The common classification of the Dave Clark Five as an enjoyable group who were not nearly as sophisticated as their (briefly) main competitors the Beatles is to a large degree correct. On their 1964 number three hit single "Because," though, Dave Clark crafted a song that was on about the same melodic level as all but the best of the early Beatles' compositions. They never duplicated that feat again, but to do it even once was commendable enough. Unlike most of the Dave Clark Five's hits, "Because" was not a reverb-coated storm of hoofbeat drums, sax, organ, and raunchy Mike Smith vocal, but a sweet, clear rockaballad, with no saxophone in sight. It's the organ that carries the instrumental arrangement at the start, with a ticklish five-note riff as the tune changes keys dramatically, much in the manner of the early John Lennon-Paul McCartney original "I'll Be on the Way" (covered by Billy J. Kramer, though the Beatles only did it on the BBC). Harmony vocals, rather than Smith's firepower, dominate the verses, with their beautiful, unusual, and irresistible chord changes and tender, romantic lyrics. Smith's vocals get a little more urgent on the brief bridge, which nonetheless is also built around constantly shifting keys and major-minor chord blends. The organ solo in the middle gets just a little twee and cutesy, but is redeemed by an unexpected eerie descent at the end that doesn't appear anywhere else in the song. Like many British Invasion rockers, the Dave Clark Five mastered the art of extending syllables to convey a meaning to words that would have seemed trite on paper, particularly when they dragged out "I" in the "because I love you" words that end the verses. The lower parts of the organ on this track have an amazingly foggy, vibrant timbre that proves Dave Clark could produce more than the usual DC5 formula sounds when he put his mind to it. "Because," incidentally, was only a B-side (to "Can't You See That She's Mine") in Britain. Clark insisted that the song come out as an A-side in America, over some resistance from Epic Records, and proved that the band had a more subtle dimension than was evident from the stomping hits that were their main diet.