When Colin Blunstone had left the Zombies he didn’t want to have anything with music any more. He gave up on his Rock’n’Roll ambitions and went to live organized normal life – even though he was already quite famous. Who could blame him.
Suddenly the Zombies’ single She’s Not There took off, and Blunstone decided to give music a second chance.
He met the former Zombie Rod Argent, they called a third zombie, Chris White. Chris and Rod agreed to produce Colin’s album. He wrote almost all songs, orchestration was done by Chris Gunning and after a year of hard work and recordings they came up with a perfect album.
What kills me in this kind of albums is that I simple don’t get how they slip under radars. It’s weird. The Zombies were mainly famous for their two hits – She’s Not There and Time Of The Season. I think that’s outrageous. Did you know that this is one of the only bands that I can wholeheartedly say that never ever released a song that less than good? Music that goes unnoticed really throws me off my rocker.
She Loves The Way They Love Her opens this album, a great rock song with a big production, that brings to mind Elton John during his Honky Chateau period style, and right after it Misty Roses, one of the heights of the album – a Tim Hardin (one of the most covered Artists at the time) cover. Many cover version have been made for Tim Hardin’s songs, but the amazing arrangement done by the producers of this album makes this cover one of the best.
It starts with a small classic guitar playing a bossa tempo, then Blunstone’s warm throaty voice and Gunning’s strings arrangements happily throwing you to a romantic scene soundtrack, summer love in the vineyard style.
Caroline Goodbye is – like the opening song of the album – another rock song with a brilliant hook that can make the difference between a good song to a brilliant one. Her Song is a chilling and penetrating strings drama. The entire album moves between light pop-rock to orchestrated songs – and we all know how much fun orchestrated sixties pop is.
The texts – naturally for a former teen idol, deal with –girls and boys stuff, and they’re interesting only because they give Blunstone with his amazing voice a good reason to sing, no interesting poetry to be found here, but the lyrics function great as a part of the whole . Melodies and arrangement are the main issue in this album, which should be in every decent record collection, together with Lee Hazlewood’s albums on one hand, Brighter Lighter on the other hand and Dusty Springfield on another, third side. Blunstone’s album is the forth side of the coin.
Colin Blunstone – One Year (1971)
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