Odessey and Oracle, one of the masterpieces of the 1960s, an era overrun by Psychedelic Pop acts as far as the eye can see. It is a rather forgotten album compared to albums which were released in the 60s as well, since it has gained its status not at its release, but years after its release. Albums by The Beatles, The Beach Boys and The Kinks from the same era will most likely always remain more popular than this album by The Zombies. Either way, it is held in high regards by most people who have heard of the album, and it is not hard to see why.

It starts off with the wonderfully delightful “Care of Cell 44”. It tells the story of a man thinking about his imprisoned fiancé which will be released soon, telling the story of what they used to do together, and what they will do once again after she has been released. Once the vocals by Colin Bluntstone kick in, you know that you have a classic album in your hand. His vocals give this song, or rather the whole album, a certain flair which is hard to dislike, with accompanying background vocals by the other bandmembers. The use of a harpsichord and a mellotron, as well as a Beach Boys-esque chorus gives the song a nostalgic feeling and it ends up catchy.

Next is a melancholic but gentle ballad based on William Faulkner’s story “A Rose for Emily”, a tale of an unmarried woman who lives alone and ends up dying alone, a woman tending a rose garden which people use to pick roses for their lovers, but she never receives one herself. The instrumental of the song is a lot more stripped down than on “Care of Cell 44”, which emphasises on the more sinister and melancholic vibe the lyrics are building up.

“After He’s Gone” is the next song on the album, continuing to show the prowess of the band members with subtle acoustic guitar work, starting with an arpeggio making up a sad melody, and the usual soaring chorus, backed up by wonderful backing vocals.

Continuing the light guitar work on the next song, “Beechwood Park”, which is considered one of the best songs on the album. A haunting and mysterious song with powerful vocals and a melodic chorus. The lyrics once again revolve around a longing for his past, retrospectively thinking back on the days with his love in Beechwood Park.

As “Beechwood Park” comes to an end, it transitions into “Brief Candles”, keeping up the slow tempo of the final section of the previous song. “Brief Candles” builds up a great contrast between the powerful chorus and gentle, relaxed verses. The song was inspired by a book of Aldous Huxley.

My personal favourite is yet to come though. “Hung Up on a Dream”, which once again features a mellotron, some darker chord progressions, and it is very trippy overall – definitely deserving of the “Psychedelic Pop” genre tag. From the vocal performances to the overall structure of the song, it is a Pop masterpiece par excellence.

“Changes”, once again featuring a mellotron which is imitating the sound of a flute. This song features a stark contrast between the chorus and the verses again, like “Beechwood Park”, however, this time it is not because of a soaring chorus, but due to the changing instrumentation. It turns from an instrumental solely made of pianos to exotic percussions. On a side note, the stereo version is really shining here, with its slightly delayed background vocals on the opposite side of the lead vocals.

“I Want Her She Wants Me” features another harpsichord and is another baroque pop masterpiece. From its beautiful melodies, to its Beach Boys-esque background vocals and the simple, yet effective lyricism. Another showpiece example of 60s Pop music and the potential this group had.

“This Will Be Our Year” is just a delight, beginning to end, with its catchy accompanying piano riff. The shortest song on the album, clocking in with a mere 2 minutes and 7 seconds, however, it is the perfect length for its type. It is a pleasant breather song with a good piano solo in the middle.

“Butcher’s Tale” is a bit of an oddball and does not seem to fit all that well. It features a harmonica which gives it a very medieval vibe, and the lyrics are the most serious the album has ever gotten. It is almost depressing, really. “And I have seen a friend of mine / Hang on the wire / Like some rag toy / Then in the heat the flies come down / And cover up the boy / And the flies come down in / Gommecourt, Thiepval, / Mametz Wood, and French Verdun / If the preacher he could see those flies / Wouldn’t preach for the sound of guns / And I / And I can’t stop shaking / My hands won’t stop shaking / My arms won’t stop shaking / My mind won’t stop shaking / I want to go home / Please let me go home / Go home”

“Friends of Mine” is a pleasant Pop song, once again a short but sweet jingle with a fitting guitar solo in the middle of the song. Sadly, there is not much which makes this song truly outstanding.

“Time of the Season” is a classic and the most well-known song on the album, which became a #1 hit… even if only one year after the album’s initial release, well after the disbandment of The Zombies. Its 3 note bass and drum loop pattern, followed by a snap (or click of the tongue) and a sighed “ah”. At the end of the verse, a guitar riff suddenly starts playing, leading into a climax of the chorus in a cappella. Absolutely brilliant! In the middle of the song there is a wonderful organ solo as well, perfecting the piece and making it a great closing song.

There really is not much left to say about this album… It is a mix of psychedelic fun and some of the best music I personally have ever had the pleasure to listen to. From experimental vocals effects to catchy melodies, it has everything I absolutely adore in music, and especially 60s Pop music, the embodiment of what music is supposed to be.

Final Score: 10/10