[歌手简介]

　　Aside from the Beatles and perhaps the Beach Boys, no mid-'60s rock group wrote melodies as gorgeous as those of the Zombies. Dominated by Colin Blunstone's breathy vocals, choral backup harmonies, and Rod Argent's shining jazz- and classical-influenced organ and piano, the band sounded utterly unique for their era. Indeed, their material -- penned by either Argent or guitarist Chris White, with unexpected shifts from major to minor keys -- was perhaps too adventurous for the singles market. To this day, they're known primarily for their three big hit singles, "She's Not There" (1964), "Tell Her No" (1965), and "Time of the Season" (1969). Most listeners remain unaware that the group maintained a remarkably high quality of work for several years.

　　The Zombies formed in the London suburb of St. Albans in the early '60s, and actually didn't entertain serious professional ambitions until they won a local contest, the prize being an opportunity to record a demo for consideration at major labels. Argent's composition "She's Not There" got them a deal with Decca, and the song ended up being their debut release. It was a remarkably confident and original first-time effort, with a great minor melody and the organ, harmonies, and urgent, almost neurotic vocals that would typify much of their work. It did well enough in Britain (making the Top 20), but did even better in the States, where it went to number two.

　　In fact the group would experience a lot more success across the waters than they did at home throughout their career. In early 1965, another piece of classic British Invasion pop, "Tell Her No," went into the Top Ten. Yet that was as much Top 40 success as the group would have for several years.

　　The tragedy was that throughout 1965 and 1966, the Zombies released a string of equally fine, intricately arranged singles that flopped commercially, at a time in which chart success on 45s was a lot more important to sustain a band's livelihood than it would be a few years down the road. "Remember When I Loved Her," "I Want You Back Again," "Indication," "She's Coming Home," "Whenever You're Ready," "Gotta Get a Hold of Myself," "I Must Move," "Remember You," "Just out of Reach," "How We Were Before" -- all are lost classics, some relegated to B-sides, that went virtually unheard, all showing the group eager to try new ideas and expand their approaches.

　　What's worse, the lack of a big single denied the group opportunities to record albums -- only one LP, rushed out to capitalize on the success of "She's Not There," would appear before 1968.

　　Their failure to achieve more widespread success is a bit mystifying, perhaps explained by a few factors. While undeniably pop-based, their original compositions and arrangements were in some senses too adventurous for the radio. "Indication," for instance, winds down with a lengthy, torturous swirl of bitter organ solos and wordless, windblown vocals; "Remember When I Loved Her," despite its beautiful melody, has downbeat lyrics that are almost morbid; "I Want You Back Again" is arranged like a jazz waltz, with the sorts of sudden stops, tempo shifts, and lengthy minor organ solos found in a lot of their tunes. The group were also, perhaps unfairly, saddled with a somewhat square image; much was made of their formidable scholastic record, and they most definitely did not align themselves with the RB-based school of British bands, preferring more subtle and tuneful territory.

　　By 1967, the group hadn't had a hit for quite some time, and reckoned it was time to pack it in. Their Decca contract expired early in the year, and the Zombies signed with CBS for one last album, knowing before the sessions that it was to be their last. A limited budget precluded the use of many session musicians, which actually worked to the band's advantage, as they became among the first to utilize the then-novel Mellotron to emulate strings and horns.

　　Odessey and Oracle was their only cohesive full-length platter (the first album was largely pasted together from singles and covers). A near-masterpiece of pop/psychedelia, it showed the group reaching new levels of sophistication in composition and performance, finally branching out beyond strictly romantic themes into more varied lyrical territory. The album passed virtually unnoticed in Britain, and was only released in the States after some lobbying from Al Kooper. By this time it was 1968, and the group had split for good.

　　The Zombies had been defunct for some time when one of the tracks from Odessey, "Time of the Season," was released as a single, almost as an afterthought. It took off in early 1969 to become their biggest hit, but the members resisted temptations to reform, leading to a couple of bizarre tours in the late '60s by bogus "Zombies" with no relation to the original group. By this time, Rod Argent was already recording as the leader of Argent, which went in a harder rock direction than the Zombies. After a spell as an insurance clerk, Blunstone had some success (more in Britain than America) in the early '70s as a solo vocalist, with material that often amounted to soft-rock variations on the Zombies sound.Much more influential than their commercial success would indicate, echoes of the Zombies' innovations can be heard in the Doors, the Byrds, the Left Banke, the Kinks, and many others.

　　如果你对60年代那著名的“不列颠入侵”(British Invasion)有所了解的话，相信你一定会记得一支名为“僵尸”(The Zombies)的乐队，做为这次运动的中坚力量。The Zombies由主音Colin Blunstone、键盘手Rod Argent、结他手Paul Atkinson，鼓手Hugh Grundy及低音Chris White组成。他们曾经和“甲壳虫”(The Beatles)、“滚石”(The Rolling Stone)等乐队一起成功的在美国掀起一场英伦风暴，可惜的是这样一支非常有潜力的乐队最终却因为内部问题而在成立短短几年后便解散，实在让人为之惋惜。据说他们各分东西后，在美国居然还有人不断冒他们之名到处演出，且大受欢迎，而在民谣界享用盛誉的“飞鸟”(The Byrds)在定义自我创作时也曾经说过有11%的灵感来自“僵尸”的音乐，从这两点也可以看出在当时“僵尸”确实是一支非常受人欢迎的乐队。