THE MAKING OF ONE YEAR - FEATURING Colin Blunstone

Intro:

Dan Nordheim: You’re listening to Life of the Record. Classic albums, told by the people who made them. My name is Dan Nordheim.

Colin Blunstone was born in Hatfield, Hertfordshire, England in 1945. As a teenager, he formed The Zombies along with Rod Argent, Hugh Grundy, Paul Atkinson and Paul Arnold. Chris White replaced Paul Arnold as The Zombies released their first single, “She’s Not There,” in 1964. In 1967, The Zombies recorded Odessey & Oracle but broke up after the initial singles failed to chart. Colin Blunstone started working as an insurance clerk and released a few singles using the pseudonym, Neil MacArthur. In 1970, he began recording his first solo album under his own name with former bandmates, Rod Argent and Chris White, co-producing. One Year was eventually released in 1971.

In this episode, for the 50th anniversary, Colin Blunstone looks back on how One Year came together. This is the making of One Year.

Colin Blunstone: Hi, I'm Colin Blunstone. I'm the lead singer in The Zombies. And I'm going to be talking about my first solo album, away from The Zombies. It was recorded in 1971 and it's called One Year.

In 1967, The Zombies finished as a band. There didn't seem to be any alternative. There was no interest in the band. We'd managed to record an album, Odessey and Oracle, in the summer. And remembering that this is a time of the power of the single. It was all about to change. At the end of the 60s, albums were far more important. But we released a single, and it got very little airplay, and very little critical interest. And it seemed to us that we probably, the band had run its course and I think everyone was pretty much agreed about that. We had it in our mind that we were being incredibly unsuccessful. And you have to remember, this is before the Internet. So we would only know about chart successes, sometimes years later. I know that sounds bizarre, but it's true. We found out later that we always had a hit record somewhere in the world. But I think we were concentrating too much on the charts of the UK and the States. And we tended to take our eye off the ball as far as the rest of the world was concerned. And if we'd have really known the details of what was happening around the world, I think maybe the band would have stayed together a bit longer. But we would have had to stay together for a year or 18 months before we saw any reaction to the album Odessey and Oracle, in the sense that “Time of the Season” started to take off. It was a track that, I'm not sure it can happen like this now, but there was one DJ in Boise, Idaho who would not stop playing that track. And it just gradually grew from that one DJ. It was a very slow burner, do you call them you know, it took a long time before “Time of the Season” was a hit. But Odessey and Oracle was never really a hit at the time. It's just something that built over many years, just word of mouth people like Tom Petty in the States. And Paul Weller in the UK, he’s a huge star in the UK. And just through word of mouth, the album started to create interest. And it nearly didn't come out at all. Al Kooper from Blood, Sweat & Tears had just become a producer at CBS Records. And he'd been in in London in the UK and he bought about 200 albums. And he said that there was one album that stood out above all the others nd it was Odessey and Oracle. And on his first day working at CBS in New York, it was very brave of him because he went to the most powerful man in the record industry, Clive Davis. And he said, “Whatever it costs, I don't care what it costs, we have to get this album Odessey and Oracle. And Clive Davis said to him, “Hold on, we've already got this album, but we weren't going to release it.” And through Al Kooper's persistence and his bravery, the album was released. It wasn't particularly a success.

And unfortunately, the non-writers in the band, which was Paul Atkinson, guitarist, Hugh Grundy and myself. Because our finances hadn't been handled very well by our management company, we were penniless. And Rod and Chris White, were in a slightly different situation because they were songwriters. And their songwriting income stream didn't go through our management company, it went directly to them. So they were in a different situation. And Paul said, “Look, I've just got married, I've got no money.” And Paul was very bright. And he'd been offered a job in computers with a very early firm dealing in computers. And he said, “I'm going to have to take this job.” And that was probably the final nail in the coffin of the band really. I think there were other reasons that the band, mostly just lack of interest and lack of money. And that meant that we felt it was time to move on. We all had to immediately get jobs. So I took the first job I was offered, I didn't have any choice, it happened to be in insurance. I didn't know anything about insurance really, just the vaguest idea. And I guess, basically I was a clerk really, and I stayed there for a few months. And I've often thought that it did me good because I found the breakup of the band very, very sad. You know, quite traumatic, really. But I was so busy working in this office in the center of London, it was an incredibly busy office. I didn't have time to think about it really. And after about nine or ten months, “Time of the Season” started to be a big hit in the States. And people started calling me at the insurance office to see if I wanted to record again. It was kind of a strange situation. And one of the guys who called was a producer called Mike Hurst. He just recorded the early Cat Stevens records. I'm not sure if these were hits in America, but they were big hits in the UK. And Mike Hurst wanted to record me. And so we agreed that I would leave work and go to Olympic Studios in Barnes where the Stones recorded a lot of their stuff at that time. So it was a really good studio. But you know, I was going there after work, and basically just putting vocals on tracks, mostly that had been selected by Mike, I think they'd all been selected by Mike. And one of his ideas was to rerecord “She's Not There,” which seems a bit of a strange idea. But for me, I wasn't absolutely sure if I wanted to commit to a full time career in the music business after the trauma of The Zombies breaking up. And so I was just happy to sing on anything really just to see how it felt, see if I could still do it. And so one of the tracks we recorded was “She's Not There.” And Mike also came up with the idea of me changing my name. I don't know what the reasoning is behind that. And originally, I was going to be James MacArthur. But at the last minute London Records objected to James MacArthur, because there was an actor called James MacArthur in “Hawaii Five-O.” So I became Neil MacArthur. And again, you know, I wasn't questioning any of this stuff, because I didn't know if this was going to be. I didn't really think it would be a full time thing. It was fun, you know, it was an adventure. But “She's Not There” by aforementioned, Neil MacArthur, was released. And in the UK, it was a small hit, I think it got to about 30 or 32 in the charts. And suddenly, I'm back in the music business, goodbye insurance (laughs). I was back in the music business. I made three singles under the name of Neil MacArthur and interest was definitely dwindling in the career of Neil MacArthur. And I was coming home from a party with Chris White, the bass player in the original Zombies. And he said, “listen, Rod and I have put a production company together with Epic Records. Why don't you come with us? Forget the Neil MacArthur thing, go back to your real name. And we'd love to produce you in your first solo album.” So we got back together again, Rod, Chris White and myself, we were back in Abbey Road, Studio 3, exactly where we recorded Odessey and Oracle with the wonderful engineer Peter Vince, who helped oversee things and he also worked on Odessey and Oracle as well. So to some degree, it was like having the old team back together again.

“She Loves the Way They Love Her”

We spent nearly a year recording that album, which I thought The Zombies always recorded really quickly. I couldn't believe we'd spent that long. Hence the title of the album was One Year, and in a very loose sense, it is like a diary of a year of mine. We started off with the first track, “She Loves the Way They love Her,” a great Rod Argent tune, and we ended up with the Denny Laine song, “Say You Don't Mind,” when we decided to do the album, I don't think we had a big list of tunes we were going to record, we had two ideas. One was “She Loves the Way They love Her,” which to me, sounds very much like a Zombie tune, perhaps what The Zombies would have been doing if they'd kept going. And, in fact, it's Rod Argent and myself, Rob wrote it, is playing keyboards and singing harmonies. And basically it's Argent, his new band, who are one of my all-time favorite bands. And whenever they were free, I always tried to get them into the studio, if I could. And that was one of the occasions where it all came together.

Rod had the idea of forming The Zombies. And the plan was, for me to be the rhythm guitarist, and Rod was going to be the singer. So he hadn't actually done anything at this point. And we had our first rehearsal, when he went over to an old broken down piano in the corner of the room. And he played “Nut Rocker” by B. Bumble and the Stingers, which is a rock and roll take on a classical piece. And you've got to be a fairly accomplished keyboard player to play it, it's not a beginner’s piece. And I was astounded. I didn't really know him but I just rushed over and said, “You've got to play keyboards in the band.” And he said, “No, I want it to be a rock and roll band, it's got to be guitars.” And we left it at that. And just at the end of the rehearsal, I was just putting my guitar away in its case, and I just played a bit of a Ricky Nelson song, I think it was “It's Late.” And I just sang to myself a little bit of it, but Rod heard me. And he said, “I tell you what, if you'll be the lead singer, I'll play keyboards in the band.” And that essentially, was The Zombies. It was thrown together in a very light hearted way. I'm not a great guitarist and I'm not sure that Rod would ever want to be a lead singer. So I'm not sure it would have worked out that way. But so much in life is chance. And it's really true, as far as The Zombies are concerned. There's so many crossroads that we've come that could have gone either way, you know, I guess that's just life.

“Misty Roses”

The first two tracks, “She Loves the Way They Love Her” and “Misty Roses,” which is a wonderful Tim Hardin song. They were the first two tunes, I'm not sure we had any other ideas. We just wanted to start, you know, we just wanted to see if it would work. And we actually started recording in a studio called Sound Techniques, which is just off the King’s Road in Chelsea with Jerry Boys engineering. Those first two tracks started off there. But shortly after that we moved to Abbey Road, as I said before, and those tracks were finished in Abbey Road, and were mixed in Abbey Road. With “Misty Roses,” we realized we just played that live, it's one take live.

That's the first half of the track. But we realized it's probably only about one and a half minutes long. So we needed to do something with it. And then there was a really important moment, in the production of this album, we were introduced to a wonderful string arranger called Chris Gunning. We'd never met him before and we tasked him with making something more of “Misty Roses” And at the time, I know Rod had been listening to a lot of Bartók. And that phrase came into it a lot. We wanted a string instrumental break in the mode of Bartók. And then afterwards, I would sing over these strings with really interesting harmonic progressions, and I would sing over it and that's what happened. Chris Gunning came back with a wonderful sort of two and a half minute instrumental break in the middle, it's breathtaking.

Chris's arrangements on One Year are just outstanding. But no, “Misty Roses,” I just thought it was really beautiful. I didn't think it was a commercial track. And I didn't think it would ever be a single. But I did think it was beautiful. And then he played the two or three verses at the end. And I must admit, I was wondering if I was going to be able to sing over it. It's very, very modern. But it was fine. You just have to truck on and do it. And I think it's one of my favorite tracks that I've ever recorded. It's so different. And it's so beautiful. And obviously it starts with this wonderful song written by Tim Hardin.

“Smokey Day”

And I think the album, it just evolved very naturally. Again, I'm not sure if an album could be recorded like that now because the record company would probably be coming into the studio and wanting to know what was going on. But we were just recording things as songs became available and as musicians became available. Was Chris Gunning available, was Argent available, where is the song going to come from? It does seem to work to me, but I think it works almost by the skin of our teeth.

In “Smokey Day,” I'm singing harmony with myself, which I really enjoy doing. It intrigues me, this song. It’s a Chris White song. I can remember vividly at the time, I wasn't very keen on this song. I'm really embarrassed to say it because I think it's one of the most beautiful songs on the album. And it just brings it home to me how your perception of a song can change over time. I didn't particularly like the song when we recorded it. And when I listen to it now, I think it's absolutely wonderful. I love songs that are not just about boy girl things. I mean, I tend to write songs about boy girl things, but songs that you know, I mean, it's really poetically beautiful this song, and it's not about, it's romantic, but it's not about boy girls at all. And I think it's a brilliant song. And I can't believe that I wasn't very keen to record it at the time. I can't believe it. I've told Chris White that, that I didn't particularly like it at the time, but I think it's brilliant now. And he just went, “Hmm, okay, right.” (laughs)

“Caroline Goodbye”

Once Chris Gunning was introduced to the project, whenever we could get him, then we worked with him. But he was very busy, he was working on lots of other things as well. So we couldn't always get him. Because I think there are two or three other tracks that were recorded without him. And the first one was “Caroline Goodbye.”

I did actually write a couple of tracks for The Zombies. But I don't think I was ever serious about being a songwriter. It's just there were occasions when The Zombies were short of a track and everyone was trying to come up with something and so you know, I did my best and a couple of times my song was used. But by the time I got to One Year, I was really trying to write songs and “Caroline Goodbye” was one of the first songs that I wrote. And like all first songs when you start as a songwriter, they usually, they're taken from life. And it's a bit embarrassing 50 years later to talk in these terms for me and the person that it's about. But it's true to life, it was one of my first girlfriends and when the relationship broke up, they were the words that came to me. And I tried to find another girl's name because her name was Caroline. I tried to find another girl's name and I just couldn't make one fit. And the recording date was coming up, I just had to throw caution to the wind, got in the studio and use that name. And I thought, “Well, only my close friends will know.”

Why it was of interest, I don't know. But a journalist on a national newspaper in this country, wrote a full page article about that song, probably because the girl was very beautiful and he had a picture of her in a bikini taking up most of the page. And my secret was out. I hope it didn't embarrass her. I found it a little bit strange, but you know, it's a true story, it happened. I mean, most of the songs I write are true stories, I just don't put people's names in there. And I wouldn't have if I could have thought of any other name. So that's “Caroline Goodbye.” Caroline Munro went on to be really famous in the UK, featuring in many commercials, and many films. And of course, famously, she was a James Bond girl as well. Well, there you are, you've arrived if you're a James Bond girl, and I wish her luck. I haven't seen her for many years. But of course I wish her every happiness. I've spoken to her since then, I never really talked to her about that song. But she came to a concert once where we played “Caroline Goodbye” so she's definitely heard it. But I haven't talked to her about it. She did go on to be really successful. She was very well known. So yeah, I did, you know, I did get it right, she was going to be famous.

I think I've written quite a few songs about her, but not particularly on this album. But over the years I have, you have to, well with me anyway, writing songs, I have to kind of get myself into almost like a trance-like state to just try and use things that happened to me or people I know. And then translate that into a song. Usually, all my lyrics that I think have got any value or worth, are based on real things. And usually that's how I write songs that I've just made up to me don't have the depth, that the songs that are about real things have.

Tony Visconti arranged “Carolyn Goodbye.” And also “Mary Won't You Warm My Bed.” But from my memory, I remember us all getting together and Tony, very much doing it with Rod Argent doing the arrangement with Rod, but Tony actually wrote the arrangements out. But I remember Rod having quite as say what was going to happen. Yeah, that was it. I was always a huge admirer of Tony Visconti. It was great to get him involved in the album. And I think he came up with two wonderful arrangements.

“Though You Are Far Away”

“Though You Are Far Away” was a sad song about a girl that I knew that didn't live anywhere near me. And it never turned around from being a sad situation, I'm afraid. And they were just the words that came to me. That song in particular, I used to share a flat with a couple of guys, a singer-songwriter called Duncan Browne and his manager called Patrick Lacy and we would stay up all night, playing guitars and talking and drinking red wine. And I think “Though You Are Far Away” was written in that flat in Ennismore Gardens. And I named my next album after that flat because I wrote a lot of songs in that flat. My next album was called Ennismore. And it's because of the flat, it's just behind the Albert Hall in London. And we used to sing and write all night. And I just remember, “Though You Are Far Away” from that time.

When The Zombies made their first record, I thought it would be a two or three year adventure. And I think most people in the music business thought in those terms. I didn't realize that you could have a lifetime's career but watching Rod and Chris, you know, progress as writers, I began to realize that it was possible. So they didn't inspire me in that respect. But I think with regards to my writing, the guy I was sharing a flat with Duncan Browne was a superb classical guitarist, and he helped me with my writing an awful lot. He really did. He was a breathtaking player, and he went on to record many lovely albums as well as his first album was with Andrew Loog Oldham for his immediate label. He'd already recorded that when I met him and then he went on to do an album, which was very successful, with Mickie Most. So it was Duncan Browne’s guitar playing, I think that really started me as a writer.

“Mary Won’t You Warm My Bed”

First of all, if I could just say, “Mary Won’t You Warm My Bed” was written by Mike d’Abo, who I knew quite well. And I just went around to his house, and he played me this on the piano. And it's always the best way to hear a song, if the writer is around and is willing to play it to you, I mean, it's a great way to hear the song. So we decided to do this Mike d’Abo song and we had a studio full of musicians. So we're in Studio Three, Abbey Road, a very expensive studio full of musicians, horn section, strings, a whole band in there, as well, could be 20 something musicians in there. And we had three saxes and the baritone sax didn't turn up, and was sitting around waiting. I mean, this is really expensive when someone doesn't turn up. And so the guy who organized the musicians, they call him a fixer over here. He got on the phone and called somebody else out. But just before the other sax player arrived, the original sax player turned up in a terrible state. He'd been up all night, and it looked like it as well. I'm not even sure if he played his part. But the poor guy who'd been called out as a DEP, he was told to go back home again. And I think we had about five minutes to get this track together. And I think there is an element of panic in the playing. I don't know if I'm imagining it, but it just, it sounds a bit panicky, really, because again, we could see the clock ticking. And if we went into overtime, we're talking hundreds, maybe thousands of pounds. And whenever we're in Abbey Road, there always seemed to be, you know, budget pressures, because it's expensive. And so I was very glad to get this track recorded. But I'm not absolutely sure it ended up how it was supposed to be. But, I think it sounds good. There's certainly a lot of energy in the track. Well you see the thing is with musicians, sometimes if you get too close to the end of the session, bless them, there are one or two musicians I've worked with that will start making mistakes, because then they go into overtime. We had to get this finished, before anyone was tempted to start making mistakes and go into overtime. So it was a frantic session. I look back and you know, I can laugh now. But at the time, I think I was getting a bit anxious.

Looking back at One Year, thinking about it, it must have been really difficult sequencing this album, because there's such a huge variety of types of music on there. And it really is a huge compliment to Chris White in particular. I'm sure Rod ws involved in it as well, that it does run sort of so seamlessly from a string quartet to a rock band to basically a brass band to whatever else, you know, and I think it's it's huge credit to them, that they made it flow so well. I think Chris White was very involved in that. And I remember going to a mastering session with Chris and we mastered this at Apple Studios there in Savile Row, you know where The Beatles had their concert on the roof, they had a mastering suite in the basement. And that's where we mastered it. I don't know, Chris was not only very involved in the running order, but even the gaps between the tracks, he was very insistent that they would be precisely what he wanted. And I thought that was great. I was glad that he was so committed to the project.

“Her Song”

I think there are two songs by Chris White on there. And they were just songs he’d just written and they were available. I mean, they're quite vulnerable songs as well, especially “Her Song,” a beautiful song. Yeah, I'm not sure if he was writing for me to sing this or not. Because often, because Chris was producing co-producing Argent and co-producing me. Sometimes his songs would be offered to Argent first, but they wanted to do rock songs you see. I'm not sure whether he would have played this to Argent or not. But I always thought this was, there was a lady that Chris was involved in at the time. And this seems very much about her to me, if you like, a love song to her. And I was really thrilled to be able to sing this and it does sort of suit my voice. The only thing I would say though, is it's not that easy a song to sing live because I'm using a very, very quiet voice when I'm recording this track. And that allows me to sing very high or I go into what I call a sort of a half falsetto voice. So I'm not sure that that would work if I was playing live to an audience. I think I have to sing it more forcibly.

Most of the producers I've worked with have always wanted me very close to the mic, and they like to capture that breathy sound. And in some ways that was a chance thing, because in
She's Not There,” the first song that The Zombies ever recorded or released, the engineer really compressed the vocal. So you can really hear my breaths (makes breathing sound). It's on purpose, I mean, you can easily clip those out if you want to. But that's what they wanted. And somehow that sort of stuck with me, People have always encouraged me to get plenty of air around the voice. I think, you know, most people like it.

That's the voice I was born with, I didn't have any lessons at all at that point. I was very conscious of the fact that by reputation, most singing coaches would try and change your voice. And so many people have said to me, “Don't go to a singing coach, they'll change your voice.” So I avoided that. I think as you get older, you do have to work at your voice a bit more. But I was really young, I think I was about 21 or 22, and your voice, you know, it's more natural then. As you get older, you start to lose the top of your range if you're not careful. But when we play live with The Zombies, we do all the tracks in their original keys. And I'm able to do that because I work on these exercises. And I try to make sure my voice is in fairly good shape. Back in, I think this album was actually recorded in 70, it came out in 71, those sort of things weren't talked about singers just sang.

“I Can’t Live Without You”

“I Can’t Live Without You” just arrived almost as a completed song. One afternoon, I was sitting playing the guitar and that song just arrived. And it's consciously, I can't say it's about anything really. It's just a song that presented itself to me. That doesn't happen very often, I hasten to add. I played the song to Chris Gunning, because he was going to do a string arrangement on it. And it's in D and I sang it down the octave. So I would be singing in my boots. (sings low) “I just had to tell you.” Then he recorded the string track and I wasn't there. I didn't sing the vocal at the same time. He wasn't there when I sang the vocal. So I went in and I was listening to this lush string backing track, I think I got a bit overexcited. And I sang it up an octave without thinking about it, you know, and, Rod and Chris hadn't heard me sing it down the octave as Chris Gunning had. So it is very high.

And particularly the sort of bridge section, you got to really steel yourself to get those notes. And again, when I do this live concert, it's going to be very interesting. But that middle section is in falsetto. So there's no way I'm going to try and sing that in my real voice. So it does make it a bit easier. But it's always made me laugh that originally I sang that an octave down. It's a completely different song an octave down. But I think it works. Doing it the way I did it in the octave that I did it. It does sound quite desperate. And I think perhaps that song needs that kind of performance.

“Let Me Come Closer To You”

The other one I wrote, “Let Me Come Closer To You,” that was about a girl who was a dancer actually, funnily enough, and she was on a famous TV show over here, who I knew very well and used to go out with. And it's just line for line about her. I don't think she knows that. And of course, I don't use her name. And she married someone in another British band in the end. So most of my songs end up with a rather sad, sad ending.

I think we tried to record it with a standard, you know, guitar, bass, drums, keyboard type thing and it didn't work. And then we brought in this arranger, John Fiddy, who had the idea of doing it with brass and I really like it, a really mellow brass sound. And actually, I'm playing the guitar. It's one of the few times that I've played guitar in the studio. And it was all done live, it's one take. So I'm playing guitar, singing and the brass players are there too. So I think I'll always remember that because for someone who's not used to playing in the studio, it was a little bit nerve wracking. But funnily enough, it came together quite quickly.

“Say You Don’t Mind”

The last track on the album, “Say You Don’t Mind,” was another Chris Gunning masterpiece. It's a wonderful Denny Laine song. The Zombies used to end their act on it towards the end of the 60s. But we played it as a rock and roll song. And we recorded it first as a rock and roll song and it didn't work. And so we got Chris involved and this is a 21 piece string orchestra playing a beautiful pop tune.

I didn't think it stood a chance of being commercial. I think it was again the third track that was released off the album in the UK. And it was a big hit. I think 15 in the charts. So you never can tell what's going to be a hit. It certainly was true then, I think hits are a bit more controlled now, I think radio want more of the same now. But it was possible in the early 70s to have records that were just so different to anything else that was being played and radio didn't mind. And, you know, to quite a large extent radio governs, certainly then anyway, governs what's going to be a hit record and what's not. And again, that's another hit and I was off and running as a solo artist, but this time with my real name, which I felt a lot more comfortable about.

Yeah in “Say You Don’t Mind,” there is quite a note at the end of that song. And it is quite challenging. I think, especially in my early 20s, it wasn't so much of a problem. As I've got older, I can still get it, obviously, but the trick with that is that you've got to sing it, if you're going to do a tour, you know, you've got to sing it night after night after night. And that can get a bit challenging, definitely. But it's in the song. It's how Denny Laine wrote the song. So we were always going to go for it, it was never any question of not going for it. And as I said, I was probably about 22 at the time. So those kinds of things come comparatively easily when you're 22. When you're 76 (laughs). Yeah, it's a bit more a bit more challenging.

It just struck me as amazing that I think it's from July to July, when we finished the album. “I don't believe this, we've taken one whole year to finish an album.” It was unheard of in all the recordings that I'd done. And I mean, nowadays, I don't think that's so rare people do take a long time. Well, One Year changed my life, it established me as a solo performer. And I'll always be grateful to One Year for that. And of course, the relationship that I've had, a lifetime relationship with Rod and Chris White, I've always worked really well with him in the studio, they always make me feel extremely comfortable and confident in the studio. So when I look back on on One Year, all those years ago, 50 years ago this year, it's with a great deal of satisfaction. I think that we managed to get this album finished, it took one year to finish it, but it was worth it. And excitement that this was the beginning of a new world for me. I am very fond of this album. In particular, the Chris Gunning arrangements, that are just so different and so fresh. It sounds like they could have been recorded last week. So it is a very important album to me. Absolutely.

Outro:

Dan Nordheim: Visit lifeoftherecord.com for more information about Colin Blunstone. You’ll also find a link to stream or purchase One Year, including the recent 50th anniversary edition. Thanks for listening.

Credits:

“She Loves The Way They Love Her”

Written and Arranged by Rod Argent

Engineered by Jerry Boys

“Misty Roses”

Written by Tim Hardin

Arranged by Chris Gunning

Engineered by Jerry Boys

“Smokey Day”

Written by Chris White

Arranged by Chris Gunning

Engineered by Peter Vince

“Caroline Goodbye”

Written by Colin Blunstone

Arranged by Rod Argent and Tony Visconti

Engineered by Peter Vince

“Though You Are Far Away”

Written by Colin Blunstone

Arranged by Chris Gunning

Engineered by Peter Vince

“Mary Won't You Warm My Bed”

Written by Mike d’Abo

Arranged by Rod Argent and Tony Visconti

Engineered by Peter Vince

“Her Song”

Written by Chris White

Arranged by Chris Gunning

Engineered by Peter Vince

“I Can't Live Without You”

Written by Colin Blunstone

Arranged by Chris Gunning

Engineered by Peter Vince

“Let Me Come Closer To You”

Written by Colin Blunstone

Arranged by John Fiddy

Engineered by Peter Vince

”Say You Don't Mind”

Written by Denny Laine

Arranged by Chris Gunning

Engineered by Peter Vince

All selections are BMI

Episode Credits:

Theme Music:

“Winter Cold” by North Home

Intro/Outro Music:

“Lonesome No More” by Francis Lung from the album Miracle

Episode produced, edited and mixed by Dan Nordheim

Additional mixing and mastering by Jeremy Whitwam