Colin Blunstone

No, because the version I'd heard was by Dusty Springfield, and I think she had a hit in America with that version, but she didn't have a hit in the UK. It's funny how that happens. You know, people can have hits with a wonderful version of a song in one country, and it doesn't mean anything in another country. Very strange.

And now you're hearing the sweet and swinging sound of the zombies one more time in The Look of Love, written by Bert Bacharach.

And now you're hearing the sweet and swinging sound of the zombies one more time in The Look of Love, written by Bert Bacharach.

And now you're hearing the sweet and swinging sound of the zombies one more time in The Look of Love, written by Bert Bacharach.

Well, I mean, it really intrigues me because I sometimes think that records have a life of their own because everything was against this record. We recorded it for CBS Records in London. They'd only just started up. They were quite a small company in London. And they gave us a very limited budget. I think it was £1,000, which even in those days was a very small budget for doing an album.

Well, I mean, it really intrigues me because I sometimes think that records have a life of their own because everything was against this record. We recorded it for CBS Records in London. They'd only just started up. They were quite a small company in London. And they gave us a very limited budget. I think it was £1,000, which even in those days was a very small budget for doing an album.

Well, I mean, it really intrigues me because I sometimes think that records have a life of their own because everything was against this record. We recorded it for CBS Records in London. They'd only just started up. They were quite a small company in London. And they gave us a very limited budget. I think it was £1,000, which even in those days was a very small budget for doing an album.

And there wasn't a lot of enthusiasm. We'd had quite a few flop singles. We'd just come back from a disastrous tour of the Far East. And we went into the studio, recorded this album, and there really wasn't a great response in the UK. I don't think in America they didn't want to release it at all.

And there wasn't a lot of enthusiasm. We'd had quite a few flop singles. We'd just come back from a disastrous tour of the Far East. And we went into the studio, recorded this album, and there really wasn't a great response in the UK. I don't think in America they didn't want to release it at all.

And there wasn't a lot of enthusiasm. We'd had quite a few flop singles. We'd just come back from a disastrous tour of the Far East. And we went into the studio, recorded this album, and there really wasn't a great response in the UK. I don't think in America they didn't want to release it at all.

But Al Cooper from Blood, Sweat and Tears was in London and he just bought a lot of albums, took them back to America and he wrote the sleeve notes on this album in America and he just felt that this album stood out from everything that he brought back from the UK. So he alone is responsible for... for what happened with Time of the Season because I think CBS had given up on this album.

But Al Cooper from Blood, Sweat and Tears was in London and he just bought a lot of albums, took them back to America and he wrote the sleeve notes on this album in America and he just felt that this album stood out from everything that he brought back from the UK. So he alone is responsible for... for what happened with Time of the Season because I think CBS had given up on this album.

But Al Cooper from Blood, Sweat and Tears was in London and he just bought a lot of albums, took them back to America and he wrote the sleeve notes on this album in America and he just felt that this album stood out from everything that he brought back from the UK. So he alone is responsible for... for what happened with Time of the Season because I think CBS had given up on this album.

But he said, listen, this is a wonderful album. You must release it. When you think of how major record companies get behind some records or some acts and they put lots of money into promotion and marketing, and probably the band have just come off a huge hit as well. And so you know that something's going to happen with this record.

But he said, listen, this is a wonderful album. You must release it. When you think of how major record companies get behind some records or some acts and they put lots of money into promotion and marketing, and probably the band have just come off a huge hit as well. And so you know that something's going to happen with this record.

But he said, listen, this is a wonderful album. You must release it. When you think of how major record companies get behind some records or some acts and they put lots of money into promotion and marketing, and probably the band have just come off a huge hit as well. And so you know that something's going to happen with this record.

Time of the Season had no right to be a hit, but I'm very, very glad that it was a hit. And even in the studio, I tell this as a story against myself, I didn't really like the song, and I didn't want to sing it. And it had been written more or less in the morning before we recorded it, and I wasn't too sure of the exact melody.

Time of the Season had no right to be a hit, but I'm very, very glad that it was a hit. And even in the studio, I tell this as a story against myself, I didn't really like the song, and I didn't want to sing it. And it had been written more or less in the morning before we recorded it, and I wasn't too sure of the exact melody.

Time of the Season had no right to be a hit, but I'm very, very glad that it was a hit. And even in the studio, I tell this as a story against myself, I didn't really like the song, and I didn't want to sing it. And it had been written more or less in the morning before we recorded it, and I wasn't too sure of the exact melody.

And it's a Rod Argent song, and he's very emphatic that when he writes a melody, he wants it exactly as he wrote it. And quite so. I mean, I agree with him. It should be like that. And Rod and I had a set, too, in the studio. It was in Studio 3 at Abbey Road. And he wanted this song absolutely as he wrote it, and I kept making little mistakes.