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Eye Of The Zombie (Remastered) Original recording reissued, Original recording remastered


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Audio CD, Original recording reissued, Original recording remastered, April 24, 2001
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$8.86 & FREE Shipping on orders over $35. Details Only 5 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.


Frequently Bought Together

Eye Of The Zombie (Remastered) + Centerfield [Remastered] + Blue Moon Swamp
Price for all three: $22.84

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Product Details

  • Audio CD (April 24, 2001)
  • Original Release Date: 1986
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Geffen
  • ASIN: B00005B7FG
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (49 customer reviews)
  • Amazon Best Sellers Rank: #20,163 in Music (See Top 100 in Music)

1. Goin' Back Home
2. Eye Of The Zombie
3. Headlines
4. Knockin' On Your Door
5. Change In The Weather
6. Violence Is Golden
7. Wasn't That A Woman
8. Soda Pop
9. Sail Away

Editorial Reviews

Customer Reviews

A really great CD - love his music.
Marcella Iovino
Change in the Weather is the only decent song here and that is not that great -- Avoid - for completists only.
MJH
Rounding out my collection of John Fogerty!
DW

Most Helpful Customer Reviews

30 of 32 people found the following review helpful By L.A. Scene on October 17, 2004
Format: Audio CD
The music business is a strange business. Sometimes it's so hard to predict when an album will be a hit or miss. John Fogerty's work in the mid 1980s is as good an example of this as any. In 1985, Fogerty's album "Centerfield" shocked the industry by becoming a #1 album on the charts helping Fogerty mark a an incredible comeback. Thus when John Fogerty was ready to release his follow-up to "Centerfield" called "Eye of the Zombie", many expected the momentum of the comeback to continue. This was natural because "Eye of the Zombie" was produced only a little over a year following "Centerfield". At the same time, the music industry seemed ripe for another Fogerty album - this is because 80s music was clearly moving away from synth-pop to a more natural sound (which was a trademark of Fogerty's). However, the music industry is as unpredictable as any - "Eye of the Zombie" not only didn't succeed - it crashed and burned without many people even noticing. However, looking back at "Eye of the Zombie" I find this very hard to understand - this was a terrific album that really didn't get its due justice.

"Eye of the Zombie" isn't "Centerfield II". In fact, when you look at the two title tracks - you can contrast - "Centerfield"'s title track was full of optimism while "Eye of the Zombie" takes a more "darker" theme. The sound of this album is very different than "Centerfield". On "Eye of the Zombie", Fogerty seems to introduce a harder rock sound than he did on "Centerfield". This was consistent with a lot of what was going on in the mid 1980s as hard rock was gaining some momentum in the industry.
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17 of 18 people found the following review helpful By DRD on October 6, 2005
Format: Audio CD
When an artist makes a record outside his or her comfort zone, and it ends up being a commercial flop, they usually distance themselves from the work. It becomes almost like an official bootleg. If said record sells, it's typically regarded as a daring new direction, a "turning point" for the artist, if you will. "Eye of the Zombie" is a great record, but one that shocked fans of "Centerfield." You could almost hear the confused masses saying to themselves, "How'd he go from singing about Annette Funicello and Joe Dimaggio to singing about zombies and the military industrial complex?" How? Because he was p----d off, that's how. See, in addition to being one of the most accomplished songwriters of his generation, John Fogerty also can be a world-class crank. He's suspicious of people outside his realm. He holds grudges. He can be petty. And he doesn't like it when the jerk that owns CCR's former record label holds his publishing rights hostage. Threatens to sue him unless he changes the title of the closing track on his long-awaited comeback album. Puts him on trial for plagiarizing himself . The owner of Fantasy records did all these things to Fogerty in the wake of "Centerfield"'s success, and one imagines it left John wondering why he'd bothered with a comeback at all. This record, "Eye of the Zombie," was his reaction. Angry, swamp rock-meets-metal guitars on the title track and "Headlines" (which takes aim at media oversaturation in 1986!). Arms dealers and the governments that support them get theirs in "Violence is Golden." Aging rockers, former paragons of idealism, get taken to task for selling out to soft drink companies on "Soda Pop." It's easy to see why some people complain that this record is too negative. Me, I call it a righteous anger and enjoy the ride.Read more ›
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13 of 14 people found the following review helpful By Tim Brough VINE VOICE on January 26, 2008
Format: Audio CD
John Fogerty in the 80's was a very angry man. While the triumphant Centerfield had enough retro-charm and a hero's return back-story to make it a five star perfect record, Fogerty's demons ate away at him as he prepared for the follow up. Recalling that "Centerfield" had the vindictive "Vanz Can't Dance" (changed from the original pressings 'Zanz') and "Mr Greed," the rustic charms of "Old Man Down The Road," "Rock and Roll Girls" and the title song made it easy to mask the seething resentment that Fogerty unleashed on what remains his best solo album.

"Eye of The Zombie" was even angrier, fueled by lawsuits over self-plagiarism and a disdain for pop-sellouts, yet it is easily as good an album as any Fogerty has released over the years. I enjoy this more than I did Blue Moon Swamp, which always seemed kind of neutered to my ears. But this CD was slagged at the time, probably because everyone was still longing for good-time John to keep on chooglin', when he had some gasoline left to burn. As a result, the swamp-voodoo of the title track and the timely ferocity of "Violence is Golden" put off folks expecting the more lighthearted fare of "Centerfield."

This was also a harder rocking album, as Fogerty let go of the one man band routine and allowed guest players to add flavor to the sounds. It really kicks in on "Change In The Weather," easily the most CCR-ish song on the album. It's got a heart to it, albeit a rather venomous one, but one that pulses with righteous indignation.
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