American Tour is my favorite Dave Clark Five album. Released in 1964, it remains timeless and fluid. The writing of these twelve original songs is flawless and the performance magic! Here we go. . .
BECAUSE - Radio stations still play it, and I never tire of it. It has everything a song needs to be a hit: simple but engaging melody, sincere lyrics and streamlined production. It's effective use of tremelo on Mike Smith's Vox Continental keyboard, and its combination with the guitar during the lead break - these are great examples of tasteful arranging. It still amazes me that Dave had to fight for its release as a single! (It was only a b-side in the UK). Proof positive that record company execs don't know nearly what they think they do.
WHO DOES HE THINK HE IS - Here's a great example of the use of accoustic 12-string guitar as a lead instrument, backed by an electric rhythm section. The contrast is exciting! I've always felt that this song, (like "I'm Thinking" from the "Weekend In London" lp) could have been a single. It has drive, excellent structure, and leaves a lasting impression on the listener. That's what a hit is all about.
MOVE ON - One of the things I have always admired about the DC5 is their ability to record so many instrumental selections, using basicly the same three or four chords, and have them remain unique. "Move On" is a great example of this. Hats off to Dennis Payton, the co-writer of many of these instrumentals. I'm sure his jazz background has a lot to do with the "arranging" of the famous three chords. Rick's opening bass line also stands out, returning at mid-song to reinforce the main theme. The spoken "Move On" is chilling. I can't listen to this song without wanting to jam along.
WHENEVR YOU'RE AROUND - While most people remember the DC5 for their rockers, they were wonderfully adept at writing and recording beautiful ballads. This track, written by Mike with a little help from Dave, and featured on the soundtrack of the film "Get Yourself a College Girl", is haunting. Mike again uses the medium tempo tremelo on his Vox Continental, and Lenny shines with an unbeatable combination of Vox AC-30 and Gibson guitar. The vocals are tender and sincere. The song is perfect for that slow dance on a moonlit terrance with the one you love.
I WANT YOU STILL - A Payton tour de force! Dennis is amazing. His jazz influence on the Five is again obvious, and his ability to "pop-rock" confirmed with this song. Here he uses a standard jazz chord progression to its best advantage in a rock format. My only criticism: the song's too short. In the end that could be quite good. . .they say you should always leave your audience wanting more.
LONG AGO - Phil and Don Everly would have gone straight to number one with this song. I've always considered it to be Lenny's tribute to the brothers. Though void of drums and sax, it still carries the unmistakable mark of the Dave Clark Five. Haunting vocals from Mike and Lenny, effective use of vibrato on Lenny's guitar, and just a faint touch of Vox Continental when you least expect it. A fitting close to side one.
COME ON OVER - Why do we all like this song? Well for one thing, if you listen carefully, you'll realize its structure is much like "Glad All Over"! In that, Lenny is allowed to pay tribute to Mike. Most bands from the same period followed up their first hits with similiarly-sounding tunes. (The Kinks come to mind, following "You Really Got Me' with "All Day and All of the Night"). To the Five's credit, they didn't release "Come On Over" as a sequel, but moved in a different direction with "Bits And Pieces". They made stomping boots legendary! Meanwhile, "Come On Over" remains "left-over great music"!
BLUE MONDAY - Interesting instrumental. You can hear every instrument in its own right, and yet the sum is totally cohesive. It's solid, and for a song with no vocals, it still cries "the blues". Denny's sax solo is worthy of the best work by Nino Tempo or Earl Bostic, and the influence of these sax greats is obvious. Rick's preference to play bass with a guitar pick (probably a fender medium) also shines here, as does Mike's bluesy feel on the Continental. "Blue Monday" is another example of creativity with those "three chords", without being redundant.
SOMETIMES - We're getting into tasty territory with this song. It breaks all the rules of conventional song writing. It's like a question that hangs in mid-air. It uses complex chords, something the DC5 were very good at, in an era when other rockers played simple triads. There's Rick again using a guitar pick on his Fender jazz bass, and Dennis supplying the undertones on his tenor. Mike soars vocally in the middle eight. Can you tell I like this song? It's marvelous!
ANYTIME YOU WANT LOVE - Here's a very bold statement: the first four bars (and their use throughout the song) are equal in impact to the opening of "California Girls". Consider that. Listen again and again, and you'll agree. Lenny shines as a writer, using flawless structure. The breaks just prior to the phrase "...in me" are dramatic. The Righteous Brothers could have taken this song to number one. It's got everything you'ld want in a DC5 romantic rock ballad.
I CRIED OVER YOU - Lenny graces us again, following up with another unique number. Not quite a ballad, not quite a rocker, it amply covers that middle ground with solid vocals, excellent chord structure, and what Paul McCartney would call "catchy tuna". Mike's use of stacatto quarter-notes during the middle eight, instead of just playing the chords, is especially effective. Another song that leaves you wanting more.
OL' SOL - Payton returns with yet another magical combination of "those three chords"! This is one of my favorite "air drum" songs. If I'm listening while driving, please excuse my being a menace on the highway, as I pound the steering wheel, the dashboard, my legs, or anything else within reach (so don't sit too close!) You can't help but be affected by Mike's primitive raving of the title, and the overall joyous feel of this instrumental rocker. A fitting close to a wonderful album!
"AMERICAN TOUR" ranks among my top five favorite albums from this era. (The others are "Rubber Soul" by the Beatles, "Pet Sounds" by the Beach Boys, "Dear Eloise/King Midas" ("Butterfly" in the UK) by the Hollies, and "Odessey & Oracle" by the Zombies. I'll share this music further with you. E-mail me at ZacharyJ@postoffice.worldnet.att.net . And do visit either of my Bands websites: The Grapes of Wrath or The Offbeats. "Anytime You Want Music" . . ."Come On Over"