Sticks and Stones on side one is in reprocessed stereo, but it has been done tastefully and is very close to mono.
Road Runner on side two is in reprocessed stereo, but again the work has been done tastefully and is very close to mono.
Contra the label, Just Out of Reach is NOT reprocessed. It is true stereo, with guitars and drums hard right and left.
- Two outstanding sides each rating a solid Double Plus (A++) or BETTER – you have never heard The Zombies sound better, guaranteed
- When you get hold of a sublimely Tubey Magical copy such as this, the sound of Rod Argent’s Hammond B-3 is nothing less than GLORIOUS
- This UK compilation plays very quiet throughout – Mint Minus to Mint Minus Minus – they don’t come quieter
- 4 Stars: “The Zombies’ obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners.”
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1965 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There may well be a CD of this album, but those of us in possession of a working turntable and a good collection of vintage vinyl could care less.
What the best sides of this Zombies Compilation from 1970 have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl import pressings like this one offer the kind of Tubey Magic that was on the tapes in 1970
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with the guitars and drums having the correct sound for this kind of recording
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we listed above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
The World of the Zombies for all intents and purposes is a reissue of their 1965 debut album, Begin Here, with a few track changes, the most important of which is the addition of Tell Her No.
In 2008 and again around 2010 I had a chance to see the newly reformed Zombies play locally and they put on one helluva show. That rich keyboard sound Rod Argent pioneered influenced a ton of bands I love, especially Pure Pop groups like Jellyfish and Crowded House.
When you get a Tubey Magical copy like this, that Hammond B-3 sound is GLORIOUS. Smooth sweet vocals and dead on tonality complete the sonic picture here.
Just for fun sometime go to popsike.com and check out what the original first Zombies record on Decca sells for. Try $1500 and up! And people think our prices are high — we ain’t never charged that kind of bread.
She’s Not There
Sticks & Stones
You’ve Really Got A Hold On Me
I Got My Mojo Working
Kind Of Girl
Tell Her No
Just Out Of Reach
She Does Everything For Me
All Music Guide
The Zombies aptly portrays the quintet of Chris White (bass), Rod Argent (keyboards/vocals) Colin Blunstone (guitar/vocals), Paul Atkinson (guitar), and Hugh Grundy (drums) in terms of the band’s fresh blend of intelligent Brit-pop. Their efforts are equally laudable on the strength of an original such as “Tell Her No” as they are on the blue-eyed soulful medley interpretation of the Miracles’ “You’ve Really Got a Hold on Me” with Sam Cooke’s “Bring It on Home to Me.”
This is stylistically complemented by the R&B rave-up on Muddy Waters’ “I Got My Mojo Working” and the ultra hip jazzy arrangement of the Gershwin standard “Summertime.” The Zombies’ obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners.