Music: The History of the Dave Clark Five (CD) by Dave Clark Five Buy The Dave Clark Five Artist Snapshot: British beat group the Dave Clark Five formed in North London in 1960. They first hit the U.K. charts in October 1963, in the wake of a spectacular upsurge of talent known in the United States as the British Invasion. "Glad All Over" proved one of the most distinctive and recognizable songs of the era, reaching number one in the U.K. in January 1964. Over the next couple of years, the group enjoyed hits with "Bits And Pieces" and "Catch Us If You Can," but as their star began to fade in their home land, new opportunities awaited them in the States. A series of appearances on the ED SULLIVAN SHOW helped them score a remarkable 17 Billboard Top 40 hits, including a number one with "Over And Over." Track Listing Browse more products related to " Dave Clark Five " Album Description Available in very limited quantities!!! This is the only legal Dave Clark 5 title available. 2 CD best of with 50 tracks!

Product Notes The Dave Clark Five have long been given short shrift by history, consigned to the "Merseybeat" category. But hits like "Glad All Over," "Bits and Pieces," and the gorgeous "Because" still stand out as classy pop records. On the other hand, the DC5''s cover of the Contours'' "Do You Love Me" stands out as one of the more unbridled, edgy English singles of the sixties. The band actually had a winning way with both more rocking material and softer, poppier sides. While this two-disc anthology is probably a little much for most, the serious pop collector will find a great deal here to celebrate. --Skip Heller If You Enjoy "The History of the Dave Clark Five (CD)", May We Also Recommend: [ Project MUSE - The Dave Clark Five and Beyond: Glad All Over dir. by Dave Clark (review) John Clark The Dave Clark Five and Beyond: Glad All Over. DVD. Produced and directed by Dave Clark. Arlington, VA: PBS, 2014. DACF 600. $29.99. This 4 DVD set presents several interesting contrasts and conflicts.

Ostensibly tracing the career of the iconic Dave Clark Five, the first disc does an admirable job for the first seventy five minutes at showing the extraordinary influence of the group on the 1960’s pop scene both in the U.K. and the U.S. A tremendous amount of interview footage with personalities as varied as Bruce Springsteen, Whoopi Goldberg, Sir [End Page 557] Ian McKellan, Stevie Wonder and Ozzy Osbourne attests to the popularity of the group during its heyday (1963–1970). Most enlightening, however, are the excerpts of the fulsome speech given by Tom Hanks as part of the DC5 induction in the Rock and Roll Hall of Fame in 2008 and the Sir Paul McCartney interview containing his commentary about the musical and personal style of the band.

The DC5 began as a fairly ordinary American-styled 1950’s rock group in London that underwent a series of personnel changes before settling on the core quintet of Mike Smith (lead vocal and organ), Denis Payton (saxophones, harmonica, and guitar), Lenny Davidson (lead guitar), Rick Huxley (bass) and the leader on drums and vocal. While comparisons with the Beatles are inevitable, the musical style of the two groups was quite distinct. Where the Beatles took their cue from 1950’s white rockers (with a healthy dose of the 1930’s Tin Pan Alley songs favored by both McCartney and John Lennon), the DC5 initially looked more towards black groups and singers such as Otis Redding and Wilson Pickett—largely because of the bluesy, soul-influenced style of Smith’s singing. The importance of the organ and occasional saxophone solos also underline this influence. As the hit records began piling up (the group had an astonishing fifteen consecutive hit singles in the U.S. and even replaced the Beatles as the number one recording band in the U.K.

with their first single, ultimately selling over 100 million records), the basic sound coalesced into a tightly arranged and highly sophisticated product utilizing much close harmony singing and arrangements that were, by the standards of the day, complex and musically subtle. In fact, a better sonic comparison than the Beatles would be the later 1960’s recordings by the Beach Boys, which unlike those by the DC5 were dependent on studio technology and occasionally studio musicians as well. The first half of the second DVD in this collection is dedicated to full-length concert and television performances that amply demonstrate the abilities of all the members of the group. Several of the interviewees on the first DVD pay special tribute to the sound of the band and the fact that they were clearly in control of the music. Steven Van Zandt pointed out that the band had a much bigger sound than other groups of the day and both Bruce Springsteen and Gene Simmons (of KISS) cited Mike Smith as one of the most underrated rock singers of all time. Many of those interviewed also cite Dave Clark as one of the most influential rock drummers of the period and Clark himself pointed out that his initial inspiration was the jazz drummer Buddy Rich, whom he befriended in later years.

The questions that kept surfacing while I was watching this documentary revolved around why the DC5 is so little known today. While the Beatles, Rolling Stones, and the Who are rightly looked on as iconic British groups in the 1960’s, the DC5 was, if the evidence presented by those interviewed and Clark himself (who provides much of the narration), equally influential during that decade and certainly, by the evidence of the performances, equally musically talented. The answer seems to come from the business acumen of Clark. He is credited here by no less than McCartney as a business genius who early on asserted control over the catalog of original compositions and recordings made by his group. This relieved him of the difficulties encountered by his contemporaries (including Sir Paul) at having to reacquire the copyrights later on and allowed him a wealthy and relatively trouble free existence even after the group broke up in 1970 and he stopped playing entirely a few years later. Ironically, this controlling instinct and business sense probably cost the DC5 a great deal of recognition in future decades.

It was not until 2008 that Clark allowed a collection of the band’s singles to be released - before that time it was only on bootlegs and original LPs that one could find the music of the Dave Clark 5. I would also cite this controlling personality as the weakness of this DVD set. While the title is The Dave Clark Five and Beyond, the actual focus of the documentary (and the bonus disc) is the overall career of Dave Clark. Following the end of the band’s performing/recording career in 1970, Clark dabbled in acting for a while, but made a much larger mark as a producer. He used his wealth to acquire the complete catalog of the British television program Ready, Steady, Go which was a feature from 1963–1966 and presented many great rock [End Page 558] bands of the day (both from Britain and the US). Following this he produced albums for Stevie Wonder, Dionne Warwick, and Freddie Mercury and then created a splash with his Bertold Brecht-influenced show Time, which ran from 1986 to 1988 in London.

About forty percent of the first DVD and well over half of the bonus disc are concerned with this (much longer) period of Clark’s career. While all this “and Beyond” part is interesting and representative of the 1980’s pop scene, it seems quite extraneous to the DC5, which is, after all, the primary part of the title. An explanation of this comes with the credits on the back, citing Dave Clark as both producer and director of this DVD, extending the evidence of him as a savvy businessman and someone for whom intellectual and creative control is still of paramount importance. John Clark The Dave Clark 5 The Dave Clark 5 Over the weekend I watched a PBS documentary on The DC5 and I was wondering . . . Was Dave Clark gay? He's now 71 years old and he never married. I found an article online mentioning him having a girlfriend sometime in the past, but absolutely nothing beyond that - other than the old cliché of his being too wrapped up in his business ventures to get involved in a serious relationship. He was close friends with Freddie Mercury for over 15 years and was at his death bed when he died.

by Glad All Over reply 54 06/10/2014 I never thought about it, OP, but back in 1964, I thought he was a lot cuter than any of the Beatles. I so wanted him to make me Glad All Over. by Glad All Over reply 1 04/13/2014 I watched the documentary and I wondered about that as well. "Strange he never married..."! Also, he seems to have had some tragic plastic surgery - those eyebrows! It was an interesting documentary. I never knew that much about him. It seems that he was a savvy businessman but he kind of screwed over his bandmates by holding back on releasing their songs. by Glad All Over reply 2 04/13/2014 I didn't know he wasn't married, are you sure, cause I think he was with his wife while hosting Rocking New Years. by Glad All Over 04/13/2014 Here's your answer:- [quote]Clark himself has never married, although in his heyday he was romantically linked with TV presenter Cathy McGowan. 'I always kept my private life to myself.

I did find love in my life, but I love my freedom more. I found when I got into serious relationships it interfered with my work. 'You're travelling the world and you want to get on and do one thing but the other person wants you to do something else. I felt the need to come and go as I please, to answer to no one, so marriage wasn't for me.' by Glad All Over 04/14/2014 Sounds like he's gay. Thanks, R6. This pleases me greatly. There needs to be more handsome homos flying under the radar in rock and roll. by Glad All Over The eyebrow thing is because of the Botox. Nose job isn't very good: by Glad All Over reply 8 04/14/2014 For a forgotten pop star with a brief career he seems to have done very well financially, I read too about him screwing his bandmates out of royalties, as he was the group.

He acted a bit too, and was in the audience at the London Palladium when Judy Garland was singing here in her film I Could Go On Singing, so yes we reckon he is a friend of Dorothy, or Tom Daley as we say these days. by Glad All Over reply 9 04/14/2014 [quote] Clark himself has never married, although in his heyday he was romantically linked with TV presenter Cathy McGowan Hmmm, the same Cathy McGowan who lives with musical theatre star Michael Ball - the same Cathy that pulled Ball to safety from a different bedroom than her own when their house went on fire. Of course, he was only in a different bedroom because he was working late and he didn't want to wake her when he got home. Yes, that Cathy McGowan. by Glad All Over reply 10 04/14/2014 Yes I was going to mention Cathy McGowan, who must be a lot older than Michael Ball - isnt he at least 50, his weight had increased dramatically when I last saw him on tv too. It must be one of the oddest beardings in showbiz.

Cathy was a tv host on the early 60s pop show 'Ready Steady Go' - a cult here in the UK. She must be at least 20 years older than him. She was born in 1943 and he was in 1962 ! He was delightful dragged up in Hairspray on the stage, even camper than John Travolta in the movie. by Glad All Over reply 17 04/14/2014 Billy J. Kramer was another one of Brian Epstein's discoveries - they used to travel together a lot - I have wondered about him as well. by Glad All Over reply 18 04/14/2014 He was a real prick. He owned the name "Dave Clark 5" and wouldn't allow his ex-bandmates to use it. For example, if Mike Smith wanted to appear somewhere, he could not advertise that he was "Mike Smith, formerly of the Dave Clark 5." I mean, 30 years down the line when the guy might have wanted to tour with oldies reviews, he couldn't mention the band he'd been in. Who wants to see Mike Smith? Mike Who?

But if someone reminded you, "He was the organist and lead singer of the Dave Clark 5," you might (if you're over 50) say, "Oh yeah. I'll go see him." by Glad All Over r9, are you for real?! Check the stats of the DC5. by Glad All Over reply 26 04/14/2014 I watched that documentary too OP, I like a few of their songs, and I love that time period for music, however; they were never on par with the Beatles or Stones that is for sure. I came out of it thinking that the Dave Clark 5 were rather boring, and that he was a complete tool. The only exciting part for me was when Freddie Mercury(love that man!)showed up. He is a real bastard for not allowing his band mates to profit from their success. He was obviously gay IMO, but with such an ego, and boring personality, who cares. by Glad All Over He also dated Lucille Ball. by Glad All Over reply 31 04/14/2014 I remember when bandmate Mike Smith died of cancer some years ago, in relative poverty.

Dave Clark though kept the bandname and all the royalties. Same kind of thing with Frankie Goes To Hollywood ? - Holly Johnson and the other gay guy Paul Rutherford were the group, the three straight lads were just for hire and got none of the band's royalties. Holly though is very well set up now, even if living with HIV. by Glad All Over 04/15/2014 [quote] I remember when bandmate Mike Smith died of cancer some years ago Mike died from complications from a fall which had left him paralyzed from the neck down. He eventually regained some small movement in his left arm. His only child, an adult son, had earlier died in a diving accident. Denis Payton died of cancer and Rick Huxley died of emphysema. [quote] they were never on par with the Beatles or Stones that is for sure. They had 17 Top 40 hits. They were the "clean" version of the Beatles and the Stones. Parents approved of them. They were monstrously popular in the US for 2 or 3 years, practically living here, they toured so much.

When psychedelia became popular and The Monkees became te "clean" rock group and appeaered on tv weekly, the DC 5 waned in the US and went back to the UK, where they were popular for a few more years. Dave Clark had virtually no musical talent. A session drummer played on their studio recordings. Songs were written by other people and Clark took credit for them. His fellow bandmates were on salary. They were his employees, which they didn't quite understand when they signed the contracts. They knew they would get a steady paycheck, which other bands didn't get, so they were happy with that but didn't realize they'd never get any royalties or be able to later tour as former members of the DC5. Clark made it very clear in a phone call to Mike Smith, who was about to tour in the US during a wave of nostalgia, that he must not use the name or he'd take Smith to court. by Glad All Over reply 33 04/15/2014 That attitude is odd, r33 - its not like the band is a recognised brand now, or still touring with an original member.

Surely if he wants his band recognised as part of the 60s nostalgia boom he would want them touring or still making money. The only one of his hits I liked was "Glad All Over" which sounds dreadful and monotonous now. by Glad All Over reply 34 04/15/2014 Getting back to Dame Michael Ball, is the rumour true that he and fellow showbiz veteran John Barrowman were sharing a dressing room at some benefit some years ago now, and there were odd sounds coming from their room with the door locked, and they could not get them out ???? by Glad All Over I love Because - it's one of my favorite songs of the period. by Glad All Over reply 37 04/15/2014 Because is a fantastic song, and it was one of the first big pop song to use that unusual chord progression, which is now used fairly regularly. I remember reading somewhere that he was, indeed, gay, but I can't remember where I read it, I just remember it was a reliable source.

by Glad All Over reply 38 04/15/2014 If you had shown me just the after pic from the two in r8, I would have never guessed that was Dave Clark. That is just stunning in it's badness. All that money and then to wind up looking like that in the end. by Glad All Over reply 39 04/15/2014 [quote] In a highly unique move, Dave did a deal with EMI Records which was known as a “lease deal” - this meant that Dave Clark would be responsible for all the recordings and he would lease them to EMI for release. After ten years, all the tapes, ownership and copyrights would revert back to him. This became common practice in the 70's and beyond but it was unheard of back in 1963. Dave was after all a total unknown at this point yet he somehow managed to strike a nice lucrative deal with the major record company of the time. Gee, I wonder how he thought that up, considering he wa sa 21 year old with no business experience or schooling? I wonder if he had an older "friend" who was advising him.

And I wonder if perhaps he became "friendly" with an EMI exec who signed the deal? by Glad All Over reply 40 04/16/2014 Sandie Shaw did the same thing (she owns her own master tapes). Her mentor was pop star Adam Faith. Perhaps Clark had his own Adam Faith. by Glad All Over reply 41 04/16/2014 I was 7 in '64 when this group hit it big in the US. Until I watched the PBS documentary, I thought Mike Smith - who I thought was the cutest - was Dave Clark. by Glad All Over He's gay. Read it here. by Glad All Over reply 45 06/08/2014 He not only looks creepy, his voice is creepy, too. I never heard him speak in the 60s. He's like a Noël Fielding character. In the 60s, various members of The Beatles, the Stones, the Who and Grateful Dead hung out with each other. But not the DC5. They were in their own little world.

It's like Dave Clark was keeping them prisoner on his jet, only letting them out to play at various ports of call where there weren't any other rock bands. I don't think any of the members of the group were terribly bright or personable. The Beatles were cheeky; the Stones, the Who, the Dead could carry on conversations. I have a feeling the DC5 were dim bulbs, including Dave Clark himself. I think he was being advised by an older lover, maybe a lawyer in the entertainment field. by Glad All Over reply 46 06/09/2014 I seem to remember reading about some connection between him and Dusty Springfield, at least in the press. Perhaps it was an early case of two stars bearding for each other.....? by Glad All Over reply 47 06/09/2014 In the Beatles' movies, they were all showcased but in Having A Wild Weekend, it was all Dave Clark all the time. The others were barely supporting players. by Glad All Over OK, R46, I read that. Where's the 'I'm gay' part?

by Glad All Over reply 49 06/09/2014 [quote] He greets me in jeans and bare feet, a thick gold chain worn under his shirt and an enormous signet ring on one of his hands. [quote] There are are huge white sofas, thick cream carpets, massive modern paintings, tropical plants everywhere, a wall-sized TV in the lounge, and Buddhas he has collected from around the world. OMG, he really does sound like Carmen Ghia from the original "Producers" movie. "White, white, white is the color of our carpets!" by Glad All Over reply 50 06/09/2014 I recall Clark's professional relationship with Olivier got him an invitation to Sir Laurence's grander than grand funeral in Westminster Abbey. Amid all the grandees - McKellen and O'Toole were among those bearing the casket - the TV coverage picked up on the presence of DC. After a bit the commentator said '...and there's...Dave Clark (hint of surprise)...of...(checks notes)..."The Dave Clark Five"...' Perhaps given the occasion Dave didn't later invoice the BBC for the mention of his property.

by Glad All Over Way Back Attack - The Dave Clark Five Links and Terms THE DAVE CLARK FIVE To those of us in America, they were "The Beatles Part Two," the second group component of the British Invasion. The Dave Clark Five suddenly appeared within a few weeks of the Fab Four in early 1964, and for a little while there was a period of indecision between Beatlemaniacs and DC5ers. While in England, Gerry and the Pacemakers (who beat the Beatles to number one), Billy J. Kramer and the Dakotas, Freddie and the Dreamers, The Hollies , The Searchers and others had slipped in before the DC5 the previous year, as of March '64 only the two British bands were hitting in the States (along with solo stars Cliff Richard and Dusty Springfield ). Others joined them throughout the year, but it was Mike Smith, Lenny Davidson, Rick Huxley, Denny Payton and Dave Clark who made many of us feel, if only for a minute, or a day, or a week, that maybe John, Paul, George and Ringo weren't the best band to come from across the pond.

Of course any notions of that sort quickly subsided, but the Dave Clark Five still holds that special distinction of getting in before all the others. They were uniquely configured as British bands go; leader Dave was the group's drummer, Lenny and Rick played guitar and bass, respectively, Mike was the keyboard player and lead singer, and Denny's sax playing gave the group an Americanesque R&B edge rare among U.K. acts regardless of how blues-based they were. Rhythm and blues, in fact, was their first love and, with American rock and roll, was where their heads were at. From the start, Dave was the ringleader, the mastermind; this after following his dream of acting and some extra work around 1958, when he was 15. He got on track musically shortly after that as a sideline to playing for a youth soccer team, forming The Dave Clark Quintet, and over the next two or three years lineup changes eventually locked in the permanent five.

About the time Payton joined as the final member, late 1961 or early '62, the guys were all between 18 and 21 years of age and the name for fame was set, DC Quintet becoming DC Five. Seldom was the case with rock groups that the drummer called all the shots. Finding a strong singer with attitude was tricky, but Dave knew he had found his man when Smith came along in 1960. The guys were from various parts of London, Middlesex and Kent but were based in the northern London suburb of Tottenham. The DC5 wanted to sound different from the groups inspired by skiffle in the '50s or the Merseybeat bands of Liverpool, intentionally going for a cross between R&B (Chicago and pre-Motown Detroit) and the stompin', sax blowin' bands of the Pacific Northwest (along the lines of Paul Revere and the Raiders, who began their own ascent thousands of miles away at about the same time). In England, their style became known as "The Tottenham Sound," a bit off the mainstream, perhaps, but all the better for Clark and company to refine the sound as their own.

Still, getting a label deal was difficult, even after some three or four years' practice as of 1963. The group worked for a time recording demos before they had the opportunity to make records under their own name. When the opportunity arose to sign a contract with EMI, Clark's insistence on creative control somehow didn't result in his being shown the door, and when he asked for a much higher royalty rate than the current standard, they gave it to him. Whether a case of excellent timing or just a colossal bluff, it worked in favor of the DC5 but more specifically Dave himself, as the contract also designated that he alone would retain rights to all of the band's recordings after the initial period of license. The other four did share in the long-term profits, though, as many of their songs were written as a group effort and writing credits appeared under several different combinations of Clark, Smith, Davidson, Huxley and/or Payton. Nearly all of the band's recordings fall under two categories: original compositions or rock and R&B standards done up DC5 style. They debuted with a cover of a Motown smash, Berry Gordy, Jr.'s "Do You Love Me" (top ten in the U.S.

for The Contours in late '62), making a minor showing on the U.K charts in fall 1963 but going against another version by Brian Poole and the Tremeloes that got the jump on theirs and went all the way to number one. Clark held no ill will toward the Tremeloes, focusing instead on his own good fortune; he has said that when the song first appeared on the charts it was one of his biggest thrills. The group's second single, on the other hand, wasn't overshadowed at all. "Glad All Over," a Clark-Smith original released at the end of the year, knocked the Beatles' "I Want to Hold Your Hand" out of the number one slot in mid-January '64; as it turns out each song was a first for its respective act when the British Invasion of America (soon to be coined as such by CBS news anchor Walter Cronkite) started just a week or two later.

"Glad All Over" appeared on Epic Records in the States, making a less-than-grand entrance on the charts in mid-February (by this time the Beatles were on top with "Hold Your Hand" and had five charting singles, debuting one each week since mid-January). The record began a steady climb and continued working its way up after the group's appearance on The Ed Sullivan Show March 8 (two weeks after the Fab Four's third ratings-busting guest shot in a row). The Dave Clark Five returned as Ed's guests on March 15, and within a couple of weeks the single, while not explosive, made it into the U.S. top ten. The Searchers popped up at about that time as the third Invasion band, gaining exposure quietly in comparison to the DC5 while both were seemingly crushed under the unprecedented explosion of the Beatles. But those two Sullivan appearances had made an impact, however delayed. The foot-stompin' "Bits and Pieces," already a number two hit in England, came out at the start of April and shot up the charts so quickly that it joined "Glad All Over" in the top ten by month's end (yet three Beatles hits still ranked higher).

The achievement would have been more notable had the Beatles not been there first, but without them to pave the way it probably wouldn't have happened. Congress Records released a track from a pre-EMI session, "I Knew it All the Time," and the Jubilee and Rust labels each had a single of earlier material on the market, while Epic waited less than a month to promote "Do You Love Me," the first U.K. breakthrough, a much bigger hit in the U.S. "Can't You See That She's Mine" followed in June, another top ten hit, and the tight release schedule resulted in four simultaneous chart singles. Fan magazines were playing up a "Beatles vs. Dave Clark Five" battle (however lopsided) and the band seemed to be everywhere, taking advantage of their sweet secondary status as dozens of other British acts began lining up behind them. All of the hits to this point were uptempo rockers, energetically so, highlighted by Mike Smith's strong, growling vocals and Dave's heavy-handed drumming, and Epic execs felt this was the way they should continue (keeping in mind that label heads are often shortsighted).

Clark had followed an earlier suggestion by the A&R department at EMI, declining to release his ballad "Because" as a single, despite his better judgment that an occasional ballad breaks the uptempo barrage and offers variety; besides, he loved the song and didn't want to repeat what he felt had been a mistake. Epic refused to release the song stateside at first, claiming it could ruin the group's career, but Dave insisted (after all, he had the final say, right?) and his judgment was correct. The record hit number three in September, the biggest DC5 hit of '64. The midtempo "Everybody Knows (I Still Love You)" (cowritten with Davidson) followed, then the label released its preferred type of record, "Any Way You Want It," the hardest-reverberating DC5 single yet. All told, the group had seven top 20 hits in 1964 on the Billboard charts, four of which went top ten (the tally from Cash Box Magazine totaled six top tens), and there was no slowing of momentum in 1965.

The group felt at home in the States and spent a lot of time here, blanketing the country with concert appearances surpassing any other band in '64 and '65, playing to capacity crowds almost everywhere they showed up. They traveled in their own private plane with a bold "DC5" logo emblazoned on the side, a first for a rock group. The world, in fact, was their stage, and they performed in just about every country that didn't have bans against rock concerts. There was an appearance in the late '64 MGM film Get Yourself a College Girl starring Mary Ann Mobley, another in a long line of inane teen comedies notable only for the music acts contained within (in this case The Animals , Stan Getz and Astrud Gilberto, Jimmy Smith and The Standells). "Thinking of You Baby," another hot uptempo number, was one of two songs performed in the film, a hit single in England but merely a track on the film's soundtrack album in the U.S. Clark was not pleased with the movie or the band's part in it, particularly in the wake of the Beatles' A Hard Day's Night, an artistic and commercial triumph.

Fortunately, Jack Warner felt the DC5 would be ideal for a similar project and approached Dave about it. Demanding creative control (Clark's M.O. by this time) and getting it, he chose "unknown documentary director" John Boorman (later a major player with Deliverance, Hope and Glory and other top-notch films). Catch Us if You Can (released in the U.S. by Warner Bros. as Having a Wild Weekend due to a copyright conflict) was surprisingly good; the film had a downbeat style that worked for them (as opposed to being a straight Hard Day's imitation) and the guys came off well onscreen. Reviews were good, yet Clark, for reasons of his own, deflected all future offers to make films. The hits kept coming: "Come Home," a Clark-Smith ballad, was followed by Chuck Berry 's "Reelin' and Rockin'" and Chris Kenner 's "I Like it Like That" (top ten for the DC5 as it had been for Chris), benchmark rock/rhythm songs that paved the way for more.

Having a Wild Weekend's original title song "Catch Us if You Can" went top ten in September '65, then a remake of the 1958 Bobby Day hit "Over and Over," in the final week of December, gave the Dave Clark Five that elusive number one U.S. hit they'd been seeking. "At the Scene" (as with "Catch Us," written by Dave and Lenny), "Try Too Hard" and "Please Tell Me Why" (both by Dave and Mike), all trademark DC5 rockers, were big in the early months of 1966. A pair of Clark-Payton tunes, ballad "Satisfied With You" and its polar opposite, screamer "Nineteen Days," were lesser hits and left some wondering at the close of 1966 if the group was running out of steam.

Reenergizing a pre-Motown Berry Gordy song, "You Got What it Takes" (a smash for Marv Johnson in 1960) put the Dave Clark Five back in the top ten in the spring of 1967, and a few other songs charted in America, the last top 40 hit being "You Must Have Been a Beautiful Baby" (the 1938 Harry Warren-Johnny Mercer song best known by Bing Crosby and also a hit for Bobby Darin in 1961). They began accepting current compositions by outside writers including "Everybody Knows" (by Les Reed and Barry Mason), an oddity considering they'd already had an "Everybody Knows" hit in 1964. The '67 song, with a Lenny Davidson lead vocal, was the group's most successful U.K. single since "Bits and Pieces." The U.S. hits stopped cold in '68, but looking back on their concentrated hitmaking period of 1964 through 1967, they were more successful in America than in their native United Kingdom. The late '60s was a great period for the DC5 in England.

Their first and only TV special, Hold On: It's the Dave Clark Five, directed by Clark, appeared on the BBC in August 1968 with guests Richard Chamberlain and Lulu and there were several major hits, most notably "Red Balloon" that same year, "Good Old Rock 'n Roll" in '69 (covering the Cat Mother and the All Night News Boys summertime U.S. hit produced by Jimi Hendrix) and "Everybody Get Together" in 1970. At one point in '69 they decided the best days were behind them and they would go out while still on top, agreeing to call it quits after one more year. Two U.K. top tens came out in the interim, but that didn't deter them. Lenny, Rick and Denny departed, while Dave and Mike formed a new group, Dave Clark and Friends, to satisfy contractual obligations with EMI. Three years later, at the end of the act's original ten year deal, they scattered for good and never reunited, at least not to record or tour.

Today we can enjoy the music of The Dave Clark Five, which remains preserved as a prominent part of a specific time period: 1963 to 1970.

- Michael Jack Kirby Do You Love Me - 1963 Glad All Over - 1964 I Knew it All the Time - 1964 Can't You See That She's Mine - 1964 Because - 1964 Everybody Knows (I Still Love You) - 1964 Thinking of You Baby - 1964 Any Way You Want It - 1964 Come Home - 1965 I Like it Like That - 1965 Catch Us if You Can - 1965 Over and Over - 1965 Look Before You Leap - 1966 Satisfied With You - 1966 I've Got to Have a Reason - 1967 You Got What it Takes - 1967 You Must Have Been a Beautiful Baby - 1967 A Little Bit Now - 1967 Red and Blue - 1967 No One Can Break a Heart Like You - 1968 Red Balloon - 1968 Live in the Sky - 1968 Put a Little Love in Your Heart - 1969 Good Old

 Rock 'n Roll - 1969 Everybody Get Together - 1970 Glad All Over by The Dave Clark Five Songfacts Glad All Over by The Dave Clark Five Songfacts Songfacts The engineer Adrian Kerridge developed a thumping drum sound for this track, which became known as the Tottenham sound.

Tottenham is an area in North London, where Dave Clark came from. Crystal Palace Football Club have adopted this song as their theme song. When they reached the FA Cup Final in 1990, the Crystal Palace players teamed up with a UK group called the Fab Four to record a cover version of this - it reached #50 in the UK. Lead vocalist Mike Smith came across a song called "Glad All Over" by Carl Perkins and wrote a new song with the same title. Smith recalled, "We had lost out on 'Do You Love Me' to Brian Poole and so Dave (Clark) thought we should do an original. He asked me to come up with something and I looked through my record collection for a suitable title." Dave Clark said: "I knew that we needed a song with the thumps in.

we had been playing dance halls and we were getting a great audience response to the stomping things we were doing." (Above quotes from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh.) Written by Clark and Mike Smith, this was the first American hit for The Dave Clark Five, and their second chart entry in the UK, where their cover of " Do You Love Me " made #30 a month earlier. The song holds a distinctive honor on the UK chart, as it knocked The Beatles " I Want To Hold Your Hand " out of the top spot. The band was at a crossroads when this song's success cleared their path. "We started from nothing, and then we were very fortunate," Clark told us. "I always said to the boys, 'We'll only go professional if we get two Top 5 records.

If not, we just carry on and play for the fun of it.' Well, fortunately 'Glad All Over' took off, and it was selling like 180,000 a day." (Here's our full Dave Clark interview .) After The Beatles drew record ratings on the Ed Sullivan Show, the host was looking for the next British Invasion stars and found them in The Dave Clark Five. The band appeared on the show March 8, 1964, where they performed this song. This gave the band an audience in America and propelled the song up the charts; it reached its peak position of #6 on April 25. The Dave Clark Five were a favorite of Sullivan, who had them back on the show 11 more times (plus three re-airs and one show that featured film clips of the band). Getting them on the show the first time proved a challenge, however. The show wasn't broadcast in England, so Clark had never heard of it and turned down the offer. When Sullivan's producer called back offering a substantial payment, he convinced his bandmates to make the trip.

Dave Clark recalled to Uncut magazine: "I went to Alexander Palace once, and saw a big band called The Eric Delaney Band. On the front of the stage, he had these timpanis. He came off the drums at the back and played these timpanis, and it was quite amazing. It was showmanship. That's always stuck in my mind. It wasn't very clever l, what he was doing, but it was dynamite, the crowd loved it. That was a big influence." Dave Clark: "'Glad All Over' didn't take long at all to write. Your best songs are the ones you seem to do very quickly. It was a great hook, and a very simple one." The Dave Clark Five · 2017 Tour Dates and Concert Tickets | Thrillcall Track Artist for New Show Alerts The Dave Clark Five (also known as "The DC5") were an English pop rock group. Their single "Glad All Over" knocked the Beatles' "I Want to Hold Your Hand" off the top of the UK singles charts in January 1964: it peaked at number 6 in the United States i...

The Dave Clark Five (also known as "The DC5") were an English pop rock group. Their single "Glad All Over" knocked the Beatles' "I Want to Hold Your Hand" off the top of the UK singles charts in January 1964: it peaked at number 6 in the United States in April 1964. They were the second group of the British Invasion on The Ed Sullivan Show, appearing in March for two weeks after the Beatles appeared three straight weeks in February 1964. For some time the Dave Clark Five were more popular in the US than in their native UK, but had a renaissance in the UK between 1967 and 1970. The group disbanded in late 1970. On 10 March 2008, the band was inducted into the Rock and Roll Hall of Fame. History The band started out as the Dave Clark Quintet in 1957, with Clark on drums, Dave Sanford on lead guitar, Chris Walls on bass, Don Vale on piano (and arranger).

In 1958, Sanford was replaced by Rick Huxley and the band became the Dave Clark Five with Stan Saxon on lead vocals, Huxley on rhythm guitar, Roger Smedley on piano, and Johnny Johnson on lead guitar. Mick Ryan replaced Johnson in 1958 and Jim Spencer joined on saxophone, while Smedley left. Walls left in 1959 and Huxley became the bass player. Mike Smith joined on piano in 1960, and Lenny Davidson replaced Ryan in 1961. In 1962, the band changed its name to the Dave Clark Five, when Saxon left. The group was Clark on drums, Huxley on bass, Smith on organ, lead vocals, and Davidson on lead guitar, adding Denny Payton on tenor and baritone saxophone, harmonica and guitar. Originating in North London the band was promoted as the vanguard of the "Tottenham Sound", a response to the Mersey Beat stable managed by Brian Epstein.

Dave Clark, who formed the group, occasionally placed his drum kit at the front of the stage, with the guitarists and organ to his rear and sides, and struck business deals that allowed him to produce the band's recordings and gave him control of the master recordings. Songwriting credits went to Clark, Clark and Smith, Clark and Davidson, and Clark and Payton. The Dave Clark Five had 17 records in the Top 40 of the US Billboard chart and 12 Top 40 hits in their native UK between 1964 and 1967. Their song "Over And Over" went to number one in the US on the Billboard Hot 100 on Christmas Day 1965, despite less impressive sales in the UK (it peaked at number 45 on the UK Singles Chart), and they played to sell-out crowds on their tours of the U.S. The Dave Clark Five was the first British band of the British Invasion to tour the US, and they made 18 appearances on The Ed Sullivan Show – the most of any British Invasion group.

After the success of the Beatles' film A Hard Day's Night in 1964, the band released their own film, Catch Us If You Can (directed by John Boorman) in 1965. It also starred Barbara Ferris, and was released in the United States as Having a Wild Weekend. The short film Hits in Action highlighted a series of Dave Clark Five hits. After their initial success, which included the movie and a television special, the major hits dried up in the US after 1967's "You Got What It Takes", although the band had several substantial hits in the UK in the 1967–1970 period. Other than the songs "Inside and Out", "Maze of Love" and "Live in the Sky" (the latter actually quotes directly from the Beatles' "All You Need is Love"), the band did not follow the trend of psychedelic music. The DC5 disbanded in 1970, having placed three singles on the UK chart that year, two of which reached the Top Ten. In 1970, Davidson, Huxley and Payton left and Alan Parker and Eric Ford joined on lead guitar and bass.

This line-up, renamed "Dave Clark & Friends", lasted until 1973. Between 1978 and 1993, none of their music was available to be purchased in any commercial format, as rights-holder Clark declined to licence the band's recordings at that time. In 1993, the double CD "History of the Dave Clark Five" was released by Hollywood Records in the US, and a single CD, Glad All Over Again was released by EMI in Britain. Both were released with great fanfare and sold well, but were taken off the market after approximately three years. No DC5 material was then legally available until 2008, when the "Hits" compilation was released by Universal Music in the UK. In 2009 selections from the band's catalogue were released on iTunes. Post break-up Dave Clark was also the manager and executive producer of the band. Following the group's break-up, Clark set up a media company. In the process, he acquired the rights to the 1960s pop series Ready Steady Go!.

Additionally he was Executive Producer and listed as co-writer for the 1986 London stage performance of TIME - The Musical which featured the last living performance of Sir Laurence Olivier. The production received critical acclaim and featured unique electronic and mechanical theater stage craft. A two disc vinyl album was released in conjunction with the stage production featuring music recorded by Julian Lennon (singing DC5's Because), Freddie Mercury, Stevie Wonder, Cliff Richard, Ashford & Simpson and Olivier's selected dialogue. This double album was digitally remastered and released on iTunes in May, 2012. Mike Smith released a now scarce CD in 2000 titled Its Only Rock & Roll and returned to performing in 2003 after a lay-off of 25 years. He formed Mike Smith's Rock Engine and did two mini-tours of the U.S. He died on 28 February 2008 in London from a spinal injury sustained after scaling a fence at his home in Spain. Denis Payton died on 17 December 2006 after a long battle with cancer. He was 63.

Rick Huxley died on 11 February 2013 from emphysema at the age of 72. Induction into Rock and Roll Hall of Fame The Dave Clark Five made the list of nominees for the class of 2008, and on 13 December 2007 it was announced that the band would be inducted into the Rock and Roll Hall of Fame on 10 March 2008. The group was inducted by Tom Hanks, who wrote, directed, and starred in the film That Thing You Do!, which was about an American one-hit wonder band that became popular in the wake of the British Invasion. The theme from "That Thing You Do!" was played as Hanks walked out on stage. In attendance with the three surviving members of the DC5 were the families of Lenny Davidson and Rick Huxley, and Denis Payton's two sons. Mike Smith had planned on attending but died ten days before the induction. Dave Clark opened up his acceptance speech by saying that he felt like he was at the Oscars.

Davidson gave mention that they arrived in New York for the ceremony on 8 March, exactly 44 years after their first appearance on The Ed Sullivan Show. Joan Jett honoured the Dave Clark Five by performing "Bits and Pieces" with John Mellencamp's band. To perform "Glad All Over", Jett was joined by John Fogerty, John Mellencamp, Billy Joel and other artists that performed throughout the evening. In March 2008 a 28-track collection, The Dave Clark Five: The Hits, was released on iTunes. Personnel

Question: What was the title of the only U.K. No.1 hit for the group The Dave Clark Five ?
Answer: GLAD ALL OVER