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Rating:
Introduction:
Two older figures, noteworthy but “minor”, of the good sixties pop tainted with psychedelia and rock, have long been back together after starting jointly in 1964 by founding the Zombies. They spent the seventies apart (Argent with the group named after him, Blunstone often with the Alan Parsons Project or solo), proceeded through the eighties and nineties here and there among solo work and renowned collaborations (Who, Ringo Starr, Manfred Mann's Earth Band, successful TV series).
The composer is the only Argent, but the main singer is Blunstone, endowed with a hieratic, melancholic, unmistakable, truly beautiful voice. The many who have explored the Alan Parsons Project discography know it well. Argent, on the other hand, has a clearer and more anonymous timbre, combined with an enviable skill on the piano (he also released an album where he reinterprets Chopin, Bach, Grieg adding some of his classical compositions) and on other keyboards.
Context:
It's 2004, the reconstitution of the Zombies is here at its second phase, the first going back to 1999, with two more publications to follow in 2011 and 2015. For the rhythm section, Rod Argent revives his cousin, the late Jim Rodford (who passed away falling down the stairs!.. a couple of years ago), also his bassist in Argent, who brings along his son Steve as the drummer. A couple of anonymous guitarists complete the formation, thereby decidedly reaffirming the basic concept always associated with the Zombies: keyboard-based pop rock with two valid voices. Besides the orchestra, arranged with great skill by Rod himself, who has studied.
Strengths and weaknesses:
The good thing is the music is balanced, intelligent, very professional, pleasant, varied.
On the disappointing side, the thematic invention is not exactly dazzling. Unsurprisingly, the best song of the batch is the only one not written by Rod Argent, titled “I Don’t Believe in Miracles” and belonging to his old partner in Argent, guitarist Russ Ballard. It can be heard on their live album “Encore” from 1974, with Ballard himself on this occasion on the grand piano usually in Rod's hands.
In short, the tracks are all well constructed and arranged; unfortunately, many of them fade from memory as soon as they are heard, never succeeding in doing anything truly striking. Moral: it's an album to listen to multiple times before being able to derive real enjoyment.
Album Highlights:
The second track “Memphis” gives vibes similar to the old Alan Parsons Project. It might be the voice, the choirs, and violins explained in Abbey Road sounds in the chorus…
“I Want to Fly” is among the prettiest. Blunstone unveils his most romantic and intimate singing, the piano plays elegantly and skillfully around it, laid on a bed of violins and murmurs. Beautiful chords, sugary but admirable.
The previously mentioned “I Don’t Believe in Miracles” is a ballad with a poignant and excellent melodic and harmonic content. I already loved it during the Argent days and remain very fond of it. The best by a long shot.
The title track of the album has the typical structure (jazzy piano, refined chords, “big” orchestra a'la Buckmaster to counterpoint the voice) of vintage Elton John. The difference being that Blunstone's voice is much more ethereal than the explosive tenor delivery of a young Elton. In fact, at the beginning, it almost feels like hearing the delicate and intimate singing of the best David Crosby.
The Rest:
The opening “In My Mind a Miracle” is a halfway decent rhythm & blues, clean, efficient.
“South Side of the Street” has familiar melodies and is appreciable nonetheless for Argent's perfect piano, tinged with jazz in the style of Billy Joel. The two friends split the singing, one verse each, and then the third in back-and-forth style.
“Time to Move” is the loudest of the batch (so to speak): a very predictable rock’n’roll with its usual sequences of (few) chords and typical vocal solutions.
A track that doesn’t convey anything is “With You Not There”. In the overall context of sappy lyrics, this one is the most irritating and rehashed… she left, and he doesn’t know what to do and keeps thinking and rethinking. The same goes more or less for “Against the Sun”, but it’s more incisive, with Blunstone’s voice more enjoyable, well framed by a very romantic oboe.
“Together” is different because it is initially led by acoustic guitars (then Argent’s Steinway arrives, much more substantial…), leading to a Beatles-like chorus. However, the decision to assign the rhythm to the congas is somewhat unfortunate.
The closing “Look for a Better Way” is also a filler that fails to have its own personality, despite the beautiful sounds of Hammond and electric piano. Slow and predictable.
Final Judgment:
Nothing indispensable, but the pre-retirement efforts of the great musicians who built the undergrowth of rock in its roaring years are often like this. Retro music, suitable for those (like me) who don’t waste time trying to make current pop and rock music "tolerable" to themselves. Three and a half stars.
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