The moment that first pounding drum hit tears through the speakers, you understand why the Dave Clark Five created their own sonic signature. A massive, cavernous boom reverberates as if the entire room has been mic’d for maximum impact. This is the sound of the Tottenham Sound at its most ferocious. It comes from a 1965 single called “I Like It Like That.”
The song was not originally theirs. Chris Kenner and Allen Toussaint wrote it as a New Orleans R&B number in 1961. The Dave Clark Five did not simply cover that tune. They steamrolled it. They rebuilt the stroll into a relentless British beat engine. Released in the United States in June 1965, the track became a transatlantic hit. It peaked high on the Billboard Hot 100 and later gave its name to the band’s seventh American album.
Dave Clark himself sat in the producer’s chair. That control allowed him to shape a sound far removed from the jangly pop of their Liverpudlian peers. His drumming is high volume and relentless. The production aesthetic stands as a thunderous contrast. From the very first measure, the track assaults the listener with a staggering wall of sound. The rhythm section locks down but retains a palpable looseness. It feels like a band straining at the leash.
Rick Huxley’s bass guitar provides a deep rubbery throb. It anchors the manic tempo and fights to be heard beneath the roar. Lenny Davidson’s lead guitar delivers sharp quick decaying jabs that slice through the mix. Denis Payton’s tenor saxophone is the unsung hero. It adds a fat honking cushion that blends with the overdriven guitars. This saxophone texture instantly distinguishes the DC5 from almost every other British Invasion band.
Mike Smith handles vocals and piano with pure unvarnished urgency. He belts the lyrics with raw desperate enthusiasm. There is no subtle phrasing. Only a powerful straight ahead shout. His piano playing is equally vital. He hammers out percussive block chords, acting almost as a fifth rhythm instrument. The piano tone is slightly muffled and compressed. It contributes to the track’s sense of controlled sonic overload.
The relentless compressed thunder of the rhythm section feels less like an invitation and more like an ultimatum.
This song is not about finesse. It is about direct joyful catharsis. The lyrics invite the listener to a happening spot. Simple uninhibited fun is the only necessary agenda. The brief one minute forty second runtime ensures no room for meandering. The abrupt immediate fade out leaves the listener wanting more. It captures the spirit of a sudden unforgettable moment.
Listening on premium audio equipment today reveals the sheer density of the original mono mix. Clark’s kit sits front and center. The combination of tightly mic’d snare attack and ambient reverb gives the drums a massive concussive impact. The deliberate crushing of dynamic range maximizes perceived volume. This track bridges Chuck Berry’s propulsion with the coming garage rock minimalism. Its energy remains undiminished decades later.
For anyone who wants to understand raw elemental beat music, the Dave Clark Five version of “I Like It Like That” offers a masterclass. A handful of instruments tightly focused and recorded with conviction can create a sound larger than an orchestra. The track’s continued life in film and television soundtracks proves its timeless capacity to signal immediate carefree fun.
For those seeking similar primal energy consider The Animals with “We Gotta Get Out of This Place” for its raw working class urgency. The Troggs “Wild Thing” shares the same commitment to simple short form power. The Kingsmen “Louie Louie” connects through turbo charging an American R&B staple. Paul Revere and the Raiders “Kicks” blends driving rhythm with pop consciousness. The Seeds “Pushin Too Hard” offers frantic pacing and overdriven texture. And The Standells “Dirty Water” captures the same beat driven grit.