Colin Blunstone

You know? I've got something to say that might cause you pain. Do you remember that one?

Yeah, I do too. And we sang Summertime, which went on our first album. And we did it as a sort of a jazz waltz. It was very jazzy. And we sang a couple of other songs, and I can't remember what they were.

Yeah, I do too. And we sang Summertime, which went on our first album. And we did it as a sort of a jazz waltz. It was very jazzy. And we sang a couple of other songs, and I can't remember what they were.

Yeah, I do too. And we sang Summertime, which went on our first album. And we did it as a sort of a jazz waltz. It was very jazzy. And we sang a couple of other songs, and I can't remember what they were.

Well, quite simply, because we'd been for the first few weeks of our career together. This was just when we were at school. I think to start off with, we were the Mustangs. And we found that there are a million bands called the Mustangs. And then we were the Sundowners and we had the same problem.

Well, quite simply, because we'd been for the first few weeks of our career together. This was just when we were at school. I think to start off with, we were the Mustangs. And we found that there are a million bands called the Mustangs. And then we were the Sundowners and we had the same problem.

Well, quite simply, because we'd been for the first few weeks of our career together. This was just when we were at school. I think to start off with, we were the Mustangs. And we found that there are a million bands called the Mustangs. And then we were the Sundowners and we had the same problem.

And Paul Arnold, who was our original bass player, there was only one change in the band, and this is while we were still at school. He came up with the idea of the Zombies, and I think we all thought that no one else would be crazy enough to call a band the Zombies. And so it really, I think that in a way it was an act of desperation.

And Paul Arnold, who was our original bass player, there was only one change in the band, and this is while we were still at school. He came up with the idea of the Zombies, and I think we all thought that no one else would be crazy enough to call a band the Zombies. And so it really, I think that in a way it was an act of desperation.

And Paul Arnold, who was our original bass player, there was only one change in the band, and this is while we were still at school. He came up with the idea of the Zombies, and I think we all thought that no one else would be crazy enough to call a band the Zombies. And so it really, I think that in a way it was an act of desperation.

We were just trying to find something that no one else would have thought of. So we ended up as the Zombies.

We were just trying to find something that no one else would have thought of. So we ended up as the Zombies.

We were just trying to find something that no one else would have thought of. So we ended up as the Zombies.

Well, I think a lot of the sound really comes from the writers. We had two unique writers in the band and very prolific writers as well. And I think possibly, especially Rod Argent, his songs were, I think... Well, truly wonderful. I think they were brilliant songs. And he also was a brilliant keyboard player. So you've got these great keyboard breaks that he would keep putting into songs.

Well, I think a lot of the sound really comes from the writers. We had two unique writers in the band and very prolific writers as well. And I think possibly, especially Rod Argent, his songs were, I think... Well, truly wonderful. I think they were brilliant songs. And he also was a brilliant keyboard player. So you've got these great keyboard breaks that he would keep putting into songs.

Well, I think a lot of the sound really comes from the writers. We had two unique writers in the band and very prolific writers as well. And I think possibly, especially Rod Argent, his songs were, I think... Well, truly wonderful. I think they were brilliant songs. And he also was a brilliant keyboard player. So you've got these great keyboard breaks that he would keep putting into songs.

Also, he was a very accomplished musician, even at an early age. He understood a lot about music, which certainly he was in a different league to me. So a lot of our chord progressions and the bass notes we put on the bottom of chords were quite unusual. And he also understood vocal harmonies because he was in the cathedral choir until he was about 17 or 18.

Also, he was a very accomplished musician, even at an early age. He understood a lot about music, which certainly he was in a different league to me. So a lot of our chord progressions and the bass notes we put on the bottom of chords were quite unusual. And he also understood vocal harmonies because he was in the cathedral choir until he was about 17 or 18.

Also, he was a very accomplished musician, even at an early age. He understood a lot about music, which certainly he was in a different league to me. So a lot of our chord progressions and the bass notes we put on the bottom of chords were quite unusual. And he also understood vocal harmonies because he was in the cathedral choir until he was about 17 or 18.

And if we played a gig on a Sunday night, we'd have to go and pick him up at the back of the cathedral where he'd been singing in whatever the thing had been at the cathedral. And he'd have to be taking off all his church clothes and getting into his rock and roll gear. And then we'd go off to the rock and roll gig. So I think our harmonies helped to make things a bit different as well.