Facts about the ultimate Zombies record, the 4-CD box set
released November 1997 on Ace/Big Beat Records in the UK and USA, and on Vivid Sound in Japan
by Alec Palao

I'm the chap putting together the ZOMBIES box set that Rod speaks of ... and I thought Zombies fans might want some more information on it. The working title is "Zombie Heaven" and that's just what it is, featuring pretty much every note the band recorded, spread over 4 CDs, with over an hour of unissued material! I've been careful to make sure the original mono single versions were included, as they often had backing vocals or extra instruments that aren't on the stereo mixes (the stereo versions are the ones on most Zombies CDs currently available). And the unreleased stuff is fantastic, with many songs you won't have heard before, plus different versions of your faves. And in addition to the following tracklisting, there will be lots of little surprises like radio ads and studio chat all over the box set.

I interviewed all the chaps in the Zombies for the booklet, as well as many of their friends and colleagues like Jim Rodford, Gus Dudgeon, Terry Quirk etc. And there's a chronology based around a list that Paul Atkinson has of almost every gig the band ever did! Finally, I'm putting together a separate scrapbook of press clippings, "Zombiemania" that people can mail in for once they've got the box.

"Zombie Heaven" is scheduled for release in October, and though it is officially issued on Ace/Big Beat Records of England, it will be available throughout the world. So now you know what to ask for a Xmas present!

Here follows the tracklisting, which is 90% correct at this time - I'll let you know if there are any changes - and the press release for the box set. Feel free to ask if you have any more questions, and keep up the good work with the page!

All the best


ďZombie Heaven - The Ultimate Zombies AnthologyĒ
working tracklisting



1. Sheís Not There
2. You Make Me Feel Good***
3. Leave Me Be***
4. Woman
5. Tell Her No
6. What More Can I Do
7. Roadrunner
8. Summertime
9. I Canít Make Up My Mind
10. The Way I Feel Inside***
11. Work Ní Play
12. You Really Got A Hold On Me-Bring It On Home To Me
13. Sticks & Stones
14. Canít Nobody Love You
15. I Donít Want To Know
16. I Remember When I Loved Her
17. I Got My Mojo Working
18. Sheís Coming Home
19. I Must Move***
20. I Want You Back Again***
21. Whenever Youíre Ready
22. I Love You***
23. Is This The Dream***
24. Donít Go Away
25. Remember You
26. Just Out Of Reach
27. Indication
28. How We Were Before
29. Gotta Get A Hold Of Myself
30. Goiní Out Of My Head***
31. She Does Everything For Me***

1. Care Of Cell 44
2. A Rose For Emily
3. Maybe After Heís Gone
4. Beechwood Park
5. Brief Candles
6. Hung Up On A Dream
7. Changes
8. I Want Her She Wants Me
9. This Will Be Our Year ***
10. Butcherís Tale
11. Friends Of Mine
12. Time Of The Season
13. Iíll Call You Mine ***
14. Imagine The Swan
15. Conversation Off Floral Street
16. If It Donít Work Out (overdubbed single version)
17. Donít Cry For Me (overdubbed single version)
18. I Know She Will (overdubbed)
19. Walking In The Sun (overdubbed)
20. Iíll Keep Trying (overdubbed)**
21. Iíll Call You Mine (overdubbed)**
22. Smokey Day
23. She Loves The Way They Love Her
24. Girl Help Me
25. I Could Spend The Day
26. A Rose For Emily (alternate mix)*
27. This Will Be Our Year (true stereo mix)*

1. Summertime (demo)*
2. Woman (demo)*
3. Kind Of Girl (demo)*
4. Leave Me Be (demo)*
5. Iím Goiní Home Take 2 *
6. Iím Goiní Home
7. Sometimes (intro)*
8. Sometimes
9. Itís Alright With Me
10. Kind Of Girl**
11. Walking In The Sun (undubbed)*
12. studio chat*
13. The Way I Feel Inside (rehearsal)*
14. I Want You Back Again (alternate version)
15. Nothingís Changed (backing track)*
16. Nothingís Changed**
17. Remember You (soundtrack version)**
18. Come On Time*
19. Iíll Keep Trying (undubbed)*
20. Whenever Youíre Ready (demo)*
21. Youíll Go From Me (demo)*
22. I Know She Will (undubbed)*
23. Donít Cry For Me (undubbed)*
24. If It Donít Work Out (undubbed)*
25. One Day Iíll Say Goodbye (home demo)*
26. I Donít Want To Worry (home demo)*
27. A Love That Never Was (demo)*
28. Call Of The Night (demo)*
29. Out Of The Day (demo)*
30. This Will Be Our Year (demo)*

1. Tell Her No
2. What More Can I Do
3. Iím Goiní Home
4. For You My Love
5. Tell Her No (piano version)*
6. Soulville
7. Rip It Up*
8. Canít Nobody Love You
9. You Must Believe Me
10. Sheís Coming Home*
11. I Must Move*
12. Just Out Of Reach
13. If It Donít Work Out*
14. Whenever Youíre Ready
15. Itís Alright
16. Will You Still Love Me Tomorrow*
17. When The Lovelight Starts Shining Through Her Eyes
18. Just A Little Bit*
19. Sitting In The Park*
20. Gotta Get A Hold Of Myself
21. Goiní Out Of My Head
22. Friends Of Mine*
23. This Old Heart Of Mine
24. The Look Of Love*


The Beatles rated them highly. John Lennon wanted to produce them. Pete Townshend was an admirer, Jimi Hendrix a besotted fan. Dusty Springfield liked them so much she asked them to write a song for her (which they did). Perhaps the most significant accolade the Zombies received at the time was the respect accorded them when they shared bills with by the black acts they admired so much themselves, such as the Isley Brothers, Chuck Jackson, Dionne Warwick, Little Anthony & The Imperials and many others.

In the years since their demise the Zombies influence has continued to spread. Musicians as diverse as Pat Metheney and Tom Petty have revealed their deep admiration for the band. ďSheís Not ThereĒ has been covered countless times, by everyone from Santana to the UK Subs, yet it is the remarkable original that we all go back to, as fresh sounding today as the day it was recorded, thirty-three years ago. ďWell, no-one told me about herĒ is still one of the most recognised opening lines in pop history.

The Zombies were one of the few English bands of the 1960s that enjoyed true global popularity, with two American number ones, chart records throughout the rest of the world and a deep and lasting affection for their music. In early 1967, at a time when ironically their career had almost ground to a halt in the UK, the band played to crowds of over 30,000 in the Philippines. Even more ironic is the fact that after the band had split their last single ďTime Of The SeasonĒ became their biggest hit. Airplay for the song on American radio recently passed the two million mark.

Beyond the statistics the Zombies had several remarkable attributes that set them apart from other artists. The sheer consistent quality of Rod Argent and Chris Whiteís songwriting is rivalled only by Lennon and McCartney. Building upon the standard R&B and rockíníroll influences, the Zombies introduced class and sophistication into a genre not noted for either, and in the most natural, unselfconscious way possible. And the songs were lent an extra dimension by the voice of Colin Blunstone, widely acknowledged as one of the finest singers Britain has ever produced. Rod Argentís keyboard work is regarded as some of the most accomplished and inventive in rock. Fellow Zombies Paul Atkinson and Hugh Grundy should not be maligned, Grundy in fact being amongst the top three drummers to emerge from the beat boom. As a whole, the ensemble chemistry of the band is unsurpassed.

The Zombies canon belongs on the same shelf as the other major players of the mid-1960s such as the Kinks, Yardbirds and Animals. While their singles for Decca and CBS became progressively less successful after ďSheís Not ThereĒ, there was never at any point a drop in quality. The Zombies records are some of the best produced and distinctive in all pop music. Of their two long-playing albums, the second, 1967ís Odessey & Oracle is oft referred to as a work of genius.

Finally, there is the fairy-tale element to the Zombies story. They came together as school friends in the sleepy Hertfordshire town of St. Albans, purely for the love of beat and R&B music. About to pack it all in for work and college, they took a shot at a talent contest and won, after which the band were offered record contracts. They opted to sign with the independent Marquis Music, one of the few honest companies of the time. This stood them in good stead when their first single became first a top twenty hit in the UK, and then a smash all over the world in late 1964. While their career failed to return to such heights they split, only to see their final single become their biggest record. The Zombies have always received their royalties, and they are now one of the few groups of the time that own and benefit from their own catalogue.

This the first time that catalogue has been given the respect it deserves.

Major sales points:

1. The bands catalogue is one of the few in 1960s pop that fits in its entirety into a boxed set in such a perfect, symmetrical fashion, with an unrivalled consistency of quality. Indeed the weakest R&B cover the group recorded is stronger than the entire output of many bands from the same era.

2. The background archive research has been the most exhaustive and thorough afforded any Zombies package. Here everything will be presented as originally issued, in mono or stereo, where appropriate. A considerable amount of the Zombies original singles mixes have actually never appeared on CD before (previous reissues of the have utilised inferior remixes). Carefully mastered to Aceís exacting standards, the Zombies work will never have sounded as good as it will here.

3. Perhaps the most exciting prospect for the legions of Zombies fans across the globe will be the inclusion of over an hour of previously unissued material. The bandís archives have been combed to reveal an embarrassment of riches, ranging from their legendary first session, through rehearsals, studio outtakes and alternate versions, ads and live material recorded for the radio, to most significantly of all, demo recordings that include previously unheard songs. A veritable bonanza of new material from a band whose vaults many believed had been exhausted.

4. The accompanying booklet and essay will become a future reference book of Zombiedom, based as it is around a remarkable day-by-day diary of the bandís hectic mid-1960s career. All five members of the band have co-operated in full throughout, providing the most comprehensive analysis of their music and career yet published. The booklet will also feature a visual feast of Zombies ephemera, based largely on the untouched-until-now personal archives of the band members.

5. As a final bonus, aficionados will have the opportunity to receive a free promotional-only scrapbook of cuttings and additional ephemera entitled Zombiemania, available exclusively to purchasers of the box set. All in all, this project is the last word on the fabulous legacy of the Zombies.