Colin Blunstone

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.

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.

I think there were lots of things that contributed towards it. But the songwriting and the vocal harmonies. And then maybe there's a little bit of the interplay between Rod's writing and my voice. I mean, both of them, Chris White and Rod Argent, used to write songs for my voice.

I think there were lots of things that contributed towards it. But the songwriting and the vocal harmonies. And then maybe there's a little bit of the interplay between Rod's writing and my voice. I mean, both of them, Chris White and Rod Argent, used to write songs for my voice.

I think there were lots of things that contributed towards it. But the songwriting and the vocal harmonies. And then maybe there's a little bit of the interplay between Rod's writing and my voice. I mean, both of them, Chris White and Rod Argent, used to write songs for my voice.

Well, especially for those days, I sang in quite a high key, you know, compared with lots of other singers. Nowadays, lots of people do that. But I think that was one of the things. I think I tend to sing sad songs better than happy-go-lucky songs. So often songs would have a sort of a haunting quality about them. She's Not There is probably a good example. I think they would look for that.

Well, especially for those days, I sang in quite a high key, you know, compared with lots of other singers. Nowadays, lots of people do that. But I think that was one of the things. I think I tend to sing sad songs better than happy-go-lucky songs. So often songs would have a sort of a haunting quality about them. She's Not There is probably a good example. I think they would look for that.

Well, especially for those days, I sang in quite a high key, you know, compared with lots of other singers. Nowadays, lots of people do that. But I think that was one of the things. I think I tend to sing sad songs better than happy-go-lucky songs. So often songs would have a sort of a haunting quality about them. She's Not There is probably a good example. I think they would look for that.

Songs in minor keys perhaps would be another thing they would look for. So lots of little things all added up to the zombie sound.

Songs in minor keys perhaps would be another thing they would look for. So lots of little things all added up to the zombie sound.

Songs in minor keys perhaps would be another thing they would look for. So lots of little things all added up to the zombie sound.

Yeah, that's right. Well, that's me.

Yeah, that's right. Well, that's me.

Yeah, that's right. Well, that's me.

I think, as I remember, we'd been touring with Dionne Warwick, who you would call Dionne Warwick. And through that, we'd got very interested in Burt Bacharach songs. And I have a feeling that Rod Argent, who wrote this song, was going through a period of being influenced a lot by Burt Bacharach. With regard to the session...

I think, as I remember, we'd been touring with Dionne Warwick, who you would call Dionne Warwick. And through that, we'd got very interested in Burt Bacharach songs. And I have a feeling that Rod Argent, who wrote this song, was going through a period of being influenced a lot by Burt Bacharach. With regard to the session...

I think, as I remember, we'd been touring with Dionne Warwick, who you would call Dionne Warwick. And through that, we'd got very interested in Burt Bacharach songs. And I have a feeling that Rod Argent, who wrote this song, was going through a period of being influenced a lot by Burt Bacharach. With regard to the session...

We would record probably three or four, maybe five backing tracks in an evening at Decca Recording Studios. And then we would put vocals on. And it would probably be 12 o'clock or 1 o'clock at night before I got around to singing. And I always remember this session because I was fast asleep when they finished. And they woke me up to sing Teller No.

We would record probably three or four, maybe five backing tracks in an evening at Decca Recording Studios. And then we would put vocals on. And it would probably be 12 o'clock or 1 o'clock at night before I got around to singing. And I always remember this session because I was fast asleep when they finished. And they woke me up to sing Teller No.

We would record probably three or four, maybe five backing tracks in an evening at Decca Recording Studios. And then we would put vocals on. And it would probably be 12 o'clock or 1 o'clock at night before I got around to singing. And I always remember this session because I was fast asleep when they finished. And they woke me up to sing Teller No.