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(MAN SINGING) ♪ Should I try to hide ♪

♪ The way I feel inside ♪

Official YIFY movies site: YTS.BZ

♪ My heart for you ♪

♪ Would you say that you ♪

♪ Would try to love me too? ♪

♪ In your mind ♪

♪ Could you ever be Really close to me? ♪

♪ I can tell the way you smile ♪

♪ If I feel that I could be certain ♪

♪ Then I would say the things ♪

♪ I want to say tonight ♪

♪ But till I can see ♪

♪ That you'd really Care for me ♪

♪ I'll keep trying to hide ♪

♪ The way I feel inside ♪

I've never worked out if The Zombies are lucky or unlucky.

But there were times when luck wasn't quite on our side.

(SIGHING) Nothing went to plan.

(TIME OF THE SEASON BY THE ZOMBIES PLAYING)

YouTube found community, Zombies fans, random people on the Internet,

my name is Giggens.

We are here today to talk about the Zombie's 1968 album, Odessey and Oracle.

Underrated as hell! It is chamber pop gold.

What? Is this that song, that's like...

Who's your daddy?

MAN: Right away. When it came on, I recognized it.

That background with the... (VOCALIZING)

♪ It's the time of the season ♪

Essentially, after the recording of this album, The Zombies broke up.

It was only later that critics and music aficionados would welcome it

into the club of the late 60 classics as one of the best records of all time,

with one of the best songs of the decade, Time of the Season.

I don't know if they still exist and still do songs and stuff?

I'm really interested, you know.

I'd like to meet some people.

What is your name, please?

-Rodney Terence Argent. -Hubert Grundy.

-Paul Ashley Warren Atkinson. -Christopher Taylor White.

Colin Edward Michael Blunstone.

-You probably know them better as The Zombies. - (CROWD CHEERING)

You must tell me if I'm going on too much about something

because I know I tend to go from one thing to another.

I hope he's not giving all his stories away over there.

My name is Rodney Terence Argent.

Um... That's it.

I was born in Saint Allman's. obviously a wartime family.

My father was a self-taught pianist, and he had his own dance band

from the age of 17 to the age of 83.

I can't believe it. You know, we're getting towards that sort of area now.

You want me to introduce myself?

Okay. My name's Colin Blunstone.

I'm the lead singer from The Zombies.

My mother came from a big musical family.

Every Christmas we had our own dance band,

and maybe that did affect me because as a child I sang all the time.

My neighbors who didn't know my name,

just called me, "the boy who sings."

Whenever I was involved in music,

I just felt at ease, and I felt like I was at home.

It was how I expressed myself really,

through strength or excitement or sadness.

I remember my parents buying me a harmonica when I was six-years-old.

And I could immediately play it because I could somehow,

visually see where the scale was.

It felt that natural to me. And my mum... Bless her.

When I was nine, she said, "You ought to get into a church choir."

I went along to the first rehearsal.

I remember singing the first chorus of Bark Saint Matthew Passion

Ah, I just melted.

It had that profound effect on me.

It was this fantastic world of harmony,

which was different to pop music.

Hearing 400 years of some of the best classical music ever written

gave me the most extraordinary exposure.

And one day when I was 11, I wandered down to my cousin's house, Jim Rodford.

He was a bit of a mentor all my life, really.

And in this wonderful rock and roll group,

the Bluetones, later were, were the Kinks,

and he was playing me a couple of records,

and I sort of said, "Yeah, it's okay. It doesn't...

"You know, I'm not completely knocked out but it's all right."

You know, he said, "Well, let me play you this."

And he put on Elvis' Hound Dog.

♪ You ain't nothing But a hound dog... ♪

And my whole world was blown away.

And to my parents' horror, for the next six months,

I didn't want to do anything but listen to the rawest rock and roll I could find.

♪ I asked my friends about her But all their lips were tight ♪

My really formative years would have been listening

to Little Richard, Chuck Berry and then later on Buddy Holly...

♪ That'll be the day... ♪

and Ricky Nelson was a big favorite with me.

That you think about me ♪

♪ Oh, I got a little feeling ♪

And eventually I begged for a guitar.

And it wasn't easy for my parents to afford it,

but I eventually got a guitar when I was about 12,

and then I could accompany myself.

RODNEY: This was all within the background of an England that was emerging

from a lot of privation from wartime conditions.

There was a real upsurge of energy,

and I believed that particular time

was a magic crucible for music in the UK.

I always considered that I was incredibly lucky

to be growing up absolutely in that time period.

I had to try and form a band.

When I was 15, I went to visit a friend of mine in the folk club

and in the corner there was a guitarist,

and I thought, ah, he's got a really nice groove.

I just walked up to him and said, "I'm sorry, you don't know me,"

you know, "Do you want to be in a band?"

And he said, "Yeah, I don't mind if I do."

Hello. Lucy Marie Atkinson.

I'm the daughter of Paul Atkinson, the guitar player of the Zombies.

His parents bought him this really expensive violin, and he hated playing it.

He was at school one day, and one of the older boys

had a rusty old guitar and asked to swap.

And he did.

RODNEY: One of my best friends at the time, he was building a bass guitar,

and I said, "How's that coming on? Have you finished yet?"

He said, "Yeah, I've just finished it."

I said, "Fantastic."

I said, "You can be a bass player in a group."

And I thought, "Right, here we go."

There was an Army Corps at the school.

I tried to look at the drummer who had the best sense of rhythm...

just playing... (VOCALIZING)

(MARCHING BAND MUSIC PLAYING)

My name is Hugh Birch Grundy.

I was a lazy type chap, really, and if I could get out of sports...

uh, I would.

The cadets had a marching band and we would parade through Saint Albans.

And this is where vanity came in.

Because I thought I would rather prefer to be up front

where I am more seen by the young ladies of the town.

So I applied to join the drums.

I went up to him and said, "Do you want to be in a band?"

And I immediately said yes.

RODNEY: And I thought that was going to be the band.

COLIN: It was only a coincidence that I joined The Zombies in the first place.

Paul Arnold turned to me one day and said, "You've got a guitar, haven't you?"

And I said, "Yeah."

And the next question was, "Do you want to be in a band?"

And because of my sports commitments,

I wasn't sure if I had time to be in a band.

I liked the idea of it.

Attracting girls and drinking beer

always seemed like a very worthwhile occupation to me,

when I was in my teens.

-I was going to be the singer. -Rod was going to be the lead singer.

I joined as a rhythm guitarist.

RODNEY: And we met for the very first time outside a pub in Saint Albans.

And three days before I had broken my nose.

RODNEY: He was a keen rugby player

and he'd had an accident on the field.

White tape all across my face, two black eyes.

And I know Rod, for one,

was really hoping that I wasn't there to meet them

because I looked a bit fearsome.

I probably looked a bit like a zombie.

And we all walked down to a place called the Pioneer Youth Club.

Rod's cousin played in the band.

He said, "Well, look, just try it with our equipment, see, see how you get on."

(ALL VOCALIZING OVER TAPE)

(STRUMMING GUITAR OVER TAPE)

-MAN 1 OVER TAPE: Okay, then. -MAN 2 OVER TAPE: A and D, right?

Right? A one...

-What are the chords? -Just D and G and A.

You know, it's sort of... A one two, three four.

(GUITAR PLAYING)

(SINGING) ♪ Bumchiwadi-wadi, Bumchiwadi-wadi♪

-♪ I just want to be your teddy bear♪ -(WHISTLING)

(ALL LAUGHING)

Jim said to us, "Don't bother, lads.

"I don't think you're going to go anywhere."

Which, of course, I think, was the spur.

Maybe that we needed to encourage us to go further.

RODNEY: Paul played all chordal stuff.

And he was an unusual guitarist and really put his stamp on part of the band.

Dear Paul, who, sadly, no longer with us,

seemed absolutely right to fit in.

He didn't want to be the front man.

He's not shredding...

He's not doing any two minute solos or anything.

He was a team player.

RODNEY: In the early days of rehearsing, I persuaded him to improvise,

and I said, "Well, just play anything first of all

"and then adapt it, see where your sense takes you."

And he was very musical.

COLIN: Paul was very good at supporting Rod.

And at our first rehearsal we had a coffee break,

by chance there was a broken down piano.

RODNEY: And I played Nut Rocker

by Bee Bumble and the Stingers.

It was a hit at the time, the rock and roll take on a classical piece.

And he was so much better than us.

We were fairly ordinary, but Rod, even at 15,

was spectacular, and I didn't know him.

I just met him and I went over and said to him,

"You know, you should play keyboards in this band."

Well, no, no, no, no. I'm the singer.

I'm going to, you know... And I was really confused, you know?

It's got to be rock and roll band.

We want three guitars, no keyboards.

And then, just at the end of the rehearsal,

I was just putting my guitar away, singing to myself.

Colin started singing a Ricky Nelson song.

And I thought he sounded fantastic,

and I walked up to him and I said...

"Okay, you've got to be the singer." I said, I'll play piano.

And that's how I became the lead singer in the Zombies.

My audition was fairly informal.

RODNEY: Names were the hardest thing in the world.

We were desperate for a name.

It just seemed impossible and embarrassing most of the time.

COLIN: We'd been the Mustangs for about a week,

and we realized there were hundreds of bands called The Mustangs.

RODNEY: The Searchers got their name from a John Wayne film,

and we were looking around at films.

To my complete shame, I came up with the name the Sundowners.

I thought it might be a reasonably catchy name.

No one else had any ideas.

We were the Sundowners, but then I thought, no. No one was happy with it.

And then one day, Paul came up with the name the Zombies.

I loved it immediately, and Colin hated it.

He absolutely hated it.

COLIN: I didn't know what a zombie was.

I still don't know what a zombie is, really.

I wanted us to be something like, you know...

The Rocking Thunder Balls or something.

Something dramatic, which would be absolutely terrible.

I'm embarrassed to say. Oh, God, the Sundowners.

( STICKS AND STONES BY THE ZOMBIES PLAYING)

♪ People talk About breaking off♪

♪ Can't they let us be?♪

♪ Sticks and stones May break my bones ♪

♪ But talk don't bother me♪

COLIN: The original bass player. He wanted to be a doctor.

He retired at a very early age from the music business.

And Chris White arrived.

Christopher Taylor White.

I loved music, so I played in several groups.

A friend of mine said his brother wanted to leave the band.

So he said, "Would you come along to a rehearsal

"and see if you can join?"

Am I gonna fit in here? That's the first thing you think.

And then, what have I got to learn?

Because they'd been together about a year and a half.

Normally the bass player and the drummer,

they're a very close unit because they're the rhythm section.

After about six weeks of Chris White coming in and playing bass,

Hugh Grundy came up and whispered in my ear at rehearsal,

"Who's this bloke who keeps coming in?"

They hadn't spoken.

HUGH: And we got to know each other better and better.

And Chris and I found that we fitted in, a mental allegiance, as it were.

We really had the same taste in music, and that's how it all started.

HUGH: We would rehearse regularly and we would get better and better,

and we then got to a point where we could actually go out and and play.

♪ You said that I'm the only one... ♪

ROD: The very first one that I remember was when we played at a youth club.

COLIN: It was a dance for teenagers, and I'd got this microphone

that would feedback all the time.

But I was loving it so much, I didn't care at all.

HUGH: We started there and we played some of the smaller clubs

and ballrooms and places in Saint Albans.

COLIN: But we had to work really hard to get any kind of following.

We were playing in working men's clubs who weren't paying much attention to us.

We would play anywhere.

And they weren't particularly glamorous places to start with.

We charged six pounds a night,

and five pounds would go towards buying new equipment.

And one pound was for everyone's bus fares.

And we would carry all the gear on a, on a bus until we got transport.

HUGH: Our first vehicle was a scooter.

COLIN: Hugh used to get him, his drum kit, me, and my guitar,

on his Lambretta scooter

when we were getting a bit more big-time.

We used to go touring around in an old ice-cream van.

RICHARD: That's when I learned to sleep anywhere to be quite honest.

You came back late from a gig and drafty bands,

pumping out smoke and everything.

COLIN: And somehow we used to get to the gigs.

When you're 15 or 16-years-old, to have that sort of love,

and something that's actually working,

and getting you credibility with your school friends.

That was really like magic.

We were totally in love with rock and roll,

and we loved playing our early gigs.

♪ Oh, this old heart of mine Been broke a thousand times♪

♪ Each time you break away I think you're going to stay ♪

All the nights are gone, Memories that go♪

Bringing you back again, Hurting me more and more♪

♪ Maybe it's my mistake♪

♪ To show this love I feel inside♪

♪ Each time I feel you come closer♪

♪ I'll never stop breathing♪

♪ 'Cause my heart has stopped beating ♪

♪ But I♪

♪ I love you, Oh, I love you♪

-♪ Yes, I do♪ -CHORUS: ♪ Yes, I do♪

♪ Yes, I do♪

(CROWD CHEERING)

Eventually we entered a rock and roll competition.

It was called The Heartbeat.

And we said, "Well, let's try it and see what happens."

'Cause they were going to go to college and I was going to be an art teacher.

COLIN: It was sponsored by a major London newspaper,

and people came from all over the country.

There were 10 bands a night and it ran for 10 days, so it was 100 bands.

HUGH: First heat came along and all the bands, various players.

There were judges there.

COLIN: It was a big show for us.

At Watford Town Hall, there were 2,000 people there screaming.

They had scarves and rosettes and the colors of the bands.

I remember they had these sort of noisemaker things.

It was like playing a sports match,

and amazingly, I think we all felt fairly relaxed.

I know I did.

I think, probably because I didn't think we stood a chance.

At that point, it was just fun.

HUGH: As it so happened, we won that first heat,

which allowed us to go back to the final.

We had very little hope, really, of, of winning it, but we did.

I was astounded.

We won it.

And it was then, for the first time, I dared to think

there could be a way ahead for us as a professional band.

And I think it affected everybody in the same way.

But we didn't talk about it.

It was just a thought.

Maybe...

(SUMMERTIME BY THE ZOMBIES PLAYING)

♪ One of these mornings♪

♪ You're going To wake up singing♪

♪ Then you're going to Spread your wings♪

♪ And take to the sky ♪

♪ But 'til that morning♪

♪ Ain't nothing, nothing Going to harm you♪

With your mommy and daddy There standing by♪

Let's face it, we're still young and we've got chances.

Still got the idea of university in the background, but it is in the background.

Paul came from a very strict background, to be quite honest.

His father was in business and everything,

and they didn't want him to be in a band.

There was no recognition that he was working his arse off.

My dad would have been considered quite a rebel back in that day.

It took a lot of guts to do what he did.

(YOU MAKE ME FEEL GOOD BY THE ZOMBIES PLAYING)

♪ You don't need any reason, Do you, baby? ♪

♪ Surely you should Know that by now ♪

COLIN: From winning that rock and roll competition,

we got a contract with Decca Records.

HUGH: And they said, "Time to go into the studio and record some songs."

COLIN: We were introduced to a producer called Ken Jones,

and he was giving us a pep-talk of the sessions in a couple of weeks' time.

"You guys could always write something, you know."

It didn't make a particularly big impression on me because I thought it was

a slightly different part of the business.

But to their eternal credit, Rod and Chris saw it in a different way

and they went away and they wrote two cracking songs.

RODNEY: The idea of success was very much on their mind,

and you only had the naivety and arrogance of youth once.

And that's a very powerful thing.

I wrote, You Make Me Feel Good with acoustic guitars,

just working on the basic principles of it.

And I thought, "Yeah, I can write something that's as good as the Beatles."

And the recording is going to sound fabulous.

I got some of my blues records out and one was a John Lee Hooker album

and there was a song on it called No one Told Me.

I just liked the way those words tripped off my tongue.

And I thought, right, let's start a story.

I want the melody to be very bluesy, to start with a broken rhythm

in the way that Ringo always used to do the early stuff with the Beatles.

And then I wanted the harmony to fill out the second section

and build into a big climax with us changing the harmonies underneath it.

And then finishing on a major chord and then falling down.

And, and it was just like a relationship story.

And I wrote... (SINGING) ♪ Do-do, do, Do, do, do, do, do ♪

( SHE'S NOT THERE BY THE ZOMBIES PLAYING)

♪ Well, no one Told me about her♪

♪ What could I do?♪

♪ Well, no one Told me about her♪

♪ Though they all knew♪

♪ But it's too late To say you're sorry♪

♪ How would I know, Why should I care?♪

♪ Please don't bother Tryin' t o find her♪

♪ She's not there♪

♪ Well, let me tell you About the way she looked ♪

♪ The way she'd act And the color of her hair ♪

♪ Her voice was soft and cool Her eyes were clear and bright ♪

♪ But she's not there♪

COLIN: Of course, eventually, we got a big name manager.

He was very powerful and influential.

We were introduced to him through our producer,

and he managed to get us TVs, live radios, national press.

(ALL SINGING) ♪ Halabaloo♪

ANNOUNCER: Tonight on Halabaloo...

(ALL SINGING) ♪ Where the action is♪

ANNOUNCER: Come on where the action is.

Maybe she's not there, but they're here and they're the Zombies!

COLIN: When She's Not There was first released,

it went on to a panel show in the UK called Juke Box Jury.

And welcome to another session of Juke Box Jury.

(AUDIENCE APPLAUDING)

COLIN: And four experts would judge various records.

Let's meet the jury we have with us this session.

First up, I'd like to introduce...

COLIN: And the week that She's Not There was released...

George Harrison from the Beatles was on the panel of this national TV show,

so the whole country would have been watching this.

we have a mixed jury tonight.

So let's... Let's have the first request.

COLIN: They played She's Not There.

♪ Please don't bother Tryin' to find her ♪

♪ She's not there ♪

GEORGE HARRISON: Well, their voices are marvelous.

And the chord sequences come in very nice, and I think it'll be a hit.

-George Harrison loved it. -And we all went... (VOCALIZING)

-That's a hit record. -HUGH: And it went to number one.

It was just incredible.

COLIN: We'd idolized Elvis and the rock greats.

We never thought we could follow in their footsteps.

We were fans.

The Beatles had just unbelievably conquered America.

And then we made the 9 o'clock news by being the first band after the Beatles

to get a number one with a self-written song.

(GOT MY MOJO WORKING BY THE ZOMBIES PLAYING)

♪ I got my mojo workin' But it just won't work on you ♪

COLIN: One of the problems we had is that when She's Not There was a big hit,

Decca Records wanted an album straight away.

They didn't have any songs.

At that time we were doing covers, R&B classics,

and that first album was recorded very quickly.

And the way we got the songs together was a little bit desperate.

RODNEY: It was recorded in a day, wasn't it?

-Or two days? -COLIN: Two evenings.

(TELL HER NO BY THE ZOMBIES PLAYING)

♪ And if she should tell you, "Come closer" ♪

♪ And if she tempts you With her charms ♪

♪ Tell her no, no, no, no, No-no-no-no ♪

♪ No, no, no, no, No-no-no-no ♪

♪ No, no, no, no, no♪

♪ Don't hurt me now For her love belongs to me♪

COLIN: I'm telling you, I mean, we've been working really, really hard,

and I was in the control room and I fell asleep.

And they really had to wake me up

to go and sing Tell Her No.

And I think it's on the second chorus,

there's a whole mumbled phrase.

I just thought, "Well, we can go back and correct that."

And our producer just wasn't interested,

-you know, it doesn't... -ROD: No, he said, "That's fine."

it doesn't make any sense at all.

-And he says, "Fine. That's fine." -ROD: He sings...

-(SINGING INDISTINCTLY) -Yeah...

-♪ Belongs to me ♪ -(LAUGHS)

-♪ No, no, no, no ♪ -♪ Oh, oh, oh ♪

-♪ Don't let her down from your arms ♪ -♪ No-no-no-no, no, no, no, no ♪

♪ No-no-no-no, no...♪

-He thought that was fine. -He said, "No, that's fine."

Uh, you... you see, it's so funny.

That record went to number six in the US charts.

(LAST FEW NOTES OF TELL HER NO PLAYS)

(CROWD SCREAMING AND CHEERING)

♪ I'm a road runner honey ♪

( ROAD RUNNER PLAYING)

(SONG PLAYS CONTINUOUSLY)

Because we had a hit record straight away,

you know, you have no control over this.

We joined these package tours in the UK in the '60s.

Straightaway, we did a big tour with the Searchers,

who people sometimes forget were probably the second biggest band

to the Beatles at the time.

Dionne Warwick and the Isley Brothers,

really accomplished artists, and we were just...

(CHUCKLING) Really, we were just put into the middle of that.

HUGH: Watching those stars whose music we'd been playing,

it was absolutely incredible.

COLIN: American artists took it a lot more seriously in those days.

British bands came out of pubs, you know.

Our warm-up would be a couple of pints of beer.

I learned quite a lot about being a professional performer.

HUGH: It was the sheer joy of playing regularly.

And the more regular you play,

you cannot help but get better.

♪...see that it's true, no ♪

♪ Move over, baby, I'm in overdrive ♪

-( ROAD RUNNER ENDS) -(CAR TOOTS)

ROD: Uh, first time we ever went to the US was to New York.

CHRIS: We remember driving in, seeing the skyscrapers

-and hearing sirens... - (SIREN WAILING)

...because our police cars only had bells.

It's quite exciting.

It's like watching something from television.

ROD: We knew we were going to play on the Murray the K's show,

opening on Christmas Day in 1964.

And we were really very, very nervous.

-(AUDIENCE CHEERING) -ANNOUNCER: The Brooklyn Fox Theater proudly presents

the swingingest personality of the USA,

the boss of the Swingin' Soiree is Murray the K.

-(AUDIENCE CHEERING LOUDLY) -(LIVELY INSTRUMENTAL MUSIC PLAYING)

(MUSIC STOPS)

-(MURRAY SHOUTS INDISTINCTLY) -(AUDIENCE SHOUTS)

-(MURRAY SHOUTS INDISTINCTLY) -(AUDIENCE SHOUTS)

-(MURRAY SHOUTING INDISTINCTLY) -(AUDIENCE SHOUTS)

MURRAY: Well, what's happening, baby?

May we wish you all a Merry Christmas. Happy New Year.

Happy Hanukkah to all you soul people.

And may we tell you out there

that we've got some great sounds for you tonight.

CHRIS: Chuck Jackson, Ben E. King, the Shirelles,

you know, all these people who are our heroes, basically.

And we were quite nervous because we were singing American songs.

We thought we were doing a sort of sterilized version

of American music and bringing it back.

"They're doing the real thing, and they're going to hate us."

MURRAY: Raise big hands for the Danny Boy crew,

-Patti LaBelle and the Blue Belles. -(CROWD CHEERING)

COLIN: We had to follow Patti LaBelle and the Blue Belles,

and they were fabulous and they brought the house down.

(LABELLE SINGING DANNY BOY) ♪ The pipes are calling... ♪

How can we follow such a wonderful,

magnificent artist as Patti LaBelle?

(PATTI AND THE BLUE BELLES SINGING FINAL NOTE)

(CROWD CHEERING LOUDLY AND APPLAUDING)

COLIN: We were 19 years old,

skinny little kids from rural England.

And the first day, we were standing in the wings,

quivering, thinking, "Can..." you know, "Can we do this?"

MURRAY: We've got some more sounds for you coming from England,

coming back to the USA where she belongs,

after completing a very successful tour of the...

COLIN: But it was fine. We got out there,

and we did okay. We did okay.

( WOMAN PLAYING) ♪ Woman♪

♪ When I walked with you last night♪

♪ My mind♪

♪ Saw that you'd soon hold me tight♪

♪ I can't concede, no♪

♪ I can't believe you love me too ♪

-(FINAL NOTES OF SONG PLAYING) -(MUFFLED CROWD CHEERING)

What an experience, 14 or 15 other acts.

And because we were playing over Christmas,

everyone was away from their families,

so there was a wonderful camaraderie backstage.

ROD: And I remember Patti coming to our dressing room

and having really long chats. She said,

"Oh, you've got to check out this new kid on the block, Aretha Franklin," you know?

"And you've got to check out Nina Simone."

So, we're getting all this input.

ANNOUNCER: It's the greatest stage show ever to come

to The Dick Clark Caravan of Stars.

Here's where you can get your advance tickets now.

CHRIS: A year later, we did Dick Clark tour.

That required us to go all over America.

It was exciting, absolutely thrilling.

Nobody I knew had been to America.

It was an education.

ROD: The very first day we got on the bus,

everyone was very friendly.

There was a lot of singing going on,

and they would sing R&B standards,

you know, or a cappella.

And then suddenly,

they turned to us and said, "Okay..."

-"Hey, you guys." -"...you sing something."

"Can you sing?"

And Colin said, "Oh, my God, what are we going to do?"

I said, "I don't know."

I said, "Why don't we do, just you and I,

"sing a cappella If I Fell, the Beatles song."

So, we... (CHUCKLING) we took our courage in our hands.

And we did it from start to finish, in harmony.

And they all went quiet, and we thought, "Ooh."

And at the end of it, they just all applauded.

-And they loved us after that. -(MUTED APPLAUSE)

HUGH: We would travel in a coach.

One night overnight in the coach,

and the next night we would stay in a hotel.

And driving through the night, you know,

we would hear singing quietly.

Someone would just go... (HUMS A NOTE)

and then build up a chord.

Like, sort of, spirituals and stuff like that.

It was just hairs on the back of the neck.

It's such a privilege to be part of that world

and... and to hear it firsthand.

Oh, this is the Zombies.

So, we're backstage.

We're playing with the Beach Boys.

( I REMEMBER WHEN I LOVED HER PLAYING)

That's Del Shannon, and Del Reeves, who's a country singer.

That's the Shangri-Las.

♪ And I remember when I loved her♪

That's Peter and Gordon.

♪ She seemed so cold to me♪

That's Mike Pender of the Searchers.

♪ But I remember when I loved her♪

This is in the Philippines.

We seemed to be very popular

with the Pakistan ambassador's family, particularly the daughters.

And so, they asked us back to the embassy.

( IT'S ALRIGHT WITH ME PLAYING)

(SINGING) ♪ If you want to mess around♪

♪ Just stay away from my door♪

♪ I've got a leak in my bucket♪

♪ And a great big hole in my floor♪

♪ But if you wanna stay around and love me♪

♪ You know it's all right with me♪

♪ I've got no money can't afford no big black car♪

ROD: The world was such a big place in those days

that to go abroad, was a much bigger deal.

And we didn't always know what was happening in other places.

Our manager said, "We've been offered a ten-day residency

"in the Philippines.

"Do you fancy seeing a bit of the East?"

For £100 a night between us.

COLIN: It seemed an opportunity to go to a tropical island.

The promoter was going to pay for our travel, uh, hotels and all the equipment.

We didn't have to take equipment with us.

COLIN: I thought probably we would lie on the beach all day,

and play in a hotel bar in the evenings.

In those days, getting to the Philippines

wasn't a one-day job.

It was via Paris, Delhi, Hong Kong.

We... we had to stop in all these places.

Anyway, we eventually got there,

and as we touched down,

there was this huge number of people

on the tarmac.

I remember saying to Colin,

"Is there a famous politician on the plane? You know, have you seen that?"

It was for us.

We were second only to the Beatles in the Philippines,

in the number of hit records we'd had.

We couldn't believe it.

♪ You know it's all right with me♪

HUGH: The Beatles had played there,

but they'd upset the President and the President's wife.

So, we were invited to the President's palace,

and we said, "Yes, of course we'll go."

( WHAT MORE CAN I DO? PLAYING)

♪ What more can I do♪

-♪ Ooh, ooh ♪ -♪ You know I'd gladly... ♪

COLIN: And we opened in this place called the Araneta Coliseum,

which at the time was the second biggest coliseum in the world.

And he had his own private army, the bloke who did it.

We were locked into this coliseum

by this promoter.

LUCY: He wanted to go and buy a toothbrush and toothpaste.

And they had, like, somebody with a machine gun, I think, taking them.

HUGH: It turned out to be a far bigger show than we ever thought.

The place held 40,000 people.

We had a ten-night residency there.

- (CROWD APPLAUDING AND CHEERING) -HUGH: It was full every night.

It was a fantastic time. All these people were coming to watch us, to our amazement.

But these guys must have spent their week's wages on going there.

The thought was that, "Well, if they're spending that much,

"where's all this money going?"

So, we were getting about £10 a night, if that.

(CHEERING AND APPLAUSE)

Now, you don't have to be that bright

to work out that that's wrong.

ROD: And someone was making a fortune.

It certainly wasn't us.

We would go to the States and playing six shows a day

in the Murray the K show, and not making any money.

Dick Clark Tour, the following year, just breaking even

with a number-one single.

I keep talking about money.

I'm not a money-orientated person at all.

I'm talking about having enough money to eat.

It was embarrassing.

It was really embarrassing.

ROD: We were being paid by honest publishers,

but it was Chris and me as the writers that...

that earned the money.

Unfortunately, for the rest of the guys...

COLIN: And the irony is, with hindsight,

I knew...

what was happening.

I'd been talking to one of the promoters

when we did a big show.

It was packed. There could not be more people there.

And I just casually said to him at the end of the evening,

"Well, see you next time."

And he said, "No, there won't be a next time."

And I said, "Why? They loved it. It couldn't have gone better."

He said, "I can't afford you."

I said, "Well, how much did you pay for us?"

And it was three and a half times what we were getting.

In my innocent mind, I thought he just made a mistake.

But really, that was the key.

We were being double sold.

It was late at night. Adrenaline was running. We'd just come off stage.

It's not a good frame of mind

to be looking at accounts and re-reading contracts.

Contracts are rarely written in good faith.

The management relationship just dissolved.

You know, he'd taken advantage of us so much.

And in the early days, he hadn't cared about image

and direction for us.

He just cared about us working the whole time.

It was really unfortunate what happened to us,

but it happened to so many other bands in the '60s.

ROD: There was a feeling around

in a lot of the people from the previous generation

who had gone into management or agency,

that rock and roll was only going to last for three or four years,

so they'd better make all the money they could out of these cash cows.

We were being ripped off to the tune of millions of pounds,

and in those days, that was an absolute fortune.

You know, my parents were working-class all their lives,

and I could have helped them.

ROD: I mean, we were 18 years old.

We weren't man enough to handle

all the tricks or whatever was going on.

(SINGING) ♪ Girl, I know you're not coming back anymore♪

♪ So why oh why do I keep on watching the door?♪

♪ I talk to you as though you can hear what I say♪

♪ But I'll lose my mind if I keep on acting this way♪

♪ Got to get a hold of myself♪

♪ Got to make believe I don't care♪

♪ Got to go someplace, find a brand new place♪

♪ Got to get out and get somewhere♪

(LAST FEW NOTES PLAYING)

(AUDIENCE APPLAUDING)

ROD: The irony is this form

of popular music has actually lasted longer than any other.

He could have made far more money

if he'd taken a long-term view on his artists

and tried to develop them properly.

CHRIS: We came back and we had no manager, no money,

no record company because Decca had dropped us.

-(INAUDIBLE) -COLIN: Our last single had been released,

but there was no interest.

We were just dejected, I think.

We went back and we felt the whole situation of how we were was wrong.

COLIN: Our old producer was continually trying to recreate She's Not There.

We wanted to be a little bit more adventurous.

Do something exciting and different.

ROD: Both Chris and I, we shared a flat at that time.

CHRIS: We just kept feeding off each other creatively,

encouraging each other, to be quite honest.

ROD: I remember Chris saying, "Do you know what?

"We've got to do at least one album

"that we produced ourselves."

We didn't know if we could produce an album.

It felt natural because as a songwriter,

we wanted to get the song right.

We went to our publisher, and so they said,

"Well, CBS have offered a thousand pounds,

and I can get you into Abbey Road."

COLIN: One of the most expensive studios in the world

because they were probably the best,

with engineers like Geoff Emerick and Peter Vince,

who worked on that album, which became known as Odessey and Oracle.

CHRIS: But it's funny not having the controller on that side.

COLIN: Yeah, it's unrecognizable...

-CHRIS: Yeah. Totally different. -...isn't it? Really. Yeah.

CHRIS: You look totally different, too.

-(CHUCKLES SOFTLY) -Thanks.

(BOTH LAUGH)

ROD: When we first set up in here, it felt like a liberation, didn't it?

-CHRIS: Exactly. -ROD: Because we were in control

-of everything. -CHRIS: That's right.

And we could take our own time.

COLIN: And we rehearsed really extensively

-because we had such a small budget. -CHRIS: Yeah.

So, when we recorded,

we knew exactly the songs that we were going to play,

-the keys we were going to play in... -CHRIS: Yep.

-...and the arrangement. -CHRIS: Yeah.

-All we were looking for was the performance. -Yeah.

ROD: Almost all the rehearsals were done at my mum and dad's house.

We used to do them in the front room with a small upright piano,

and usually with Hugh, just with a snare drum. And I found out later

that the guy next door was on night work, and he never complained.

But, uh, he became a heavy drinker later,

-and I think it may have been because of that. -(SOFT LAUGHTER)

-But also, we did rehearse in rehearsal rooms, too... -CHRIS: Yes, we did.

when we, when we had to rehearse the full band.

(LIVELY PIANO MUSIC PLAYING)

ROD: This is the piano that I used, I think,

possibly because I wanted a harpsichordy sort of sound on it.

It was just something that we thought

would be a change, uh, and it would fit the, the song.

So, we used to make decisions very quickly in those days,

and we just, "Let's try this. Yeah, that sounds all right." (CLICKS TONGUE)

( MAYBE AFTER HE'S GONE PLAYING ON RECORD PLAYER) ♪ But the light♪

♪ That fell upon me♪

♪ Turned to shadow when he came♪

-(SINGERS HARMONIZING) -♪ Maybe after he's gone♪

♪ She'll come back, love me again May...♪

-(MUSIC STOPS) -ROD: We walked in

just after the Beatles had walked out, having recorded Sgt. Pepper.

Some of the equipment was still in the studio,

and it meant that I could use the mellotron that was there, for instance.

They asked for technology where they could have more than four tracks.

But what we actually did,

was do a first pass on four tracks.

CHRIS: So, usually, it was bass, drums,

guitar on one track.

Piano, keyboards on another one.

Lead vocals on one, and then another one for vocal harmonies.

ROD: And then mixed those down

onto one track so that you get more tracks.

But that was all in mono, because we were only asked

for a mono mix initially.

And then they said, "Well, stereo seems to be interesting. Can you remix it in stereo?"

And we said, "We don't know. We've never done that."

-And our budget had run out, so we weren't paid. -Yeah. That's it.

-(CHUCKLES) -(MUTTERS SOFTLY)

That sounds like the story of our lives

-at that time, you know, but... -(LAUGHTER)

( CHANGES PLAYING) ♪ I knew her♪

♪ When summer was her crown♪

♪ And autumn sad, how brown her eyes♪

-(DRUM BEATS SOUNDING ON RECORDING) -Oh, that is the basics,

-right? Isn't it? The percussion. -Yeah... yeah. (CHUCKLES)

-(DRUM BEATS CONTINUE SOUNDING) -It sounds like a marching band,

-doesn't it? -Yeah.

ROD: Our sessions were generally three hours,

-weren't they, Colin? -COLIN: Well, they had to be.

You know, they had these very strict protocols in Abbey Road.

There was a song we did called Changes,

and it's the only song where all five of us were singing harmonies.

And we were around the piano

because we needed to get our notes.

We're in the middle of recording,

but we were coming up to 1:00 when we had to stop.

And at 1:00,

two of these guys came in and they moved the piano away

while we were singing.

But Abbey Road was a little bit like that. It was very regimented.

ROD: We'd mess around

and... and get a tempo,

and then... then he would just go,

-"One, two, three, four." -VOICE ON RECORDING: One, two, three, four.

-(PIANO MUSIC PLAYS, STOPS) -VOICE ON RECORDING: Sorry.

(CHUCKLES) "Sorry."

-(LAUGHS) -VOICE ON RECORDING: One, two...

-That still happens. -Yeah.

A ROSE FOR EMILY PLAYING) ♪ The summer is here at last♪

♪ The sky is overcast♪

♪ And no one brings a rose for Emily♪

♪ Her roses are fading...♪

-That's a cello. -There's the cello.

-(CELLO PLAYING) -♪ She keeps her pride somehow...♪

ROD: Occasionally, on the album,

we would try just spontaneous ideas and moments,

and sometimes they came off beautifully.

-Mmm. -Sometimes they didn't.

And I think this is one of the cases

where the... the cello didn't give it

the magical effect that we hoped it would.

-It, it made it sound a little bit like a hotel... -Yeah.

-...foyer, so we ditched it. -Yeah.

( THIS WILL BE OUR YEAR PLAYING ON RECORDING) ♪ The cold and the dark♪

-Different words. -It's you singing,

-yeah? -Yeah, yeah.

♪ This will be our year, took a long time to come♪

-♪ And I won't forget♪ -(ROD CHUCKLES)

-♪ The way you held me up♪ - (CHRIS LAUGHS)

♪ "Darling, I love you, you gave me faith to go on"♪

♪ Now we're there and we've only just begun♪

♪ This will be our year, took a long time to come♪

-(SONG CONTINUES PLAYING) -We didn't stop.

-Yeah, yeah. -(LAUGHS)

How do you end this thing?

(PIANO PLAYING FINAL NOTES)

-Oh, like that? -(CHUCKLES)

(CHRIS LAUGHS)

-And that? -That was just a songwriting demo.

ROD: We were writing as we went.

I'd come up with a song, and then Chris would write a song,

and both of us together would often have ideas

about how we should change in the... the original concept,

you know, where it was going.

( BRIEF CANDLES PLAYING) ♪ Better off this way♪

♪ Brief candles in her mind♪

♪ Bright and tiny gems of memory Brief candles... ♪

Each session we had to put our songs forward, didn't we?

-Yeah. And, and the thing is... -And rehearse.

if we played it to each other and we didn't like

-the idea, it wouldn't get finished, would it... -Yeah. Yeah, that's right.

-Absolutely. Yeah. Mmm. -...basically.

ROD: And of course, it mixed with emotions

that we were feeling on growing up,

and a feeling of rebelliousness

against some of the norms of society and the way

that the older people were thinking about things.

( BEECHWOOD PARK PLAYING) ♪ And the breeze would touch your hair♪

♪ Kiss your face and make you care♪

♪ About your world♪

♪ Your summer world♪

-CHRIS: Put it down. Yeah. -This was your...

-your organ in the... -My... This is my... yeah.

CHRIS: I had this pump organ which we bought

in a secondhand store for the flat.

It was one of the big things where, you know, there was tops on it and everything.

(ORGAN MUSIC PLAYS ON RECORDING)

-What's that? -MAN: That's your sample track.

-Ah. -MAN: That's your intro, and if you...

Wait, I don't know if you remember,

you used the desk tone to create an instrument.

-Yeah, yeah. -Oh, right.

It was like our way of using the, uh...

-(VOCALIZES RISING TONE) -...What was the thing the Beach Boys used?

-CHRIS: Theremin. -ROD: Theremin.

-CHRIS: Yeah, there. -ROD: Recreating the theremin.

-ROD: We had to use what we could. - ( BUTCHER'S TALE PLAYING)

-(THEREMIN SOUNDING) -♪ My arms won't stop shaking... ♪

CHRIS: During the First World War,

my 16-year-old uncle signed up,

lied about his age, and he died in the Battle of the Somme.

And my mother, we used to talk about when he did come home on leave,

to have to iron the lice out of his clothes and everything.

And then I read that book, I think it was called The Donkeys,

about the First World War and how... what a slaughter it was.

And it moved me so much

that I wrote that song about it, and played it to Rod.

It wasn't... wasn't rock 'n roll at all...

-Oh, and I loved it. -...but... Yeah, yeah.

CHRIS: But that's what the song was about,

the horror of the thing.

♪ Wouldn't preach for the sound of guns♪

-ROD: And then we bring in the tone... -CHRIS: Yeah.

♪ And I...♪

ROD: Not too loud. (CHUCKLES)

I actually wanted Colin to sing it,

but both Rod and Colin said, "No, you've got a nice little weak voice.

"Sound like you're worried about..." -No, we didn't say that.

-(LAUGHS MISCHIEVOUSLY) -But we said it sounded more touching

-when you're singing it. -Yeah, he did.

(SONG CONTINUES ON RECORDING) ♪ Please let me go home♪

Sounds like more than what we used.

♪ Go home♪

( TIME OF THE SEASON PLAYING)

ROD: When I wrote Time of the Season,

I remember saying this to Chris when I first played it to him,

"I think this could be a hit."

But nobody else thought so.

It was written very quickly.

-I mean, my memory of that... -Yeah. It was the last one.

-...that was the last song. -I think so.

ROD: And I remember Geoff Emerick was the engineer,

and I absolutely loved the bass

-and tom-tom sound he got together. -It was great there.

And, and I don't know quite what he did,

but it sounded really quite special.

And that was the reason why I actually said to... to Hugh,

"Do you know what? I can hear a...

-"just before the backbeat... -CHRIS: Yeah.

"...and a... (MIMICS EXHALE) afterwards."

And he said, "Well, go and do it."

And we did, and we didn't think anything of it.

-But that became a signature moment of the... -Yeah.

of the, of the song.

-♪ What's your name?♪ -♪ What's your name?♪

-♪ Who's your daddy?♪ -♪ Who's your daddy?♪

-♪ He rich?♪ -♪ Is he rich like me?♪

-♪ Has he taken♪ -♪ Has he taken♪

-♪ Any time♪ -♪ Any time♪

-♪ To show♪ -♪ To show you what you need to live?♪

♪ Tell it to me slowly♪

♪ Tell you what?♪

♪ I really want to know♪

♪ It's the time of the season♪

♪ For loving♪

ROD: I mean, the whole place

was spun around the other way, but Colin was abusing me

-from... from, you know, (CHUCKLING) just in there... -(LAUGHING)

-(LAUGHTER) -...while we were recording the final thing.

COLIN: Rod very kindly was coaching me from the control room.

I was in the live room,

and Rod was just saying to me, "You know, Colin,

"that phrase is on the beat, and this bit is pushed.

"And it's not quite coming together."

And I was aware that we were running out of money

and at the same time, unfortunately,

I had a big clock right in front of me

with a red light showing we're recording.

The clock's ticking, and Rod's going, "Not... Not quite."

So things started to get a bit more heated.

It's not his fault. It was right what he was doing.

But I was starting to panic,

-and the language just got worse. -He was saying to me,

"If you're so fucking good, you come in and do it."

I said, "Oh, come on, Colin." You know? "We're nearly there." (LAUGHS)

I do apologize for all this language.

ROD: And he said to me, "You're the fucking lead singer.

"You stand there till you get it fucking right."

I think some of that was in your head, actually.

-I... I think I was much more supportive than that. -(LAUGHS)

But anyway, it always intrigues me

that at the same time we're singing,

-"It's the time of the season..." -BOTH: "...for loving."

And this language is going backwards and forwards.

But anyway, we managed, probably with about five seconds to go

before the money ran out and they pulled the plug.

ROD: Everyone really gave everything they got to the album.

And the input that we got from the technical side of things,

including the engineers, was exactly how we were thinking and what we needed.

And so we were, you know, like kids...

-In a sweet shop. (LAUGHS) -In a sweet shop, yeah.

Terry Quirk, who was our other flatmate...

He came up with the original album cover design.

TERRY: You haven't seen this yet. Color disc.

I think we've got about six versions of Odessey and Oracle now.

It was always known from the moment

that they were going to do an album, that I would do the artwork.

♪ There's nothing on my mind ♪

♪ And life seems kind Now, I want her, she wants me ♪

TERRY: I was sitting on the steps of Abbey Road, Studio 3.

I drew around an old record sleeve,

and up comes the word "Odessey," chatter, chatter, and "Oracle."

And I thought, "Ah, that works. Obviously Oracle."

And I said, "How about this?" and held it up to them.

And they said, "Oh, exactly like that.

"But you know what it's all about.

"Put some figures in, put some pictures in like that."

CHRIS: Nice flowery thing.

We hadn't noticed that it was "E" instead of "Y"

until the record was ready to be released.

TERRY: So the whole thing was done in about two and a half weeks,

and they were on tour. They'd gone off somewhere, so no one could see it.

No one could vet it.

And then, of course, it went off, and it had the, um...

spelling mistake. (LAUGHS)

One of the best spelling mistakes I ever made. (CHUCKLES)

ROD: So I made up this story that it was a play on words.

On the word "ode" and the word "odyssey" meaning "journey."

And it was like a journey in song, you know?

And everybody believed it until one day in the 90s on an interview.

I was there with Colin and I told the real story, and Colin looked at me.

He said, "What?" He's saying, "Of all these years,

"you know, I believed this was intentional."

And when we finished the album, we played at CBS, and they loved it.

♪ Good morning to you I hope you're feeling better Baby ♪

♪ Thinking of me While you are far away ♪

♪ Counting the days Until they set you free again ♪

♪ Writing this letter Hoping you're okay ♪

COLIN: We released the first single.

It was "Care of Cell 44," which personally to my ears

is probably the most commercial track.

'Cause it was upbeat, it was snappy,

and it was different about somebody being in prison.

THE ZOMBIES: ♪...about your prison stay ♪

It seemed that our work had become

much more sophisticated with Odessey and Oracle.

We lied to him. We thought it was the best thing we could do at the time.

(RADIO STATIC)

KENNY EVERETT: You can't beat The Zombies, kids.

That's from their new LP, which is the album of the century.

-Hello, Zombies. -THE ZOMBIES: Hello.

KENNY: Hang on. I'll turn your microphone on.

There you go, say it again.

-THE ZOMBIES: Hello, Ken. -KENNY: (LAUGHS) That's better.

I hear you've all split up, then.

COLIN: Yeah. Well, you know, we've been slogging away

-for three and a half years... -KENNY: Yeah?

COLIN: ...and we thought we'd give this a go,

producing all our own records and things.

And in fact, we've produced an LP, which is coming out soon.

The last record was from the LP, and nothing happened to it. So, uh...

KENNY: How long has the LP been out?

COLIN: No, it's out on... on the 19th, in actual fact.

KENNY: Well, wouldn't it be better to wait

until the LP is maybe a huge success,

and then decide whether to go?

COLIN: Well, if the LP is a huge success,

-then maybe we come back again. -KENNY: Come back in again? Okay.

At the time, it wasn't something which automatically appealed to people.

Supporters like that were few and far between.

COLIN: We got one very good review in Disc magazine from Penny Valentine.

I remember this. But in general, the single was ignored.

And at that time, singles were all-important.

It was at the time you put records out,

if they don't go, then that's that. We try something else.

COLIN: Rod called a meeting in his flat that he shared with Chris White.

Paul Atkinson, our guitarist, had just got married.

He'd been approached to join a computer company with really good money.

He's in a very difficult position.

He started the meeting off by saying, "Guys, look,

"I've just got married, I've got no money, I have to leave the band."

And then, uh, Rod said, "Well, if Paul's leaving, you know,

"this is the time that maybe we should think about finishing the band."

ROD: Chris and I certainly felt that it might be in the air

that we would be splitting up because of everything

that had been going on, and we were feeling a little bit

embattled and... and sort of put down.

It seemed our luck had run out.

Some of the band felt more strongly that Odessey and Oracle

was probably going to be our last album.

I... I wasn't thinking like that.

I knew things weren't going so well.

But I still thought that there was a possibility of a future.

HUGH: Personally, I would have loved to have carried on in the sense that

maybe we could have weathered the storm, as some other bands...

I think I would have done as well.

-But at the same time, I understood the situation. -We... Absolutely.

You know, Paul definitely had to leave.

-That's how he felt. -CHRIS: Yeah.

COLIN: And so the band ended.

But I certainly would have liked the band to have kept going.

I could have weathered the storm financially.

I didn't have any money.

-But as a musician, you learn... You always... -You get by.

It's one of the things you learn early on, is how to survive.

-Yeah, sure. -I... I would have been really interested

to know what we would have done next.

-Would have been fascinating, wouldn't it? I agree. -COLIN: Yeah.

I remember leaving Rod's flat after this discussion,

and feeling a bit numb, really.

Partly because it was saying goodbye to everything that we had done.

And also partly, maybe because... um...

I didn't have a plan B.

I didn't know what I was going to do.

I had... I had no idea.

And so, yeah, I... I felt pretty devastated by it.

( SHE'S NOT THERE PLAYS, ENDS)

COLIN: Somebody thought I was depressed.

I had a wonderful six week session with a psychiatrist.

One of the first things she said to me was that I'm a people pleaser.

I want... I want people to like me.

And I think one of the reasons

was that it was a slightly strange family background.

I don't think they knew how to react to me, really.

I was adopted,

and my mother was the sister of my birth mother.

In the 40s, it was a very difficult time to have a child

and not be married, so we had to kind of patch things up at home.

My grandfather was very strict, and so it was a big family secret.

But I think it gradually seeped out.

'Cause he was very cold.

I don't remember him ever speaking to me,

and I spent a lot of time in his house.

So, it was probably a bit confusing for a young boy,

so, sort of, desperate to be liked.

My birth mother came to live with my adoptive mother

for, sort of, six or seven months

so that her family didn't know.

And then as soon as I was born,

she put on her baggy jumper and got on the bus and went back

to see her parents, and... and didn't say anything.

And although I was told from a very early age that I was adopted,

I didn't know who my birth mother was

until probably I was about 28 or 30.

The really sad thing was she phoned me as she was getting older

and said, "Look, I want... I want you to come down and have a talk."

But by now, she was married to someone else,

and he kept filling up these really strong drinks,

and eventually he got tired and went to bed...

thank heavens... and we had our talk.

But in the morning when I woke up,

I couldn't remember very much.

I remembered bits and pieces of...

She told me about how everything happened.

They were strange times.

They didn't know if they were going to live or die.

She met a very charming American serviceman,

and they had an affair just before he went into France.

He got injured and he eventually went back,

and he just drifted out of everyone's life after that.

And she said, "You know,

"he could get fresh eggs," and I thought... (LAUGHS)

"Wow, well..." (LAUGHS)

"So that's how I came about. Half a dozen fresh eggs." (LAUGHING) You know?

I'm only joking. I mean, I'm sure they were in love.

So, we had this talk.

But what she didn't tell me was that she was dying,

and a few weeks later, she died.

So I just remembered a few of the things she said. That he could get fresh eggs.

And, uh...

So that was that.

(MUSIC STARTS)

PRESENTER: Welcome to the future of rock and roll.

Once, long ago, Rod Argent and Chris White

formed the nucleus of the Zombies.

Then they formed Argent.

Their latest album went to the top five, and their single from it was a monster.

Now, their success has crossed the Atlantic.

ROD: Chris and I definitely wanted to carry on and stay in the business.

We decided to form a production company called "Nexus,"

and with the others falling away,

we put the next band, Argent, together.

Chris was a silent member of Argent. He didn't want to play,

but he wanted to be involved in writing.

It was a time of great experimentation.

I, sort of, grew up learning to write songs with Colin's voice and range in mind,

and it was just that feeling of wanting to stretch boundaries and try things.

The drive was just to keep playing and keep writing.

CHRIS: The nice thing about working with Rod is he's open to ideas

and challenges you and suggests things.

There was a symbiotic, creative atmosphere, really.

Rod did a thing, which was incredible.

He basically said, "Look, we..." He's got separate writing contracts.

"Why don't we put our joint names on all the songs we write

because one song can keep us going?"

He did that after he'd had three hits in America,

and then the next song we wrote together

was "Hold Your Head Up," which was the next big hit.

HOLD YOUR HEAD UP PLAYING)

ROD: Chris hadn't been married long.

He said, "My wife's going through a very hard time,

"and I've written this song." And he played me the verses into the chorus.

♪ And if it's bad Don't let it get you down ♪

♪ You can take it ♪

♪ And if it hurts Don't let them see you cry ♪

♪ You can make it ♪

♪ Hold your head up, woman ♪

♪ Hold your head up, woman ♪

♪ Hold your head up ♪

ROD: I loved it. I loved the sentiment of it.

If the world's on your back, if you feel that you can't take it,

hold your head up. You can get it. You can get through it, you know?

CHRIS: The first album was the freedom of doing what you wanted to do.

Yeah. It felt, in some ways, like a natural successor to Odessey.

Yeah, progressing it. Yeah.

I sort of switched off a bit from all that stuff.

I did various jobs.

COLIN: When Hugh left the band, he was selling cars.

Like me, he had to take the first job he was offered.

My first interview, my friend drove me and we were early.

So we thought, "We'll just go to the pub first."

It would be relaxing for me.

MAN: The importance of first impressions.

COLIN: So I went into this interview for a sales manager.

Firstly, I was probably a bit tipsy,

smelling of beer, determined to make eye contact.

I could tell, I was starting to freak him out because I was doing the stare-y eyes.

(LAUGHS)

I had no idea about these things, and I remember him saying,

"And how will you feel about selling ladies underwear into retail outlets?"

(CHUCKLING) I didn't know that's what the job was.

I'd had a couple of beers, so I probably said, "Yeah, it was fine."

I didn't get the job.

I eventually got one working for this insurance company

in the burglary department.

I go, "Burglary department?"

I mean, don't ask me.

The first couple of days

when I went in there, yeah, there was a little bit of pointing and...

and looking at me. They knew who I was,

and I think they really thought it was a little bit strange.

But that first day I went in, I had to answer the phone

the same as everyone else, and someone would ring up with a question about...

(LAUGHS) Oh, God.

I really... I just had to bluff.

So, I imagine adding up these millions... I can't count,

not really.

I can count up to 10. And each time it was millions out.

So I just took something in the middle.

It was a really, really busy, big office

on four or five levels, phones ringing all the time.

And I think that was really good for me because I was really devastated when the band ended,

but I didn't have time to dwell on it

because I was working in this crazy office.

ROD: A year after Odessey and Oracle came out,

Al Kooper, who was a really, really hot producer at the time, had just joined CBS.

Before I started my job.

I came to England for the first time...

I had never been... to shop.

And I bought about 40 LPs that you could not get in America.

And so I listened to all these LPs

and the Zombies album really stuck out.

So, I took it with me my first day of work,

and I made an appointment with my boss.

ROD: He went back to Clive Davis and said, "There's one album

"that you have to buy."

He said, "I don't care who's got it,

"and I don't care how much money it costs."

And Clive Davis said, "Well, we actually own it,

"but we've passed on it because we don't think it's commercial."

I said, "Well, I think that would be a dreadful mistake."

He says, "Well, what do you think is the single?"

I said "I think Time of the Season

"would be the best choice for the first one."

-(AUDIENCE APPLAUDS) -They put out Time of the Season,

and they didn't really do anything for it.

And it... it made it on its own.

BROADCASTER 1: It's 19 minutes before 3:00 KY Cash got...

BROADCASTER 2: This is Tony Taylor.

Time of the Season started taking off in America.

One guy in Boise, Idaho, a DJ, started playing it.

SINGER: ♪ Dick Stott, Radio KYME ♪

Part of my job was to collect the 45s that I got in the mail,

and I had to go through them

and see if any of them were worth airplay.

So I picked up this record and put it on.

I didn't even play 16 bars, and I knew it was a hit.

ROD: Over a couple of months,

it gradually, like a rock being thrown into a pool,

the ripples sort of went out.

People started picking up the size of it, and it suddenly caught fire in the U.S.

COLIN: While I was working at the insurance company,

Time of the Season started to go up the charts in America.

It took us all completely by surprise.

HUGH: Time of the Season came to number one,

but sort of too late to do much about it, sadly.

(SCOFFS) We should have stayed together, but everybody was doing different things then.

In amongst these phone calls that were about insurance, I was getting this,

you know, "You fancy making records anymore?"

One of the guys who phoned was a guy called Mike Hurst,

and he'd just produced the early Cat Stevens records.

And they were really good songs and good productions.

I wasn't sure if I wanted to get back into the music business,

but this chap was very persuasive.

What we agreed to do was I would leave the office

at 17:30 and go to this recording studio.

He would have finished tracks there, and I would just sing over them.

And he had some interesting ideas.

One was to rerecord She's Not There, which I was not too sure about, but...

(SIGHS)...at the time, it was all very experimental.

I didn't know if this was really getting back into the business or not.

For me, it was more seeing if I could still sing.

♪ How would I know? Why should I care? ♪

COLIN: So, we rerecorded She's Not There

and it was someone's idea to change my name.

So I ended up being Neil MacArthur.

♪ Well, let me tell you 'bout The way she looked ♪

♪ The way she acted The color of her hair ♪

♪ Her voice was soft and cool Her eyes were clear and bright ♪

♪ But she's not there ♪

To make it sound a bit fresh, and that version of She's Not There

by my close friend was a chart record.

It got in the charts, so it sort of took us all a bit by surprise

that suddenly I'm Neil Bloody MacArthur.

(LAUGHS) Bloody meeting people and calling me Neil.

And I didn't know if it was a noun or a verb.

They said, "Neil," and I'm on my knees, you know. (LAUGHS)

So I spent a year being Neil MacArthur, and there were three singles.

I'm afraid She's Not There was the only one that was a success.

When Time of the Season had a huge response...

It was number one in many places in the world...

Contractually, CBS said, "We want another album."

But when you start a project, you don't abandon them.

You do what you can.

And we found some old tracks which were never completed of the Zombies.

And then we did some new songs with Rod's group Argent.

It didn't come out.

It came out years later as an RIP album.

We all went our separate ways, and it wasn't until Time of the Season

that I thought, "I've got to get back into the music business,"

and I applied to join CBS Records at the time.

PRESENTER: The world's largest recorded music company.

I had a connection with CBS because Rod and I were working with them,

and got him a job there.

PRESENTER: Bringing the world the music it wants to hear

takes a team effort by thousands of CBS people.

So I became A&R man, and found quite a few acts that had hit records.

My job then was to listen to tapes that were sent in

for budding groups, singers, et cetera,

and present whoever I thought might be successful to the higher management.

So I'm listening to them all every day,

and you can listen to the first 10, 20 seconds and go, "No."

But one tape, I played the whole thing, and I thought,

"This is... This is something really special."

And I went down to see the group play,

and they just knocked my socks off, and I thought, "This is going to be huge."

So I had all the guys sat there in the office,

and I said, "These guys, they were unbelievable,

"and I've been to see them play.

"They're looking for an advance of this or..."

and blah de blah, and their management and so on.

And they said, "No, we can't afford that."

And I said, "You watch,

"in the next year or so, Queen..." and that's who it was, "...will be huge."

And sure enough, they were. So they missed out.

Paul went into computers and then, same thing,

basically, I said, "Why don't you work at CBS in London?"

COLIN: He never lost his love of music.

He had an amazing ear, and went on to work as an A&R man.

ROD: Then became a big record company executive, and I think he joined RCA later.

COLIN: He was finding artists and helping them in their careers.

What they went through certainly impacted how he related with all the artists

that he approached to sign.

ROD: He found ABBA.

No one wanted to sign them at first.

CHRIS: He signed Bruce Hornsby.

COLIN: Mr. Mister.

He signed many great artists, and he worked a lot with the Beach Boys.

He tried to give new life to some of these catalog artists.

He did spend three weeks on Nirvana's tour bus in Seattle,

brought them back to his record label.

It didn't work out eventually, but there was a lot of people's paths that he crossed.

-♪ What's your name? ♪ -♪ What's your name? ♪

-♪ Who's your daddy? ♪ -♪ Who's your daddy? ♪

-♪ He rich? ♪ -♪ Is he rich like me? ♪

So there were phony, fake Zombies, yes.

You can understand why, because there was a big gap.

If there's a vacuum, the music business will fill it, you know?

-Well, particularly if there's a lot of income to be made. -Exactly.

-Which we never made. (LAUGHS) -Exactly.

CHRIS: I was in America, and CBS... Paul Atkinson

sent me a tape over, and he knew they were fake.

The bass player was called Hugh Grundy, you see.

How many people in the group are actually from England?

Just yourself or anybody else?

-Only one. -Only one?

Well, we got, uh, Gary, our lead singer.

COLIN: There were two fake Zombies, and they suggested that Chris White

ring the manager of one of the fake Zombies and try and get the story.

"What's happening?" Chris rings them up...

I said, "Look, they're not the real Zombies.

"I'm one of the original Zombies,

"and they're not the real Zombies."

He said, "How do I know?"

He said, "All we know is that Colin Blunstone

"died in a car crash, and someone else has taken over.

"And these are the real Zombies."

-I didn't know you were killed in a car crash. -Well, I keep it quiet.

This was published in Rolling Stone, this guy explaining that I abruptly died.

One of them had two guys from ZZ Top.

CHRIS: Yeah, so that was a problem.

We couldn't stop them because we weren't in existence anymore.

And under American law, you can't sue somebody pretending to be you.

Everyone said, "We're going out as a fake ZZ Top when they finish."

COLIN: I was coming home from a party with Chris White,

and he said, "Listen, why don't you forget

"this Neil MacArthur stuff, and Rod and I have got a production company

"and we'd really like to record a solo album with you."

CHRIS: It was just that he was such a good singer,

and like what he was trying to do, it wasn't as good as the original.

COLIN: I was just dipping my toe into the water of the music business

to see if I wanted to start again.

CHRIS: The thing about Colin, he didn't think he was a great singer,

basically, at heart, which was ridiculous.

COLIN: I just think I should have learned more about my craft.

I never had the confidence of most lead singers.

I just fell into that position.

CHRIS: Rod and I encouraged him to say, "We can do an album."

We wanted to make an album that was fairly avant-garde and forward looking.

It was quite adventurous, really,

because we wanted to include a string quartet arrangement.

Rod and I both liked Bartok.

We wanted something weird.

(MISTY ROSES PLAYING)

(SINGING) ♪ You look to me Like misty roses♪

♪ Too soft to touch♪

♪ But too lovely To leave alone♪

COLIN: And because The Zombies had always recorded really quickly,

it really struck me as strange

that we actually took a year to complete this album.

Firstly, I think, because we were looking for a musical direction,

and then also because Rod was working a lot with Argent.

And so, he often would be traveling, and he wouldn't be available.

And hence, the album was called One Year.

ROD: We moved away from the really avant-garde,

but we still did quite a lot with, uh, small string sections.

And we got a huge hit in Europe

with Say You Don't Mind, the Denny Laine song.

We used to play it in the Zombies,

but then thought we'd do it differently.

(PLAYING SAY YOU DON'T MIND)

♪ I realize that I've been♪

♪ In your eye Some kind of fool...♪

COLIN: I did play live quite a lot, but especially on that album.

I did the first ELO tour.

Because there's bands on some of the tracks

and strings on some of the other tracks,

it got quite expensive.

You know, there's so many players on the stage.

♪ ...you don't mind You'll let me off this time♪

But I just remember one show.

ELO had a lot of gear.

We had a lot of gear.

As they moved their amps into position,

they made a complete semicircle.

And I couldn't get on the stage,

physically, couldn't get on the stage.

I had to climb up the amps.

The first sight that the managers and the executives of CBS

had of me as a solo artist,

(LAUGHING) with my bum coming down the other side of the amps.

And at the end of the tour,

I'd been carrying nine musicians and crew,

and there was a real rogue promoter,

and he just said, "I'm not paying you."

It's the same as The Zombies.

I've just realized this is... it's the same story.

Luckily, thank heavens, CBS paid the bills.

(AUDIENCE CHEERING AND APPLAUDING)

I stopped playing live in about 1974,

and I just made records, and then, eventually, commercials.

This jukebox was a present for my wife.

It's a 1960 Rock-Ola.

-(CLINKS) -(JUKEBOX WHIRRING)

It just brings back memories for me

of when I first went to cafes and played,

you know, Elvis.

(SOFT WHIRRING)

(GOD GAVE ROCK & ROLL TO YOU PLAYING)

ROD: With Argent in the '70s,

I always wanted to push boundaries

and to try out new things and see where they went,

which caused a bit of creative tension,

I think, and in the end it worked against us.

It was getting too progressive for my writing, so I said to Rod,

"Look, why don't we just go our different ways," and...

that's when it... that's when it ended.

ROD: After Argent, I came off the road.

I've got the great joy of having a loving wife.

She would never stop me doing anything.

But I had a young family,

I'd been on the road for over 12 years, and I thought,

I should've been...

there earlier with them.

It is hard to balance that.

And I... it is something I...

I regret it all my life, actually, that I wasn't... there

when they were really little.

In those days, the only way to stay in touch with each other

was to write a letter. (CHUCKLING) And we...

we time it for two weeks

in the future, you know.

And I used to go to the Holiday Inn or whatever it was

and, uh, pick up my mail.

It... it was very hard

particularly with the young kids.

HUGH: Having moved into CBS and worked there, I thought,

"I'm okay, I'm back in the business,

and I'm doing something I like doing,"

but it came to a bit of a sad ending.

They had a reshuffle of, uh, management,

and they said, "We don't need you anymore."

"Oh. Okay."

That came tough.

From that point on,

I really didn't have any direction in life, particularly.

And I was doing all sorts of various jobs,

driving jobs or whatever I could, sort of, get, really.

For the fun, I was playing two or three nights a week in a little trio,

in and around the pubs and clubs of North London.

And, one point the organist left.

And she came along.

And I said, "All right, we'll give her a try."

I said to the singer, John, afterwards,

"She's rubbish. We need to get a proper keyboard player, one who can play."

He said, "Oh, give her a chance. Give her a chance."

Over the next few years,

she did get better and better and better.

A bond started forming

until... we married.

And we've been married 39 years ever since.

And we live very happily now

in a place called Minorca,

which is one of the Balearic Islands in the Mediterranean.

And I've lived there now for ten, 12 years,

and couldn't be happier.

ROD: I thought, I'm not gonna do anything of my own.

Just see if anything interesting happens.

COLIN: It led in all sorts of directions,

playing on other people's albums,

and writing music for various things on television.

We went out and produced several other people.

And we... we're still always in contact.

You know, we always asked what we thought about things we were doing,

gave an honest opinion,

which was... didn't always go down well. (CHUCKLES)

But, uh, you have to be honest.

Otherwise, there's no point in saying anything, is there?

ROD: If someone comes in for you to produce their album,

it's the most important... say, six weeks of their life,

and they want you there for 24 hours, giving everything,

and quite rightly, in a way.

But then, at the end of that, you move on to the next project,

and you've got that again and again and again.

And in the end, that drove me crazy

because it... it wasn't that I didn't enjoy it at all.

I thought, "I want to do some of my own stuff again now."

COLIN: Then a guy called Don Airey

started calling me and saying,

"You should be out playing live."

And I think the last time,

I'd had one too many Stella Artois

when he... when he called,

and I said, "Okay. All right, I'll do it."

And he put a wonderful band together.

One by one, those guys all got pinched.

They all went off and played with these big bands.

And I had quite a high pressure gig

in London with no keyboard player.

I thought I was gonna have a heart attack.

And it was at that point, in 1999,

I rang Rod up.

ROD: Well, this is my fab studio that I love working in.

And we stayed friends,

but not in... terribly close contact, you know.

COLIN: I didn't think Rod would wanna play life again.

He was very successful as a producer.

He'd had a lot of hits.

And I phoned him, and it wasn't easy for me to do this.

He said, "I'm doing a half dozen solo gigs. Do you fancy joining me?"

And I said, "No. I can't get involved in all that again. I can't bear it."

Because my memories were of all the practical horrors

that had happened touring at that time.

And it was only that my cousin Jim said,

"It's very different to that. It's nothing like that now."

And I said, "Well, all right, I'll do half a dozen gigs.

"...but I don't wanna do any more.

"You know, I'm committed to the studio and everything."

And I had such a ball doing it

that quite naturally it led us into working together again.

It was 2004, I think.

CHRIS: We all met up in House of Blues in Los Angeles.

There was a charity thing for Paul.

(PHONE RINGING)

ROD: He phoned up and said,

"I want to prove to my kids

that I actually did play in the band."

-Well, he had a very successful life... -Yeah.

-...as a record executive. -ROD: Yeah.

And I think he was very proud

-with what the Zombies had achieved. -CHRIS: Absolutely.

COLIN: And one of the most important things to him was

that he got up on stage and played with us

in front of his family before he died.

LUCY: Some of, like, my fondest memories of my dad were when

him and I would listen to music together.

He is the person that played me, like, the Prodigy for the first time,

and even artists like Ludacris. Like, he just...

he would play me artists from across tons of genres,

and that's really shaped

why I work in music and where my passion lies.

ROD: He said, "Will you come over and do a concert for me?"

And it was sort of understood

that it was gonna be a final concert.

He was very ill when it was happening,

so, you know, I think just

to be able to do that one last time

was just, like, something that made him feel whole.

With characteristic humility, Paul has never assumed too much,

"Would people care?"

(CHUCKLES) And I guess, as you can see tonight, a lot of people do.

ROD: We did She's Not There,

and we did Time of the Season.

And he went on stage,

I think it was morphine that was being fed into his arm while he was playing.

Very brave.

LUCY: When I was a teenager, I remember him

preparing for this big moment.

And to see him get up there,

I was just so proud.

I sort of realized then that it was a bigger deal than what... I thought it was.

Over the years, Paul has been many things to many people.

A gifted musician, as you know,

a fearless executive,

a patient mentor,

a trusted and true friend and, frankly,

a gutsy and determined pioneer in the business who dared to face the unknown

without flinching or turning away, no matter what.

-(AUDIENCE APPLAUDING) -SHADOE: But on top of that

is the fact that Paul... was a Zombie.

Whatever highlights and struggles they share,

the members of the Zombies have never really broken up as friends.

And a few years back,

when Rod Argent and Colin Blunstone

decided to re-team and bring the Zombies' legacy back alive,

-Paul was there to help them with an American deal. -(AUDIENCE APPLAUDING)

I often meet up with people now

who want to talk about Paul

and how important he was in their life,

and how much they respected him

as a record man.

You know, someone who really knew the business

and really knew music.

(AUDIENCE CHEERING AND APPLAUDING)

ROD: And he got some great people to play with him,

including Brian Wilson.

Brian Wilson said to him,

"What would you like me to play at your concert? I'll play anything."

And he said, "Can you play Don't Worry Baby?"

He said, "Well, I don't do that on stage."

He said, "But I'll do it for you."

God, when Brian played it that night.

-(PLAYING DON'T WORRY BABY) -(CHORUS SINGING) ♪ Don't worry baby♪

♪ Don't worry baby♪

(CHORUS SINGING) ♪ Don't worry baby♪

- ♪ Everything will Turn out all right♪ - ♪ Don't worry baby ♪

COLIN: The tears were just streaming down my cheeks

because I knew Brian was playing that for Paul,

and I knew Paul was not gonna live very much longer.

He died about three weeks later.

I... I don't go a day without thinking about him and his impact that he had.

I look back at my father's legacy with the most beaming pride.

And I just have, like, the utmost respect for him,

and it grows more every day.

The song Time of the Season has that lyric, "Who's your daddy?"

which (CHUCKLES) resonates for me a lot, you know.

And it's, uh... is kind of crazy to have these songs.

Just being able to listen to his music

helped me connect with him, still.

(STRUMMING GUITAR)

CHRIS: Then I suddenly realized

it's 40 years since Odessey and Oracle was out.

So we said, "Why don't we do some things together?"

ROD: "...a reunion gig.

"And actually play Odessey and Oracle

"because we've never, ever played it."

Paying service what it meant to people.

COLIN: Playing it in the studio and playing it live's a different thing

because you have to relearn these songs.

HUGH: When that happened,

quite a... a light switched on really, I've gotta be honest.

"Really?" I thought, "Can we do this?"

(AUDIENCE CHEERING AND APPLAUDING)

Here we are, 40 years later,

and for the first time this weekend ever,

we're playing these songs, so I hope you enjoy. (CHUCKLES)

(AUDIENCE CHEERING AND APPLAUDING)

(PLAYING HUNG UP ON A DREAM)

(SINGING) ♪ Well, I remember yesterday♪

♪ Just drifting slowly Through a crowded street♪

♪ With neon darkness Shimmering through the haze♪

♪ At men with flowers Resting in their hair♪

COLIN: There was huge interest in the 40th anniversary of Odessey and Oracle.

We originally got together to play one night in London.

Incidentally, grew to three nights.

And then we had to get together the next year to do it around the country.

And then we've done it across the States, and we've done it in Europe.

CHRIS: It was an experience capping up the end

of my creative life from that period.

I mean, it was fantastic getting the recognition

which we didn't get at the time.

HUGH: Little did I know how fantastic it would be

playing that album on stage in the way that we did for all those tours.

(AUDIENCE CHEERING AND APPLAUDING)

(EDGE OF THE RAINBOW PLAYING)

COLIN: I always think of this as the second incarnation of The Zombies.

It's Rod Argent on keyboards and harmonies,

myself on lead vocals,

Soren Koch on bass and harmonies,

Tom Toomey on guitars and harmonies,

and Steve Rodford on drums.

ROD: Chris came along and saw us on a few concerts.

He said, "You know what? I'm all for this

"because you're revitalizing the legacy."

COLIN: With the music business and, in particular, with The Zombies,

I am definitely still having fun.

(COLIN SINGING) ...light coming through♪

ROD: Creatively, I want to keep going

for as long as I can, as long as I'm able.

That gives my life satisfaction,

and to some degree, is necessary for me.

And I'm still buying loads of new equipment

for my studio, (LAUGHS) and I'm still...

We're still thinking about moving on and recording.

And we've only just finished an album,

but we're thinking about how great it would be to record some more.

COLIN: These songs are written from the heart,

and the performances are performed from the heart.

We give everything we've got when we go on stage,

and I think we're rewarded for that

because you get out of life what you put in.

And it's certainly been the most exciting thing in my life,

the way we've managed to give this

a pretty wide fan base.

They've grown up listening to British amazing music since they were babies.

This will be my third time seeing them.

I'm a musician myself, so I'm probably more aware than most.

MAN: Dad loved it. Mom loved it.

Carried on from me.

WOMAN: I always knew Time of the Season

and just kept listening and finding new songs.

ROD: When you think (CHUCKLES) of how old we are now,

I find that extraordinary,

that you can relate to a present generation

is one of the most exciting things about touring.

So nice to meet you.

How are you, brother?

Yeah, nice to meet you.

This is fucking awesome.

JOHN GOURLEY: All the bands we hang out with,

everybody references the Zombies.

I can't even speak right now.

JOHN: ...which is, I mean, it's rare that you have these, like, crossroads.

They could be hip hop.

They could be anybody, and they all kind of go to it.

It may be my favorite album of all fucking time.

I've listened to it so much over the years

that it has to be burned into my mind.

One of our favorite songs ever

is The Way I Feel Inside.

Your writing and your songs were a big influence on us.

Colin, your voice is like

one of the sexiest voices in rock and roll.

HARRY STYLES: The melodies are incredible.

This Will Be Our Year is one of my favorite songs.

TOM PETTY: You guys are on tour again, and it's a great show.

I've seen it a few times.

RICHARD PARRY: The thing that occurred to me in seeing them tonight

that's super crazy is that they've, like,

lived through the history of live sound.

COLIN: If a fellow musician says to you,

"You know, you really influenced me when I was young."

It's incredible.

It's so...

invigorating. It's so energizing.

- (PLAYING TIME OF THE SEASON) -(EXHALES)

(SINGING) ♪ What's your name?

-(CHORUS SINGING) ♪ What's your name? -♪ Who's your daddy?

(CHORUS SINGING) ♪ Who's your daddy Is he rich...♪

FINNEAS: If you're a creator, you hope that you make a piece of work

that feels prescient and somehow also feels timeless.

♪ To show you what...♪

I don't know how Time of the Season

felt to listen to in the '60s, but it sure holds up.

...slowly tell you what♪

It's such a great song.

♪ It's the time

♪ Of the season for loving♪

(AUDIENCE APPLAUDING)

So, Colin, Rod,

Chris, Hugh and Paul,

thank you for the music and the inspiration.

This will be your year.

-It took a long time to come. -(AUDIENCE CHEERING)

And it's my great honor,

a highlight of my life, to induct the Zombies into

-the Rock & Roll Hall of Fame. -(AUDIENCE CHEERING AND APPLAUDING)

COLIN: We were inducted in a wonderful ceremony in front of 17,000 people

alongside Stevie Nicks, Janet Jackson,

Def Leppard, Roxy Music, Radiohead, and the Cure.

It was a fantastic night.

I'll never ever forget it.

LUCY: I sat there next to Questlove, Harry Styles, (CHUCKLES)

Janelle Monae. I could see them all, and...

when they called my dad's name to get inducted,

I was just, like, so overcome with emotion.

COLIN: It's a feeling, when finally we were called.

It's very hard to describe... the euphoria.

Absolute deep joy and happiness.

(AUDIENCE CHEERING AND APPLAUDING)

Thank you for such really, really gorgeous words.

I can say that we're absolutely thrilled

to have been elected to the Rock & Roll Hall of Fame.

(AUDIENCE CHEERING AND APPLAUDING)

And what a joy to have been managed perfectly,

for the first time in our lives over the last six years or so,

by Chris Tuthill,

Cindy da Silva, and all the team at the Rocks Management.

The story goes on. Thank you very much.

(AUDIENCE CHEERING AND APPLAUDING)

It's actually 50 years ago, to this very day,

the 29th of March, 1969,

that Time of the Season reached the number one position in America.

- (PLAYING TIME OF THE SEASON) -(AUDIENCE CHEERING AND APPLAUDING)

It took 50 years, but we suddenly got accepted.

COLIN: I didn't feel nervous.

When it's 17,000 people,

they lift you.

-COLIN: ♪ ...name? ♪ -(CHORUS SINGING) ♪ What's your name?

-♪ Who's your daddy?♪ -♪ Who's your daddy?♪

CHRIS: Four of the original five still there and playing on stage.

I mean, that is fantastic.

HUGH: This is something I would've never expected.

It was the pinnacle of success.

It was the pinnacle of achievement.

CHRIS: And when I looked along the stage,

it looked like everybody's 25 still.

COLIN: We knew Paul and Jim were looking down at us

and hopefully with their guitars in hand, playing along.

♪ ...the season for loving♪

CHRIS: While we were backstage doing interviews,

Brian May popped his head around and said,

"Oh, I don't want to interrupt.

I'd just like to say how much you influenced Queen."

We never knew.

We'd suddenly realized that we'd influenced people.

And that's a fantastic feeling.

Didn't realize in your 70s

that you were successful in your 20s.

COLIN: And at this time in our lives, in our 70s, our career's growing.

All is not lost.

If things start to get a bit difficult in your 30s and your 40s,

-look at us. -(CHUCKLES)

(CHUCKLES) That's 77 and going strong.

ROD: So, it... it's a legacy left behind.

And it's a legacy that will go on.

♪ ...of the season♪

♪ For loving♪

(AUDIENCE CHEERING AND APPLAUDING)

COLIN: That some...

groups of people just click.

ROD: There was a symbiosis of friendship

which just grows.

-And you... you can't put your finger on it, really... -COLIN: Yeah.

...but the five of us had that.

ROD: Shared history is part of it, wasn't it?

COLIN: I think so, and I... and I think it's...

We got together at a really young age,

-so we went through our formative years together. -ROD: Hmm.

COLIN: We knew one another's families,

and we come from the same area of England.

And all those things

helped create a bond, I think.

(WRONG WAY BY ROBERT SCHWARTZMAN PLAYING)

ROD: Well, I think success is fulfilling

creatively what you hope to do.

If you can move one or two people with what you do creatively,

and it actually makes a difference,

then how wonderful is that?

HUGH: I don't think I've thought of myself as a rock star.

And you know what? I don't think of myself that now either.

I'm just somebody who's been lucky enough

to have been in a great band that's had a second coming.

And from that little acorn did a great tree grow.

COLIN: Of course, there were times, when we were younger,

when things could've gone better for us.

But I'm really happy where I am in my life now,

so I would say, No, I don't wanna change anything.

CHRIS: It was luck, really.

Just luck that you met these five people...

and we got on.

And we're still friends to this day.

That's the real success.

(MUSIC CRESCENDOS AND ENDS)

(PLAYING HUNG UP ON A DREAM)

(SINGING) ♪ Well, I remember yesterday♪

♪ Just drifting slowly Through a crowded street♪

♪ With neon darkness Shimmering through the haze♪

INTERVIEWER: And my last question is,

have you ever challenged each other to a thumb war?

(COLIN AND ROD LAUGH)

I don't know what a thumb war is.

INTERVIEWER: Where you have to... you have to pin the thumb down like that?

-You have to pin the on down? No. -No.

Yeah. So, I'm not quite sure how you do it.

-What do you do? -INTERVIEWER: Put your hands together like this.

-COLIN: Like... -Like that?

INTERVIEWER: Yes, sir. And then you have to battle each other...

-(COLIN AND ROD CHUCKLE) -...until you hold it down

because whoever can hold it wins.

Oh, good God. What do you mean, like...

COLIN AND ROD: One, two, three, four.

I declare a thumb war.

-(COLIN EXCLAIMING) -(ROD LAUGHING)

(BOTH LAUGHING)

I think that was a draw.

INTERVIEWER: Will you be able to play a little guitar for us?

Um, I... absolutely don't want to, but I will.

And I have no idea if it'll work or not.

-Can I have a practice? -INTERVIEWER: Of course.

(STRUMMING GUITAR)

Do you know what? I said to Rod,

"I know you all will ask me to play this."

INTERVIEWER: Yeah, I really wanted to...

And Rod said, "Well, get him to play guitar." (SNICKERS)

MAN: One, two, three, and a four.

(PLAYING CAROLINE GOODBYE)

(SINGING) ♪ Saw your picture in a paper♪

♪ My, you're looking pretty good♪

♪ Looks like you're gonna Make it in a big way♪

♪ Well, I always knew you would♪

♪ But I should've Known better, yeah♪

♪ And I should've seen sooner♪

(VOCALIZES)

It's no use pretending♪

♪ I've known for a long time♪

♪ Your love is ending♪

♪ Caroline goodbye♪

♪ Caroline goodbye♪

INTERVIEWER: All right.

Do you know what I was thinking?

You know what I was thinking?

You haven't warmed up. You haven't warmed up.

And then halfway through the song, I was thinking,

"Okay. Breathe.

(CHUCKLES) Lift from your pelvic floor."

-(LAUGHING) -INTERVIEWER: (CLAPPING) Sing through your ass.

Sing through your ass. (LAUGHS)

It's hard to have those thoughts

and sing a romantic song at the same time.

-(LAUGHING) -(INTERVIEWER SNICKERS)