- Released: June 22, 2004
- Label: Varese Fontana
- 1.Way I Feel Inside, The - (mono)
- 2.How We Were Before - (mono)
- 3.Is This The Dream - (mono)
- 4.Whenever You're Ready - (mono)
- 5.Woman - (stereo mix)
- 6.You Make Me Feel Good - (mono)
- 7.Gotta Get A Hold Of Myself - (mono)
- 8.Indication - (UK single version)
- 9.Don't Go Away - (mono)
- 10.I Love You - (stereo mix)
- 11.Leave Me Be - (UK single version)
- 12.She's Not There - (stereo mix)
- 13.I Can't Make Up My Mind - (mono)
- 14.I Remember When I Loved Her - (mono)
- 15.Remember You - (mono)
- 16.Just Out Of Reach - (mono)
- 17.Goin' Out Of My Head - (mono)
- 18.She Does Everything For Me - (mono)
Originally issued as Decca(4843)-1966.
The Zombies: Colin Blunstone (vocals); Rod Argent (keyboards); Chris White (bass guitar).
Liner Note Author: Andrew Sandoval.
Photographers: Liz Hays; Andrew Sandoval.
In 1966, the Zombies had already realized some success from their debut album, BEGIN HERE, but could not get their initial label, Decca, to release a follow-up. They defected to CBS, for whom they would record their masterwork, ODESSEY AND ORACLE, and, in the interim, Decca put out I LOVE YOU, a singles compilation that never saw US release. THE ZOMBIES (2004) marks the first American pressing of the aforementioned album, buoyed by a generous number of bonus tracks (additional A- and B-sides from the group's Decca years). While the conceptual baroque-pop sophistication of ODESSEY was still down the road, the phase represented by THE ZOMBIES shows the group to be one of the finest of the British Invasion-era bands--at their best they were fully on par with the Beatles' contemporaneous work.
Colin Blunstone's smokey, fragile tenor and Rod Argent's jazz/R&B-tinged electric keyboards drive the Zombies' sound, as the disc moves through familiar hits ("She's Not There," "I Love You") and more obscure tracks (the airy, touching "The Way I Feel Inside," the swirling, atmospheric "Gotta Get a Hold of Myself"). While the absence of CBS material keeps this from being a definitive anthology, it's as fine a slice of mid-'60s British pop as one could desire.