gimmick' was always being bandied about, and he found the gimmick with Colin's voice."
Despite the group's reservations 'Leave Me Be' has long ben a firm favourite with Zombies' fans, and to many it is the embodiment of the minor key, melancholic style they specialised in. It also was one of the most heavily covered Zombies' songs at the time, along with 'You Make Me Feel Good', 'I Want You Back Again' and 'I Remember When I Loved Her’.
4. WOMAN
(Rod Argent) Marquis Music Co Ltd
Recorded 31 August & 5 September 1964
Take 3
Decca F12004 – 16 October 1964
Rod's mid-tempo beat number with its uncoiling riff was also a popular cover at the time, and good use is made of his recently purchased Vox Continental organ.
5. TELL HER NO
(Rod Argent) Verulam Music Co Ltd
Recorded 25 November 1964
Take 4
Decca F12072 - 29 January 1965
Rod: "We were on tour with Dionne Warwick, and I was hearing all her Bacharach stuff. That was an influence. It was like that in the sense of the chord sequence, using major sevenths and ninths and that sort of feeling in the chords. I wrote the middle section on the coach on the tour, and that was the first time I'd written anything away from a keyboard. I sketched it out in my head, and we tried it when we got to the gig, and it sounded really good."
Chris: "Rod later discovered he'd written different chords to what he thought Bacharach used. You work thinking you're doing one thing and it comes out something else. Del Shannon covered ‘Tell Her No' and told us 'I've spent hours with everyone trying to figure out what this particular line is', and Colin said ‘It’s a mistake!’”
Colin: "We would do four or five backing tracks in an evening, and it might be 12 o'clock at night before I would start singing. I'd fallen asleep, and when I went out to do 'Tell Her No', there was a bit in the middle of the final take (0.55 into the song) that I got wrong: it's just like a mumble. I said 'Sorry guys, there's a mistake there', but Ken Jones said 'Don't worry about it, it's fine, it's great'. And that was a Top to single in America!"
6. WHAT MORE CAN I DO
(Chris White) Verulam Music Co Ltd
Recorded 25 November 1964
Take 6
Decca FI2072 - 29 January 1965
A tight and snappy, but somewhat verbose, Chris White composition.
Chris: "The others always used to complain that I tried to squeeze too many words in on my songs. Which I did, of course!"
7. ROAD RUNNER
(Elias McDaniels) Jewel Music Pub Co Ltd
Recorded 24 November 1964
Take 5
Decca LP LK 4697 - April 1965
Two songs from the group’s stage act, Bo Diddley’s popular, 'Road Runner' and the standard 'Summertime'. The roots of the Zombies' style could be perhaps pinpointed to their arrangement of this timeless number from Gershwin's Porgy & Bess. While the song was played to death by other beat groups, the Zombies' version had heaps more style and panache, and consequently got them a lot of notoriety at the time.
8. SUMMERTIME
(George Gershwin, Ira Gershwin, Du Bose Heyward, Dorothy Heyward) Chappell Music Ltd
Recorded 12 June 1964
Take 9
Decca EP DFE 8598 - January 1965
Chris: "I think I was the one who suggested 'Summertime', because I'd been playing it before in 6/8 time, with Chas Chaplin. Rod also knew a version of it, which introduced more of the jazz influence. For a long time that was our main ‘different' number that wasn't copied from a record."
9. I CAN'T MAKE UP MY MIND
(Chris White) Verulam Music Co Ltd Recorded
December 12 1964
Take 7
Decca LP LK 4697 - April 1965
Another marvellous song, remarkably original, and introducing the 12-string guitar, to be featured heavily in the album sessions.
Paul: "We used 12-string on some records, but I gave it up, because the damn thing kept going out of tune. I had a Burns, which in the studio sounded good but on the road it was terrible. I think I took it to Sweden a couple of times. I also tried the Rickenbacker 360-12, but you had to have tiny fingers for that."
10. THE WAY I FEEL INSIDE
(Rod Argent) Verulam Music Co Ltd
Recorded 10 December 1964
Take 8
Decca LP LK 4697 - April 1965
Colin's absorbing a cappella performance on this bare-boned recording reveals a purity unmatched by any pop singer of the time. The effect is heightened by the sound of footsteps and a tossed coin, only found on the mono recording.
Chris: "Rod wrote one of the songs on the toilet on the Isley Brothers tour, and I think it was ‘The Way I Feel Inside', ironically enough! He was late for the bus; it was always 'You have to be on time for the bus' on that tour."
Rod: "The idea of the coin being dropped was definitely Ken's theatrical side coming out."
Colin: "The sound they were originally trying to get was footsteps, on gravel. We did 'The Way I Feel Inside' in the Philippines because it was a hit there: We were playing to 30,000 people, and I would sing it a cappella, and the band would come in for the last verse. The first few times we did it, I kept it perfectly in tune and then one night I did it and I dropped a semi-tone on it, and it was really obvious, so I was singing and the others were up there somewhere. Oh dear!"
11. WORK 'N' PLAY
(Ken Jones) Marquis Music Co Ltd
Recorded 12 December 1964
Take 4
Decca LP LK 4697 - April 1965
A quick instrumental thrown together by the producer to pad out the album, featuring the then, fairly novel, fade-in, an idea probably lifted from the Beatles' recent 'Eight Days A Week'.
Chris: "Ken said 'I thought we'd try an instrumental on the album'. Of course, he had the copyright and wanted to get in on the act. Rod played harmonica and Ken played piano and we just did it live."
12. YOU'VE REALLY GOT A HOLD ON ME / BRING IT ON HOME TO ME
(William Robinson) Jobete Music (UK) Ltd / (Sam Cooke) ABKCO Music Ltd
Recorded 10 December 1964
Take 1
Decca LP LK 4697 – April 1965
Three more songs that were popular in-concert numbers, the oft-covered Ray Charles' 'Sticks And Stones', Solomon Burke's 'Can't Nobody Love You' and the Miracles' 'You've Really Got A Hold On Me'. Though the Beatles had recorded the latter song for their second album the previous year, the Zombies based their arrangement of this classic Smokey Robinson tune on that from The Miracles Recorded Live On Stage, where it incorporated part of Sam Cooke's equally timeless ‘Bring It On Home To Me'.
13. STICKS AND STONES
(Titus Turner) Rondor Music (London) Ltd
Recorded 24 November 1964
Take 8
Decca LP LK 4697 - April 1965
Chris: "We loved the version that was done live by the Miracles, and I still get hairs standing on the back of my neck thinking about it. Later on we used to start off our sets with their 'Going To A Go-Go'. We also had a go at Sam Cooke's 'A Change Is Gonna Come'."
14. CAN'T NOBODY LOVE YOU
(James Mitchell) Carlin Music Corp
Recorded 10 December 1964
Take 2
Decca LP LK 4697 – April 1965
Colin: "I found that Solomon Burke song 'Can't Nobody Love You'. The single was a hit, they wanted an album now, but we were desperately short of songs. In our stage act we'd been doing a lot of covers, we were probably still even doing Beatles' tunes at that time. I think I found that song in the morning and we recorded it in the afternoon."
Paul: "When we came to America and did 'Can't Nobody Love You' on stage, they went nuts in New York, and all around the country. They'd never heard a band like the Zombies, an English pop group, doing soul stuff. Most of the white kids never heard of these songs, but the black kids knew them very well."
15. I DON'T WANT TO KNOW
(Chris White) Verulam Music Co Ltd
Recorded 25 November 1964
Take 15
Decca LP LK 4697 – April 1965
The tricky 12-string riff in this song was the probable cause of an uncharacteristically high - for the Zombies - number of takes.
16. I REMEMBER WHEN I LOVED HER
(Rod Argent) Verulam Music Co Ltd
Recorded 25 November 1964
Take 9
Decca LP LK 4697 - April 1965
A striking composition that very much typifies the band's minor-key style, and the eerie production matches it perfectly. While Colin would often bang along with a tambourine on the backing tracks, it was Ken Jones who added the percussion on this cut.
Chris: "Rod was adamant about that lyric, 'now we are strange, no more in love'."
Rod: "It just sounded like quite an elegant phrase, using strange in its old English sense, being estranged or not alike."
17. I GOT MY MOJO WORKING
(Preston Foster) Warner Chappell Music Ltd
Recorded to December 1964
Take 4
Decca LP LK 4697 - April 1965
One of the oldest songs in the band repertoire, 'Mojo' was one of two stage numbers that featured Rod Argent on lead vocal (the other being Arthur Alexander's 'You Better Move On').
Paul: "We didn't really do covers on record, except for the first album. We never should have done these sorts of things, they were much too rushed. I didn't want to do 'Mojo', but it was one that Rod sang, so he wanted to do it."
18. SHE'S COMING HOME
(Rod Argent) Verulam Music Co Ltd
Recorded 2 March 1965
Take 10
Decca Fl2l25 - 9 April 1965
With a working title of 'I Cry No More', this unusual song stems from Rod Argent's choirboy background, and is yet another stand-out in the Zombies' canon.
Rod: "I can honestly say that there are very few parts in our stuff that are lifted, but the one thing I did is to lift a chord sequence - not the melody - in 'She's Coming Home', from Herbert Howell's 'Magnificat And Nunc Dimittis'. It used to blow me away when we did it in the choir because it was so bluesy. So 'She's Coming Home' was based on a piece of European church music, but only because 'Hey, that sounds so bluesy, we've got to use it, let's use it because it fits'."
19. I MUST MOVE
(Chris White) Verulam Music Co Ltd
Recorded 2 March 1965
Take 8
Decca Fl2l25 - 9 April 1965
One of Chris' strongest songs from this period, 'I Must Move' (originally called 'I Believe In You') continues in his dolefully dejected mode. This original mono single mix features a reverberating production that complements perfectly the 'churchy' feel of its A-side 'She's Coming Home'.
20. I WANT YOU BACK AGAIN
(Rod Argent) Verulam Music Co Ltd
Recorded 2 March 1965
Take 11
(US) Parrot PAR 9769 - 12 June 1965
The astounding success of the Zombies in the United States meant that the Decca affiliate Parrot and their American publisher, Al Gallico, were hungry for product. That factor probably explains the appearance of this single in quick succession to 'She's Coming Home' in order to capitalise on their presence on the Dick Clark tour. In the event, 'I Want You Back Again' made only the very bottom of the Billboard chart, and was never released in England, though it was featured on an EP in France and was popular there. This is the first time the correct take used for the single has been reissued.
Colin: "I quite like 'I Want You Back Again', but I've never been a great fan of songs in waltz time, especially not singles, because people can't dance to them. Even then people were aware of what you could dance to and what you couldn't."
21. WHENEVER YOU'RE READY
(Rod Argent) Verulam Music Co Ltd
Recorded 24 June 1965
Take 9
Decca Fl2225 - 3 September 1965
Of all the Zombies post - 'She's Not There' singles for Decca, 'Whenever You're Ready' seemed to have the most potential for a hit, but it was inexplicably not to be. The track did feature a particular rhythm motif, the broken drum pattern, that was a feature of both 'She's Not There' and 'Time Of The Season', and a Zombies' trademark.
Rod: "We used to get quite frustrated. I remember when 'Whenever You're Ready' came out, we really thought that might be a hit, it seemed to work. Still, you can't make people buy things!”
22. I LOVE YOU
(Chris White) Verulam Music Co Ltd
Recorded 8 July 1965
Take 5
Decca F12225 - 3 September 1965
Again utilising a syncopated drum figure, this fine Chris White composition may have been tucked away on a flipside but it was to become a major hit not once but twice in the hands of others. The People from San Jose, California hit the US Top 20 in May 1968 with a Vanilla Fudge-ish cover, while in Japan the Carnabeats had a major hit with a Japanese language version the previous July. These successes prompted Decca in the UK to resurrect the song as an A-side (backed with 'The Way I Feel Inside') in late 1968. The original mono single version (included here) featured an instrumental intro piece that has been absent from most reissues of the track.
23. IS THIS THE DREAM
(Rod Argent) Verulam Music Co Ltd
Recorded 10 November 1965
Take 10
Decca FI2296 - 26 November 1965
Colin: "We recorded 'Is This The Dream' at Decca in West Hampstead, and I remember sitting with Rod in a pub at the top of the road for a couple of hours, and when we went back I thought it didn't sound like the same thing. That was the first time I sort of thought that we need to re-evaluate what was happening with the mixing."
Despite the band's dissatisfaction at the time, with hindsight the Motown-flavoured 'Dream' has revealed itself as a remarkably dynamic record, driven in large part by Hugh's forceful, jackhammer beat. It is worth noting however that this was the last Zombies session held at Decca. Once again the mono single mix is the only true version as the distinctive backing vocals were overdubbed in the mixdown process.
Rod: "I've got the feeling that we expected 'Is This The Dream' to sound a bit meatier than it did. We wouldn't have been able to materially alter the balances, but they did occasionally ask us back to the control room, because they added things like the backing vocals in the mix. Ken had a point, because when you're mixing, you can't mix by committee, but we didn't understand that then. I do remember George Harrison reviewing the single in Disc or Melody Maker and saying something like, 'I can't understand why they're not being successful at the moment'."
24. DON'T GO AWAY
(Chris White) Verulam Music Co Ltd
Recorded 24 June 1965
Take 8
Decca FI2296 - 26 November 1965
Another of Chris' low-key masterpieces, 'Don't Go Away' is notable for the prominence of the guitar in the arrangement, and its partitioned structure, A-B-C-C-A-B, which introduces dynamic possibilities that the group seize upon.
Carole Broughton (Marquis): "With the Zombies in that period, I just remember that great feeling of, here is yet another good song."
25. REMEMBER YOU
(Chris White) Verulam Music Co Ltd
Recorded 2 March 1965
Take 21
Decca F12322 - 21 January 1966
Yet another superlative Chris White composition, but perhaps an unusual choice for an A -side, given that like 'I Want You Back Again' it was in an uncommercial jazz-waltz metre. Released to tie-in with the UK cinema release of Bunny Lake Is Missing, in which the song was featured, 'Remember You' was almost a year old at that point and the group were understandably reluctant to promote it.
Chris: "I got the inspiration for 'Remember You' from Winston Churchill's funeral cortege. The bagpipes were playing that riff, 'dah-dah-dee-dah-dah-dah'."
26. JUST OUT OF REACH
(Colin Blunstone) Marquis Music Co Ltd
Recorded 2 March 1965
Take 18
Decca F12332 - 21 January 1966
Given less than two weeks to come up with material for the soundtrack of Bunny Lake Is Missing, Rod was caught without anything suitable, and therefore Colin got the first of two originals onto vinyl. A driving rocker with a memorable organ break, 'Just Out Of Reach' actually became the favoured side above 'Remember You' in the United States, where the coupling had been released in October 1965.
27. INDICATION
(Rod Argent) Verulam Music Co Ltd
Recorded May 1966
Lansdowne Studios
Take 12
Decca F12426 - 17 June 1966
"Starts like the early Beatles, ends like the Whirling Dervishes" is how one contemporary critic described the controversial 'Indication', probably the Zombies' most unusual single to date, yet with the arresting hooks that mark all their material. The instrumental playout remains an audacious step, particularly at a time when the group were striving for some kind of a hit. Sensing a superfluousness to the tune at hand, Parrot saw fit to fade the song at 2:07, and in fact it was their last US single on the label.
Paul: "I hated that guitar part in 'Indication', it was Rod telling me what to play. 1 didn't like that song, it was too much of a rave-up; I thought it was us trying too hard to have an out-and-out rocker. I felt it was forced."
Chris: "'Indication' was an attempt to write a raver but it got quite a good reaction because it was an uptempo thing. I remember the Nashville Teens raving about it as well, but it didn't do anything. It was Rod and his weird vocal solo thing, trying to do something unusual again."
Rod: "The part at the end actually came from our version of [Jimmy Reed's] 'Baby What You Want Me To Do', which went through the blues thing as normal, and we sang it in harmony, and then it went off into this weird elongated piano solo, with my voice singing along with what I was improvising. It used to go down a storm on stage, and really 'Indication' was an attempt to use that moment. What actually happened on the final record, was that Ken brought that guitar riff 'da da da-da da-da da', which was a support thing for the piano solo, forward. He really put it to the forefront because he had this thing that maybe too much improvised keyboard stuff wasn't commercial, whereas we actually thought it was quite exciting. So the record turned out to be something quite different to what we'd intended, the instrumental part anyway."
Hugh: "I actually loved 'Indication' because it was a mover. A lot of the singles were fairly mid-tempo, so to kick out on some of the faster stuff was a real pleasure. It reminded me more of some of the stuff we did on stage."
28. HOW WE WERE BEFORE
(Colin Blunstone) Verulam Music Co Ltd
Recorded 8 July 1965
Take 6
Decca F12426 - 17 June 1966
Colin's other original composition was a year old by the time it was released, which suggests that the band were not paying too many visits to the studio in 1966. Nevertheless it is a charming, largely acoustic, ballad, and it bears the Beatle-ish hallmark of many of his later compositions.
29. GOTTA GET A HOLD OF MYSELF
(Clint Ballard Jr, Angela Riela) Memory Lane Music Ltd/Copyright Control
Recorded May 1966
Lansdowne Studios
Take 8
Decca F12495 - 23 September 1966
Written in part by songsmith Clint Ballard, the composer of class chart toppers such as 'You're No Good', 'I'm Alive' and 'The Game Of Love', 'Gotta Get A Hold Of Myself’ was a US single for Dee Dee Warwick in early 1966, but unknown in the UK. Perfectly suited to the Zombies' style, the group turned in an excellent rendition, with a ghostly organ and some sprightly bass underpinning a superbly tortured vocal.
Rod: "'Gotta Get A Hold Of Myself' was given to us by a guy from St Albans named Mick Trounce. We were in the pub one day, bemoaning the fact that we hadn't had any hits. Our manager - still Tito - had said 'You keep wanting to do your own songs, you should do some covers'. So we were thinking of some songs to cover, and this chap Mick said we should do this Dee Dee Warwick song. I hadn't heard it before, but he gave it to us and we really liked it, so we recorded it."
30. GOIN' OUT OF MY HEAD
(Teddy Randazzo, Bobby Weinstein) Chappell-Morris Ltd
Recorded 23 October 1966
Kingsway, London
Vocal overdub recorded Advision
Decca FI2584 - 17 March 1967
The Zombies' final single with Decca was something of a debacle which had ironically started out as a heartfelt tribute to their idols, Little Anthony & The Imperials. 'Goin' Out Of My Head' had been in the stage act since the group had heard Little Anthony play it on the Dick Clark tour, and the arrangement in typical fashion paid homage to the original whilst retaining the unmistakeable stamp of the Zombies. In an unprecedented move, Ken Jones decided to bolster the track with horns and vibes: a nice enough idea in theory, but thanks to a engineering snafu Colin's lead vocal was buried. Like 'Leave Me Be’ the group attempted to rectify the situation by overdubbing additional vocals, but it was too late to save the record. Once again, this is the first time the correct single version has been reissued.
Colin: "The actual clincher was 'Goin' Out Of My Head'. They dubbed some horns on, some trombones, but they put them on the lead vocal track; so that got a bit drowned out, and we couldn't alter it."
Rod: "The single was one where we were very disappointed with the production because Ken downplayed the harmonies, and I remember much preferring the demo we did, where the harmonies were massive. I remember that we did that at Kingsway in Portland Place, because we walked in as Jimi Hendrix came out, having just recorded 'Hey Joe'."
Chris: "Tony Hall at Decca said 'I can't hear the voice' so we went and overdubbed Colin's voice on the mix, so he's double tracked. Then we took him the overdubbed version and he said 'chalk and cheese'. And Ken Jones said afterwards, 'I'm always going to keep the vocal on a separate track from now on'. Because he had to keep a track for the brass, Colin's voice got mixed in with ours and buried."
31. SHE DOES EVERYTHING FOR ME
(Rod Argent) Verulam Music Co Ltd
Recorded May 1966
Lansdowne Studios
Take 14
Decca FI2584 - 17 March 1967
Far from an ignominious end, the Zombies' last cut for Decca was an exciting, driving number that could have been an A-side in its own right, had the group's confidence been higher. Interestingly, this was the first time they had double-tracked the harmonies in the studio, having previously recorded lead and backing vocals at the same time.
Chris: "I remember the thing about staying behind for the mix came to a head at Lansdowne Studios when we were doing 'She Does Everything For Me'. We'd decided we wanted to stay and the road manager or someone said 'Oh, Chris and Rod are going to stay behind'. 'They're not, you know!' And we had this big confrontation with Ken and the engineer Adrian Kerridge. It got quite heated, but in the end we didn't stay."
