Tracks: 1) Can’t You See That She’s Mine; 2) I Need You I Love You; 3) I Love You No More; 4) Rumble; 5) Funny; 6) Zip-A-Dee-Doo-Dah; 7) Can I Trust You; 8) Forever And A Day; 9) Theme Without A Name; 10) On Broadway. REVIEW I love ‘Can’t You See That She’s Mine’ — I really do. It might just be my personal favorite tune in the entire Dave Clark Five catalog. I love how it is so tight, intense, punctuated by these sharply accentuated staccato guitar chords. How the rhythm section just chugs along like it’s some very serious business, unnerving and metronomic and without any signs of showing off. How Mike Smith contributes to the sternness of the proceedings by allowing himself to forget that the English language is in possession of long vowels — except for the third syllable of each opening line ("can’t you se-e-e-e-e that she’s MINE?"), imitating regular outbursts of irritation and frustration. How Denis Payton’s saxophone break smoothly emerges from the general fray, marks the atmosphere with several well-placed shrapnel rounds and then packs itself back into its suitcase.
Review: The Dave Clark Five - Return! (1964)
Review: The Dave Clark Five - Return! (1964)
Review: The Dave Clark Five - Return! (1964)
Tracks: 1) Can’t You See That She’s Mine; 2) I Need You I Love You; 3) I Love You No More; 4) Rumble; 5) Funny; 6) Zip-A-Dee-Doo-Dah; 7) Can I Trust You; 8) Forever And A Day; 9) Theme Without A Name; 10) On Broadway. REVIEW I love ‘Can’t You See That She’s Mine’ — I really do. It might just be my personal favorite tune in the entire Dave Clark Five catalog. I love how it is so tight, intense, punctuated by these sharply accentuated staccato guitar chords. How the rhythm section just chugs along like it’s some very serious business, unnerving and metronomic and without any signs of showing off. How Mike Smith contributes to the sternness of the proceedings by allowing himself to forget that the English language is in possession of long vowels — except for the third syllable of each opening line ("can’t you se-e-e-e-e that she’s MINE?"), imitating regular outbursts of irritation and frustration. How Denis Payton’s saxophone break smoothly emerges from the general fray, marks the atmosphere with several well-placed shrapnel rounds and then packs itself back into its suitcase.