Colin Blunstone -

Colin Blunstone is an English singer who fronted The Zombies, which charted with the British Invasion classics “She’s Not There,” “Tell Her No,” and “Time of the Season.”

As a solo artist, Colin released the 1971–74 Epic albums One Year, Ennismore, and Journey and scored hits with “She Loves the Way They Love Her,” “I Don’t Believe In Miracles,” and “Wonderful.”

He sings the 1982 ballad “Old and Wise” by the Alan Parsons Project. In 1984, he fronted the APP-spinoff Keats.

Early Life

He was born Colin Edward Michael Blunstone on June 24, 1945, in Hatfield, Hertfordshire to De Havilland aeronautical engineer Arthur Blunstone and housewife (and onetime dancer) Dorothy. Colin attended St Albans County Grammar School for Boys, where in early 1962 he joined The Zombies, formed by classmate and keyboardist Rod Argent.

The Zombies

They entered and won a local music contest that awarded them money for a demo session. Rod’s original “She’s Not There” impressed Decca, which signed The Zombies in time for the British Invasion. With guitarist–songwriter Chris White, the band played a mix of R&B and melodic beat, marked by Argent’s jazzy keyboards and Colin’s smooth, airy croon.

The Zombies scored transatlantic hits with “She’s Not There” and “Tell Her No.” Between 1964 and 1966, they released ten singles and the album Begin Here. They embraced psychedelia and baroque pop on their 1967–68 singles “Friends of Mine” and “Care of Cell 44,” recorded in preparation for their second album Odessey and Oracle, which gained belated stateside recognition when its centerpiece, “Time of the Season,” became a 1969 Billboard hit. By then, Rod dissolved the band and formed Argent with (ex-Unit 4 + 2) guitarist–songwriter Russ Ballard.

Solo Career

Blunstone sought brief employment as an insurance clerk before his relaunch as a solo singer. In 1969, he signed with Decca and released three singles under the name Neil MacArthur.

Deram issued “She’s Not There” on January 10, 1969 (b/w “World of Glass”). The A-side recast the Rod Argent song that the 1964 Zombies classic. Mike Hurst produced both sides. “She’s Not There” reached No. 34 on the UK Singles Chart and also appeared in overseas Deram issues across Europe, North America, Japan, Australia, and New Zealand.

“Don’t Try to Explain” followed on June 20, 1969 (b/w “Without Her”). Billy Vera wrote the A-side and Harry Nilsson originated the flip. Mike Hurst produced both sides, arranged by Phil Dennys. Deram serviced demonstration copies in the UK and issued the single in the United States in August.

Deram issued “It’s Not Easy” on October 17, 1969 (b/w “12.29”). Barry Mann and Cynthia Weil wrote the A-side, while Peter Lee Stirling and Chris Sedgewick wrote “12.29.” Hurst again produced both sides, and Dennys arranged the single. Deram pressed demonstration copies in the UK and issued the record in multiple overseas markets, including Australia, Belgium, Japan, New Zealand, and the United States.

One Year

Colin Blunstone released his debut solo album, One Year, in November 1971 on Epic.

One Year contains four Blunstone originals and three Rod Argent–Chris White titles, plus songs by Tim Hardin (“Misty Roses”), Mike d’Abo (“Mary Won’t You Warm My Bed”), and Denny Laine (“Say You Don’t Mind”).

The four-piece Argent lineup appears on “She Loves the Way They Love Her,” “Caroline Goodbye,” and “Mary Won’t You Warm My Bed”; guitarist Alan Crosthwaite appears on “Misty Roses.” Chris Gunning arranged six titles. Tony Visconti and Argent arranged “Caroline Goodbye” and “Mary Won’t You Warm My Bed,” while John Fiddy arranged “Let Me Come Closer to You.”

“She Loves the Way They Love Her” strides through a brisk ensemble attack and bright harmony replies. “Misty Roses” glides from hushed guitar under Blunstone’s high vocal into a long, angled string break. “Smokey Day” hovers on multi-tracked voices and formal chord turns. “Caroline Goodbye” lingers over strummed figures, austere cadence, and a farewell refrain.

“Though You Are Far Away” hushes the verse through plucked accents and breath-level delivery. “Mary Won’t You Warm My Bed” applies a warmer pulse and thicker ensemble accents. “Say You Don’t Mind” ascends through full orchestral backing and a firm refrain.

A1. “She Loves the Way They Love Her” (2:49) – Argent, White
A2. “Misty Roses” (5:04) – Hardin
A3. “Smokey Day” (3:13) – Argent, White
A4. “Caroline Goodbye” (2:54) – Blunstone
A5. “Though You Are Far Away” (3:24) – Blunstone

B1. “Mary Won’t You Warm My Bed” (3:11) – d’Abo
B2. “Her Song” (3:31) – Argent, White
B3. “I Can’t Live Without You” (3:27) – Blunstone
B4. “Let Me Come Closer to You” (2:24) – Blunstone
B5. “Say You Don’t Mind” (3:20) – Laine

Sessions occurred between 1970 and 1971 at Sound Techniques in Chelsea and Abbey Road Studio Three in London with producers Rod Argent and Chris White. Jerry Boys engineered the first two titles at Sound Techniques; Peter Vince engineered the Abbey Road work. Chris White shaped the running order and track gaps during mastering at Apple Studios.

One Year uses a Paul Ostrer cover photograph. The front image shows a close, sepia-toned portrait of Blunstone, tilted across the frame beneath small white title type.

Epic issued “Mary, Won’t You Warm My Bed” as a March 19, 1971 single (b/w “I Hope I Didn’t Say Too Much Last Night”). “Caroline Goodbye” followed on October 8, 1971 (b/w “Though You Are Far Away”). In January 1972, “Say You Don’t Mind” became the third single (b/w “Let Me Come Closer”) and reached No. 15 on the UK Singles Chart.

Sundazed marked the album’s fiftieth anniversary with an expanded 2021 edition that paired the original album with That Same Year, a bonus set of period demos.

Ennismore

Colin Blunstone released his second solo album, Ennismore, in November 1972 on Epic.

Ennismore takes its title from Ennismore Gardens in Knightsbridge, where Blunstone lived during the period. Blunstone wrote five titles alone and co-wrote two each with David Jones and Phil Dennys. Russ Ballard supplied “I Don’t Believe in Miracles” while Argent–White contributed “Andorra.”

Returning Argent members Ballard, Rodford, and Henrit appear alongside multiple keyboardists (Dennys, Pete Wingfield), guitarists (Derek Griffiths, Michael Snow), and rhythm players (Steve Bingham, Terry Poole, Byron Lye Foot, Jim Toomey). Chris Gunning handled string arrangements while Dennys charted sax on “How Could We Dare to Be Wrong.”

Ennismore favors reserved vocal placement and polished orchestral accents, with brighter motion on “Pay Me Later” and “Andorra.” “I Don’t Believe in Miracles” gleams through a high falsetto chorus and compact single phrasing. The “Quartet” unfurls as a connected suite of placid verses, restrained refrains, and pastoral color. “Every Sound I Heard” lingers on cello-colored accents and repeated name imagery. “I Want Some More” quickens through acoustic strums and clipped keyboard figures.

“Pay Me Later” slides through an acoustic slide figure and a dry title refrain. “Andorra” tightens the pulse with light funk accents and whispered vocal replies. “I’ve Always Had You” returns to quiet delivery, then cuts the surface with a sudden string sweep. “Time’s Running Out” drifts through circling guitar lines and soft vocal pressure. “How Could We Dare to Be Wrong” resolves the album through measured melancholy and a plainspoken chorus.

A1. “I Don’t Believe in Miracles” (3:03) – Ballard
A2a. “Quartet: Exclusively for Me” (2:30) – Blunstone, Jones
A2b. “Quartet: A Sign from Me to You” (3:58) – Blunstone
A2c. “Quartet: Every Sound I Heard” (2:26) – Blunstone, Jones
A2d. “Quartet: How Wrong Can One Man Be” (2:02) – Blunstone
A3. “I Want Some More” (3:08) – Blunstone

B1. “Pay Me Later” (2:46) – Blunstone, Dennys
B2. “Andorra” (3:18) – Argent, White
B3. “I’ve Always Had You” (2:32) – Blunstone
B4. “Time’s Running Out” (2:41) – Blunstone
B5. “How Could We Dare to Be Wrong” (3:24) – Blunstone, Dennys

Sessions occurred at Abbey Road Studios in London with producers Rod Argent and Chris White and engineer Peter Vince. The album credits Gunning with string arrangements.

Ennismore appeared in a sleeve designed by Mick Keates, Barbara Salisbury, and Centrum Graphics. Steve Campbell shot the front cover photograph, which shows a black-and-white portrait of Blunstone in a light jacket against a gray background; David Lowe supplied the back-cover photograph.

Epic issued “I Don’t Believe in Miracles” as an October 20, 1972 single (b/w “I’ve Always Had You”), which reached No. 31 on the UK Singles Chart. In January 1973, “How Could We Dare to Be Wrong” followed as a single (b/w “Time’s Running Out”) and reached No. 45 on the UK Singles Chart.

Sony reissued Ennismore on CD in 2003, and Floating World/Voiceprint paired the album with Journey on a 2014 single-disc reissue.

Journey

Colin Blunstone released his third album, Journey, in 1974 on Epic.

Journey opens with the King’s Singers on “Wonderful,” “Beginning,” and “Keep the Curtains Closed Today.” Keyboardist Pete Wingfield supplies three titles while Pip Williams handles orchestral arrangements. Blunstone presides over guitarist Derek Griffiths, bassist Terry Poole, drummer Jim Toomey, and brass players Mike Cotton, Nick Newell, and John Beecham.

“Wonderful” swells into layered choir phrases and a broad final refrain. “Beginning” lulls through suspended vocal layers and a soft choral bridge. “Keep the Curtains Closed Today” glides on classical guitar figures and close harmony replies. “Weak for You” broadens the arrangement with a heavier studio gloss.

“Smooth Operation” leans into the same overbright finish and firmer ensemble push. “You Who Are Lonely” sways through plaintive phrasing and clean production detail. “Setting Yourself Up” strums through large acoustic accents and a direct chorus. “This is Your Captain Calling” places Blunstone’s vocal against a brighter period pace and a firmer backbeat.

A1. “Wonderful” (5:00) – Argent, White
A2. “Beginning” (1:23) – Blunstone
A3. “Keep the Curtains Closed Today” (3:15) – Blunstone
A4. “Weak for You” (5:25) – Wingfield
A5. “Beware” (3:30) – Argent, White
A6. “Smooth Operation” (4:00) – Wingfield

B1. “This Is Your Captain Calling” (4:20) – Richard Kerr, Gary Osborne
B2. “Something Happens When You Touch Me” (3:55) – Blunstone, Kerr
B3. “Setting Yourself Up” (3:22) – Blunstone
B4. “Brother Lover” (3:44) – Blunstone, Kerr
B5. “Shadow of a Doubt” (3:41) – Wingfield

The North American edition changed the running order and replaced “Beware” and “Brother Lover” with the Russ Ballard titles “You Who Are Lonely” and “It’s Magical.” Mike Ross engineered those added tracks at CBS Studios in London.

Sessions occurred at Abbey Road Studios in London with producer Chris White and engineers Peter Bown and Peter Vince. Rod Argent co-produced “Beware,” and Mark Vigars assisted the engineering team.

Journey appeared in a sleeve designed by Simon Cantwell and Roslaw Szaybo. The UK front cover shows a stylized Blunstone portrait inside a blue-gray circular sky image, with white artist and title type across the upper edge.

Epic issued “Wonderful” as a September 21, 1973 single (b/w “Beginning”). On May 31, 1974, “It’s Magical” appeared as a single (b/w “Summersong”).

Planes

Colin Blunstone released his fourth album, Planes, in 1976 on Epic.

Planes contains three Blunstone titles and two Richard Kerr co-writes. Blunstone also covers Neil Sedaka (“Beautiful You”), Elton John (“Planes”), Beach Boys (“Only with You”), Tim Moore (“I Can Almost See the Light”), Kiki Dee (“Loving and Free”), The Zombies (“(Care Of) Cell 44”), and Buddy Holly (“Tell Me How”). Rod Argent appears on keyboards and backing vocals, with guitarist Paul Keogh, bassist Lyle Harper, Fairport/801 drummer Dave Mattacks, and Elton percussionist Ray Cooper.

“Beautiful You” swings through brass-edged accents and a robust backbeat. “Planes” saunters through subtle orchestration, light keyboard touches, and controlled vocal phrasing. “Since I’ve Been Loving You” rolls from a tense opening into slide guitar inflections. “Ain’t It Funny” leans on piano chords, string backing, and conversational give-and-take. “Only with You” brushes the vocal with lush orchestration. “I Can Almost See the Light” lifts through treated figures and a full chorus.

“Good Guys Don’t Always Win” brightens through buoyant backing vocals and relaxed accents. “Dancing in the Dark” keeps the vocal close over an acoustic bossa-tinted sway. “(Care of) Cell 44” quickens through bright harmony breaks and a buoyant refrain. “Tell Me How” gallops through clipped strums and period-styled harmony.

A1. “Beautiful You” (3:18) – Sedaka, Phil Cody; originated on Neil’s 1972 10cc-produced comeback album Solitaire.
A2. “Planes” (4:06) – John, Bernie Taupin
A3. “Since I’ve Been Loving You” (4:38) – Blunstone
A4. “Ain’t It Funny” (2:54) – Blunstone, Kerr
A5. “Only with You” (3:37) – Dennis Wilson, Mike Love; originated on the 1973 Beach Boys album Holland.
A6. “I Can Almost See the Light” (4:00) – Moore

B1. “Good Guys Don’t Always Win” (3:47) – Blunstone, Kerr
B2. “Loving and Free” (4:03) – Dee; first recorded as the title-track of Kiki’s 1973 third album.
B3. “Dancing in the Dark” (2:04) – Blunstone
B4. “It’s Hard to Say Goodbye” (3:18) – Blunstone
B5. “(Care Of) Cell 44” (3:23) – Argent
B6. “Tell Me How” (2:11) – Charles Hardin, Jerry Allison, Norman Petty

Sessions occurred at Marquee Studios in London with producer Gus Dudgeon and engineer Phil Dunne. Del Newman arranged and conducted “Planes” and “Loving and Free,” while Richard Hewson arranged strings on “Only with You.”

Planes appeared in a sleeve designed and photographed by Graham Hughes, with retouching by Mike Mann and typography by Keith Jones. The cover shows a monochrome Blunstone portrait with large gold title type across the lower frame.

Epic issued the non-LP “When You Close Your Eyes” as an August 27, 1976 single (b/w “Good Guys Don’t Always Win”). “Planes” followed on November 5, 1976 (b/w “Dancing in the Dark”). In 1977, “Beautiful You” appeared as a February 18 single (b/w “It’s Hard to Say Goodbye”), followed by “Lovin’ And Free” on April 22 (b/w “Dancing in the Dark”).

Cherry Red reissued Planes in 2015 on a two-album CD paired with Never Even Thought.

Never Even Thought

Colin Blunstone released his fifth album, Never Even Thought, in July 1978 on The Rocket Record Company and Epic.

Never Even Thought contains seven Blunstone co-writes and outside titles by Murray Head (“Never Even Thought”) and Severin Browne (“Do Magnolia Do”). Three Toto players appear in the session credits: drummer Jeff Porcaro, bassist David Hungate, and keyboardist David Paich.

The wider roster includes guitarist Davey Johnstone, bassist Cooker Lo Presti, and keyboardists Michael Omartian and James Newton Howard, who doubled as string arranger. Greg Adams arranged the Tower of Power horns on “I’ll Never Forget You” while Jim Horn did likewise on “Do Magnolia Do.”

“Who’s That Knocking?” hushes through a gentle verse and light saxophone color. “Photograph” lingers on a pensive vocal line and measured orchestral backing. “Never Even Thought” curls through baroque-tinted turns, sitar shading, and a floating lead. “Do Magnolia Do” brightens into a buoyant refrain and crests through a larger vocal finish. “Ain’t It Funny” returns in a similar piano-led arrangement to the earlier version. “I’ll Never Forget You” leans on a firmer backbeat and brass-edged accents.

A1. “I’ll Never Forget You” (3:35) – Blunstone, Kerr
A2. “Lovelight” (3:52) – Blunstone, Alan Phillips
A3. “Ain’t It Funny” (3:33) – Blunstone, Kerr
A4. “Who’s That Knocking” (2:34) – Blunstone, Phillips
A5. “Never Even Thought” (5:53) – Head; originated on Murray’s 1975 album Say It Ain’t So; also covered in 1978 by Cliff Richard on his album Green Light.

B1. “Touch and Go” (3:24) – Blunstone, Phillips
B2. “You Are the Way for Me” (3:25) – Blunstone, Phillips
B3. “Photograph” (4:15) – Blunstone, Phillips
B4. “Do Magnolia Do” (4:35) – originated on the 1974 Motown release New Improved Severin Browne, the second album by Jackson Browne’s younger brother.

Sessions occurred at Hollywood Sound Recorders, Sound Labs, and Studio 55 in Los Angeles, with further work at Trident Studios and EMI Studios in London. Bill Schnee produced and engineered the album, assisted by Dana Latham, George Tutko, Neil Kernon, and Peter Vince. The album was mixed at Cherokee Studios and Sunset Sound, then mastered by Doug Sax and Mike Reese at The Mastering Lab.

Never Even Thought features artwork by David Larkham and photography by Ed Caraeff. The front cover shows Blunstone seated in a wood-paneled room, with shelves, a hat on a table, and blue title type in the upper-left frame.

Epic issued “I’ll Never Forget You” as a May 5, 1978 single (b/w “You Are the Way for Me”). “Ain’t It Funny” followed on July 21, 1978 (b/w “Who’s That Knocking”), and “Photograph” appeared on November 10, 1978 (b/w “Touch and Go”).

Cherry Red paired Never Even Thought with Planes on a 2015 two-album CD reissue.

Late Nights in Soho

Colin Blunstone released his sixth album, Late Nights in Soho, in 1979 on The Rocket Record Company. The album appeared as a Netherlands Rocket issue and remained a Europe-only Blunstone album during the period.

Late Nights in Soho contains three Blunstone originals and two Rod Argent titles, plus two Allee Willis co-writes and outside songs by Todd Rundgren (“Can We Still Be Friends”) and Craig Mirijanian (“Let Him Go”).

The rhythm section comprises bassist John Giblin, drummer Simon Phillips, guitarist Paul Keogh, and percussionist Morris Pert, with Mike Moran and Argent on piano and synthesizer. Clem Clempson adds guitar on “Something Special” and “Switchblade Years.” Backing-vocal credits split between Argent and John Verity across eight titles and the trio of Jimmy Chambers, Katie Kissoon, and Stevie Lange on “Single Man’s Dilemma” and “Gotta Have Faith.”

“Boogaboo” opens the set with Argent and John Verity replies around Blunstone’s lead. “Can’t Get Enough” presses the same vocal-trio layout into a firmer chorus. “Something Special” adds a brass arrangement to the album’s glossy surface. “Can We Still Be Friends” settles into the outside-song slot without a large arrangement break. “Switchblade Years” sharpens the second side with added lead-guitar bite. “Single Man’s Dilemma” and “Gotta Have Faith” shift the backing replies to Jimmy Chambers, Katie Kissoon, and Stevie Lange.

A1. “Boogaboo” (4:25) – Allee Willis, Phil Dennys
A2. “Can’t Get Enough” (4:23) – Argent
A3. “I Need Someone to Touch Me There” (4:22) – Allee Willis, Jon Lind
A4. “You’re the One” (4:18) – Blunstone, Phil Dennys
A5. “Something Special” (5:16) – Argent

B1. “Can We Still Be Friends” (3:27) – Rundgren; originated on Todd’s 1978 release Hermit of Mink Hollow; also covered by Robert Palmer for his 1979 album Secrets.
B2. “Switchblade Years” (3:35) – Bernie Taupin, Bias Boshell, Davey Johnstone
B3. “Single Man’s Dilemma” (4:51) – Colin Blunstone
B4. “Gotta Have Faith” (4:11) – Blunstone, Phil Dennys
B5. “Let Him Go” (3:02) – Craig Mirijanian

Sessions occurred at Trident Studios in London with producer Rod Argent and engineer Steve Short. Simon Jeffes arranged the Gavyn Wright-led string section while Argent handled brass arrangements.

Late Nights in Soho appeared in a sleeve designed by Cream, with photography by Gered Mankowitz and Charles William Bush. The front cover shows a suspended light bulb against a black field, with blurred amber streaks beneath the glass and small white title type along the lower edge.

Rocket issued “Boogaboo” as a 1979 single in France and the Netherlands (b/w “Can We Still Be Friends”). The French single lists the two edited sides at 4:18 and 3:18, with Rod Argent as producer.

1980s Activity

Colin Blunstone opened the decade with “Miles Away,” the closing ballad on Exiled, the 1980 RCA release by Mitchell / Coe Mysteries, the project of Complex veterans Steve Coe and Bob Mitchell. Panache Records lifted the song as a September 1981 single (b/w “Excerpts from ‘Exiled’”).

In February 1981, Blunstone appeared for a one-off partnership with Egg/Hatfield keyboardist Dave Stewart, fresh off National Health. Broken Records issued their cover of the 1966 Jimmy Ruffin hit “What Becomes of the Broken Hearted,” reissued soon after on Stiff. The song reached No. 13 on the UK singles chart and presaged Stewart’s chart-topping collaboration with Northette Barbara Gaskin on the Lesley Gore classic “It’s My Party.”

Blunstone resumed solo work with the April 1982 PRT single “The Tracks of My Tears,” a Miracles cover backed with “The Last Goodbye,” an original Dennys co-write. Colin’s Motown cover, his second in seven months, reached No. 60 on the UK singles chart. PRT followed with the February 1983 Blunstone single “Touch,” written and produced by ex-Camel keyboardist Pete Bardens. Saxophonist Mel Collins features on the instrumental b-side version.

The Alan Parsons Project used Blunstone as lead vocalist on “Old and Wise,” the epic closing ballad on their 1982 release Eye in the Sky. Blunstone continued the link with vocals on the 1984/85 APP albums Ammonia Avenue (“Dancing on a Highwire”) and Vulture Culture (“Somebody Out There”).

In 1984, Blunstone joined Keats, a Parsons–produced project with Bardens and three Pilot alumni: guitarist Ian Bairnson, bassist David Paton, and drummer Stuart Elliott. EMI issued their self-titled singular album, which features auxiliary synth/sax by Richard Cottle.

Blunstone and Elliot co-wrote Colin’s next single, the May 1986 Sierra release “Where Do We Go from Here?” (b/w “Helen Loves Paris”). That autumn, Sierra revived Colin’s solo “She’s Not There” rendition with “Who Fires the Gun?” — another Blunstone–Dennys original. In May 1988, Blunstone returned with the IRS single “Cry an Ocean” (b/w “Make It Easy”), both sides co-written with Hackett sideman Nick Magnus.

Blunstone also joined the 1985 charity single “You’ll Never Walk Alone” by The Crowd and sang “Julie” on K2, the 1989 solo album by erstwhile Rainbow/Colosseum II keyboardist Don Airey.

Discography: