Search - Zombies :: Odyssey & Oracle

5 Stars does this classic no justice

Sean M. Kelly | Portland, Oregon United States | 08/10/2001

(5 out of 5 stars)

"I know I will face opposition from "Sgt. Pepper" fans on this point, but I have argued for a long time that the 2 most important pop lps of the 60's are the Beach Boys' "Pet Sounds," and its most obvious cousin, the Zombies' "Odessey and Oracle."There are many reasons for my stance on this, but the most important reason is the album itself. Unlike "Pepper," which even Lennon put down in his later years as being uneven, "Odessey and Oracle" is a beautifully constructed lp of majestic beauty that is years ahead of its time. It's somewhat unfair to call it a "psychedelic" lp for the same reasons that Love's "Forever Changes" isn't quite psychedelic. Both lps transcend categorization. For every "Hung Up On a Dream" (arguably Rod Argent's finest 3 minutes- I call it Rod's "Good Vibrations"- listen to the 2 tracks back to back..both 3 minutes...amazing similarities) there is a glorious "Beechwood Park" or "I Want Her She Wants Me."Chris White (his songs the true beneficiary of the late 60's technological progession and more overtly influenced by psychedelia than Argent) and Rod Argent proved time and again on this lp that they were master songwriters and musicians of great majesty, with White's progression as a songwriter startling. As was true for the band throughout their brief tenure, they were willing to take great chances on their tracks. Their obvious understanding and tasteful, proper use of the mellotron, is the pre-cursor of the 70's Progressive sounds; the use of backwards tape loops makes White's harrowing "Butcher's Tale" all the spookier. And those harmonies! Colin, Rod, and Chris created among the finest 3 part harmonies ever made. Accentuated, as always, by the pure competency of Colin Blunstone's empassioned vocals, Paul Atkinson's (very underused, alas) guitar, and Hugh Grundy's always rock-steady drumming, White and Argent could flourish, and did. Alas, the Zombies sank like a stone amidst all of the psychedelia around them, leaving "Odessey and Oracle" a brilliant swansong. One can only venture to guess the brilliance that could have emerged from the 5 members had they stayed together, but it was not to be. The Zombies lived all too short of a life, while vastly inferior bands lived on by adapting their styles to the flavors of the day. The Zombies stayed true to their music, and "Odessey and Oracle" clearly shows this. This is a main reason why I rate "Odessey and Oracle" as high as I do.This release offers both stereo and mono versions of the album. Listen to both versions. The mono versions offer brilliant insight to the band's strengths as musicians and vocalists, while the stereo offers the brilliant production as well as the effects that make this lp as special as it is. An absolute must have gem of the highest order."

Your 60's rock collection isn't complete without this

Michael Paulsen | Rancho Santa Margarita, CA USA | 02/27/2001

(5 out of 5 stars)

"Another astounding late 60's album like Love's "Forever Changes" that always seems to get lost in the maelstrom of the Beatles/Stones/Who/Doors/Byrds oligopoly of musical greatness. You can also lump The Lovin' Spoonful's HUMS and The Mamas & the Papas' IF YOU CAN BELIEVE YOUR EYES AND EARS in this group of lost classics as well. ODESSEY & ORACLE (sic) was The Zombies final album, released in 1969 in the States, a full year after its release in the UK. The ubiquitous classic "Time of the Season" aside, this album easily ranks up there with SGT. PEPPER and the NOTORIOUS BYRD BROTHERS as a landmark psychedelic pop-rock album. Rod Argent's songwriting genius and Colin Blunstone's husky vocals place the Zombies miles from the more bubblegum lightweights like The Turtles or Herman's Hermits. If you haven't heard this album, I guarantee you songs like "Care of Cell 44", "Brief Candles", "Hung up on a Dream", "I Want Her She Wants Me" and "This Will Be Our Year" will be sheer ear candy. This album is incredibly, almost disturbingly, addictive. Sometimes I can't seem to pry it from my CD changer!"

Took a Long Time To Come

Eugene Bentley | Des Moines, Iowa United States | 09/19/2000

(5 out of 5 stars)

"Having monumental hits in 'She's Not There' and 'Tell Her No' in 1965, the Zombies called it quits after four years due to dwindling bank accounts and nonexistent public interest. BUT not before they recorded the remarkable "Odessey And Oracle". First off, I think this album actually wavers between 4-stars and 5-stars. It's not a revolutionary album because the innovations prevalent here were already used on the Beatles' "Sgt Pepper" album and various Beatles singles throughout 1967. And yet, the songwriting and musicianship are first class.That leaves "Odessey And Oracle" to being reactionary--but reactionary in the best sense of the word. One could hardly blame the Zombies for that. After escaping artistic imprisonment in Manila, Rod, Chris, Colin, Paul and Hugh must have been in awe of the magical sounds coming over the airwaves and pressed in the grooves of vinyl when they got back to the Western world. "Odessey And Oracle" reflects this awe in that you hear influences of different artists. For instance, one could hear a bit of the Beatles (especially since the album was recorded directly after "Sgt Pepper's Lonely Hearts Club Band")in 'Care Of Cell 44' and 'A Rose For Emily', a bit of Procol Harum in 'Beechwood Park', and a little bit of the Doors in 'Time Of the Season'. That said, NEVER does the Zombies' own identity get lost in being copycats. The songs all retain those ethereal and otherworldly qualities that make the Zombies' trademark sound. It was a new and improved Zombies. And yet, "Odessey And Oracle" was recorded under what many would consider dire circumstances. Their contract with Decca expired, they signed up with CBS on a trial basis, CBS allowed only enough money to mix the album in mono (the stereo mix came out of Rod's and Chris' royalty money)and Colin, Hugh and Paul were running out of money. Being one of the first non-EMI artists to record at the famed Abbey Road studios, the Zombies had to record around everybody else's schedule and had to high tail it out of the studio when an EMI artist was ready to record (in fact, it is rumoured that workers made off with a piano in the midst of the Zombies laying down a vocal track!) Plus, at a time of psychedelic extravagance, the Zombies had access to a limited array of instruments (no sitars, tablas or 41 piece orchestras here folks). Lesser artists would have either fallen flat on their faces or given up. I think that these circumstances and limitations actually benefited the music. The limited studio time forced them to make quick but intelligent decisions about songwriting and arrangements (their greatest strengths). The Zombies had to write their songs, learn them quickly, and decide on an arrangement BEFORE going into the studio. Also, the revolving use of piano, organ, harpsichord, harmonium and mellotron (and their various combinations) actually helped to create aural continuity (as opposed to conceptual continuity in "Sgt Pepper") throughout the album. In that respect,"Odessey" DOES compare to the Beach Boys' "Pet Sounds" album. The highlights of "Odessey And Oracle" are the shimmering 'Beechwood Park', the gorgeously melancholic 'A Rose For Emily', the psychedelic 'Hung Up On a Dream', the choir like sounds of 'Changes' and the spooky anti-war ballad 'Butcher's Tale (Western Front 1914)." I'm sure many will find their own favourites here. "Odessey And Oracle" is like a tribute album to the sounds of 1967 and is enjoyable listening. The Zombies grabbed on to these sounds and vibes and recorded this wonderful echo of the psychedelic era. And now, with Big Beat providing us with both mono (which has never been available here in the States) and stereo mixes of this album, we get a whole new perspective on this fabulous echo."