The world of 1967 was a blur of paisley and feedback. The British Invasion, once a unified, monochrome force, had fractured into psychedelic explorers and ambitious conceptualists. In the midst of this radical shift, The Dave Clark Five—the other great beat export, the group built on volume, velocity, and the distinct echo of the Tottenham Sound—stood as a monument to rock and roll’s immediate, visceral past. Their genius was never in reinvention, but in refinement. Their continued commitment to the propulsive, stomping beat was both their anchor and, in the eyes of some critics, their shackle.
It is in this context of cultural turbulence that we must approach the single, “You Got What It Takes.” This piece of music, released in the spring of 1967, was a cover of a 1959 soul hit, originally by Marv Johnson and co-written by a powerhouse team that included Berry Gordy Jr. For the DC5, adopting a track from the Motown stable was not entirely new, but the execution here is a masterstroke of musical juxtaposition. It is the sound of a band refusing to chase the tail of psychedelia, choosing instead to double down on the emotional grit of R&B.
The Anatomy of the Tottenham Stomp
The foundation of the DC5’s sound, meticulously overseen and produced by drummer Dave Clark, was always built on a powerful, compressed fidelity. The kick drum is a chest thump, often credited to a combination of Clark’s aggressive playing and the potential involvement of session drumming legend Bobby Graham. In “You Got What It Takes,” that rhythmic attack remains, but it is subtly moderated. The famed “stomp” is still present, but it functions less as a marching band’s declaration and more as the steady, unavoidable pulse of a deeply felt ballad.
The arrangement immediately distinguishes itself from the band’s earlier, raw classics. The rhythmic bedrock provided by Rick Huxley’s bass is remarkably nimble, serving as a fluid counterpoint to the four-on-the-floor drumming. Over this, the band layers a rich sonic texture. Lead singer Mike Smith, who also handled keyboard duties, anchors the harmonic center with a subtle but essential piano line. This is no raucous boogie-woogie; it’s a tight, gospel-tinged shimmer of chords that fills the middle frequencies, offering a warmth that prevents the track from sounding brittle.
A Layer of Sophistication
What truly elevates this track, setting it apart from much of the band’s mid-decade output, is the brass section. The presence of Stan Roderick, Bert Ezzard, and Eddie Blair’s horns is key. They don’t just mimic the melody; they inject a genuine soulfulness that nods directly to the song’s origins. The horn bursts are punchy, perfectly timed punctuation marks that lend a sophisticated, almost big-band weight to the chorus, contrasting beautifully with the core rock-and-roll instrumentation.
Lenny Davidson’s guitar work provides another layer of complexity. His playing is clean, almost restrained. He avoids flashy, blues-rock theatrics, instead opting for ringing, arpeggiated figures and precise, short-burst licks. This is not a showcase for raw distortion; it is a lesson in economy, each note placed exactly where it needs to be to bolster the melody without distracting from the vocal centerpiece. This commitment to detail is why, when seeking an optimal listening experience, a dedicated pair of studio headphones can reveal the intricate separations in the DC5’s deceptively simple arrangements.
Mike Smith’s Vocal Catharsis
The undeniable heart of this recording is Mike Smith’s lead vocal. By 1967, Smith had evolved past the energetic, almost frantic delivery of hits like “Bits and Pieces.” Here, his voice is richer, carrying a weight of experience. He navigates the song’s emotional core—the paradoxical appreciation of a lover’s substance over their superficial trappings—with a powerful, yet nuanced, control. The vocal phrasing on the verses is understated, a quiet conviction that builds tension.
Then, the chorus erupts. “You got what it takes, oh, to satisfy! You got what it takes to set my soul on fire.” Smith’s delivery is a spectacular catharsis. His voice soars, ringing with the kind of unforced power that defined the great white soul singers of the era. The production places his voice high in the mix, giving it an incredible presence, a sonic spotlight in the controlled chaos of the band. It’s a performance that reasserts him as one of the most underrated vocalists of the entire British Invasion.
“The late-period Dave Clark Five sound is not a retreat, but a stubborn, beautifully realized commitment to the core power of rock and roll married to soul.”
Career Arc and Context
The song was the title track of the group’s eleventh US album, released in the summer of 1967 on Epic Records. In the UK, it was a standalone single released by Columbia (EMI). At this point in their career, The Dave Clark Five were transitioning from the pure, explosive beat era into a more mature, pop-rock sound, yet one that still retained their fundamental energy. While the song reached the US Top 10 and charted respectably in the UK, it arrived just as the counterculture wave was peaking. The band’s refusal to embrace the sonic palettes of Sgt. Pepper or Surrealistic Pillow meant they often found themselves musically isolated from the era’s critical darlings.
However, this isolation is precisely what makes “You Got What It Takes” such a compelling listen today. It’s a bridge track. Its emotional directness and the solid, driving rhythm section look back to the early 60s, while the sophisticated horn arrangements and the maturity of Smith’s performance hint at the soul-inflected pop that would define the late sixties and early seventies. It is a testament to the fact that sticking to your artistic vision, even when the zeitgeist beckons in another direction, can yield some of the most enduring, quality recordings. For a whole new generation discovering this period, perhaps through guitar lessons that dive into the structures of 60s pop, this track offers a powerful alternative to the typical British Invasion curriculum.
Micro-Stories: The Enduring Charm
I recall sitting in a dimly lit, vintage record shop years ago. A couple—mid-twenties, dressed in thrifted vinyl and denim—were arguing good-naturedly over the merits of British beat groups. The man dismissed the DC5 as “too simple.” The shop owner, a silver-haired enthusiast, simply dropped the needle on this track. The moment Smith’s voice hit the first pre-chorus, the conversation stopped. The man cocked his head, and I watched his initial skepticism melt into pure, head-nodding appreciation for the song’s undeniable groove and vocal charisma.
That simple, unsolicited intervention proves the song’s enduring appeal. This isn’t just nostalgia; it’s the raw, elegant power of conviction. It’s the perfect sonic backdrop for a drive late at night, the engine hum on the highway playing against the steady, resolute backbeat. It is a song that tells you everything you need to know about the person you love: that the flashy façade is meaningless, and the intrinsic, powerful something inside is everything. This simple truth, wrapped in a polished, powerful arrangement, is the enduring legacy of this excellent recording. “You Got What It Takes” is not just a reminder of the DC5’s consistent craft; it’s an affirmation of timeless, unaffected heart.
🎶 Listening Recommendations (Adjacent Mood/Era/Arrangement)
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The Zombies – “Whenever You’re Ready” (1965): Shares the sophisticated, piano-driven foundation and a similar blend of R&B influence with British beat precision.
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The Foundations – “Baby Now That I’ve Found You” (1967): A perfect comparison for the successful integration of a strong brass section into a driving, soulful UK pop track of the same era.
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The Four Seasons – “Opus 17 (Don’t You Worry ‘Bout Me)” (1966): Features an equally powerful lead vocal (Frankie Valli) over a complex, tightly arranged rhythm and horn section.
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The Spencer Davis Group – “Gimme Some Lovin'” (1966): An excellent example of an organ/piano-heavy British Invasion track that fully embraces a raw, soulful R&B feel.
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The Rascals – “Good Lovin'” (1966): Captures the same energetic, ecstatic male lead vocal delivery and driving backbeat that defines the best moments of “You Got What It Takes.”
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Marv Johnson – “You Got What It Takes” (1959): The original source material, offering a direct contrast to hear how the DC5 electrified and streamlined the Motown template.