Well, okay, all but one or two. It's got all it takes, of course: maddeningly catchy melody, a pompous, thunderous beat, emphasized by a nagging sax pattern, groovy echoey vocals, twisted harmonies, and a genuine feel of joy and excitement. As a result, you get a very weird feeling, as the song itself is a rather simple, run-of-the-mill ballad, but the monstrous bassline adds an extra dimension to the sound and is sure to stick in your head. Second, Dave Clark, the band's obvious leader and drummer man, in addition to being the band's own manager, produced their albums all by himself; again, no mean feat for the early Sixties. And 'Dum-Dee-Dee-Dum' makes about as much sense as its title, a nursery rhyme surf melody that suffers from serious delusions of grandeur, considering itself a frantic rocker - a true terminal case verdict if there ever was one. However, I'll also be the first one to admit that the Sixties - and the early Sixties in particular - also had a lot of crap music even if I would take crap music from 1962 over crap music from 2002 regardless of pretty much anything. Of course, the argument has to be taken with a grain of salt.
Listen to all the tiny little organ bleeps and beeps along the way. And in all these instances I emphatically disagree. Listen - once more - to the ominous booming bass on 'Move On'. Perhaps a couple of tunes, like 'Whenever You're Around' or 'Long Ago', do tend to be a little overslow and oversaccharine, with sappy harmonies and dorky sentimental lyrics, but even the Beatles had had their 'Ask Me Why', didn't they? Clark stopped drumming after he broke four knuckles in a accident in 1972. Nevertheless, the reverse is also true: due to the enormous overshadowing figure of the Beatles, a great lot of bands that are quite worthy in their own limited rights have been forgotten alongside the truly wretched combos. He owns a 12 million house in.
But it certainly does not make me wanna jump up and wander in search of the band's remaining output. A great band who is probably going to be forgotten due to Mr. Pretty cool, all of it. At least the Dave Clark Five knew exactly what their fans wanted from them, and gave them exactly that. He had a perfect opportunity to come clean many years ago when he was interviewed by Max Weinberg for his book The Big Beat. Shakin' All Over Quality V-1756.
If anybody was poised for world domination back in the day, it was this nice clean sweater-clad bunch of Londoners. Further on up the road, 'I Need You, I Love You' is slower and somewhat more generic - with just a slight touch-up and a change of key, it would soon evolve into the far superior 'Because', but that doesn't mean the melody won't stick to you, nor will you won't to discard a song that gets so close to that fresh innocent Please Please Me vibe. Suffice to say that this wound—i. In the evaluation of some, they were even borderline corny. To be precise, it ain't even fit to suck ass, whoever the ass in question might belong to. The guitars buzzed, the vocals were frenzied and the drummer Dave Clark was a right thumper.
Let's begin this with a fragrant flourish - the Dave Clark Five debut album is, for all it is worth, not really a Dave Clark Five debut album! Other nasty rumours tell that he never really wrote anything - his name, tacked on beside either Smith, Davidson, or Payton, merely reflected that he, too, wanted his share of the royalties. Put A Little Love In Your Heart 16. Plus, none of the other songs on Coast To Coast come close to matching its power anyway. Although the Dave Clark Five were a real group that had more hits than bands like the Kinks, the Animals and the Yardbirds, why are they less-well remembered? I mean, they had lots of pop sensibility, but not that sensibility. Wanted Dead or Alive 12.
And to top it off, the boys close the album with their version of 'On Broadway'!!!!!!!?????!!!! That's organ, and that's clever. The end of the year 1965 brings little news. And I won't be denying there are some clever pop hooks on the other tracks as well, no. The rest is straightforward pop-rock, with nothing standing out in particular. What the hell made you end all your live shows with a 'rock'n'roll medley'? Well, I guess spending a weekend in London does get one's creative juices flowing better than traveling from coast to coast. And what an eye-opener it was.
Then throw in a wee bit of professionalism and a vague feeling that 'we might just be doing it right, you know' and what you get is 'Having A Wild Weekend'. Still, if you listen to the album in the context of its immediate surroundings, I don't think you'd disagree that it's the first time the Dave Clark Five sound drastically behind the times. But the atmosphere is unusually gritty for a surf instrumental, and there's so much dirty feedback flying out of Paxton's sax that you almost start thinking these guys are really wanting to rock out, not just faking a rock sound because it's the hip thing to do. There's no question that he was a great vocalist who should be more-appreciated than he is. How do you get this feeling that someone like, say, Noddy Holder is real drunk - even if objectively he might be more sober than a doornail - whereas Mike Smith is only pretending to - even if objectively he might be a beer-guzzler like all the rest of 'em? The band's overall style hasn't changed much since American Tour, but the album is definitely less diverse. It's so damn good the Ramones even ripped off its bridge for their own ideal pop song, 'She's The One', a whoppin' fourteen years later! Unfortunately, I am in no condition to really buy it - once a scheming faker, always a scheming faker. As he was financing the recording sessions and then leasing the masters to the record label -- an unbelievably shrewd move in the early 60s -- he probably wanted to get the tracks cut as quickly and as cheaply as possible.
Just a few days ago I got an E-mail from a guy who mistook me for Dave Clark, though. It's amazing how fresh they sound even today: never complicated, always invigorating. Well, imagine an album like that released today. Anyway You Want It 7. In a way, they were right. .
Oldies radio programmed less of the hits, as they were not available to the stations. For a time they truly flourished under the spotlight, nailing down eighteen appearances on The Ed Sullivan Show, and like the Fab Four in their early days, they possessed an energy level that implied they could rip it up in a packed club or hall well into the wee hours. You think the fall of '65 was the era of Highway 61 Revisited, Help! A little bit of Beatle-borrowing was typical of the band from the very beginning, but still, most of the time they tried to flesh out their own sound - you know, drums, saxes, the whole shiznit. Despite having some questionable In the past he has denied speculation that he has had cosmetic help to beat the wrinkles. After all, that's what the British Invasion was all about, and that's the kind of material with which the Beatles conquered America; they didn't do it with 'Till There Was You' or even 'And I Love Her'. What is this, the beginnings of heavy metal? Especially when it's primarily love for obsolete Beatlesque cliches.
In terms of diversity and production, Clark and Co. And the whole idea seems a bit strange. Not even blues songs all begin with the 'I woke up this morning' line, you know. That said, the record would never have garnered an eleven about the highest that such a lightweight album could rise if it weren't distinguished by at least a bunch of ultra-memorable pop anthems. I tend to think that any well-rounded, historically focused record collection is incomplete without the inclusion of Clark and company, and no doubt many others feel the same way.