Zal Cleminson | Interview | Tear Gas and The Sensational Alex Harvey Band

Zal Cleminson is legendary guitarist of Tear Gas and The Sensational Alex Harvey Band.

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Cleminson began his career in the late-1960s. His first band Tear Gas morphed into the backing band for Alex Harvey, and when that band split in 1977, he and other members continued on as The Zal Band, before he joined Nazareth in 1979.

After leaving them he sessioned and played live for Elkie Brooks, Midge Ure, Bonnie Tyler, Fish, and Dan McCafferty, as well as leading several of his own projects before he retired in around 2008. However, he came out of retirement in 2017, and formed ‘/sin’dogs/’ with a Sensational Alex Harvey Band tribute act, released an EP, and undertook a small UK tour.

Do you remember a special moment when you instantly knew that you wanted to become a musician?

Zal Cleminson: When I heard Chuck Berry.

When you were very young you moved to Australia for a short period of time. Did that have any impact on you?

Yes. Having sailed half-way round the world and back, I saw it as a very diverse place. It made me respectful toward other human races and cultures. I witnessed my parents endeavour to survive in an immigration camp; I learned to swim.

What were some of the early bands you were part of and what was the scene in Glasgow back in the early Sixties? What kind of material did you perform with those bands?

While still at school I formed a band with schoolmates called The Bo-Weevils. We played dance music, black American soul and R&B. All the bands in Glasgow were doing the same thing. We toured Scotland at the weekends, playing clubs, as well as church and town halls. In the late ‘60’s we became Tear Gas. By this time we were playing heavy rock, writing our own songs and recorded two albums. We toured the UK and Europe.

Can you elaborate on the formation of Tear Gas and how did you guys come together and decide that you want to play heavy music?

Tear Gas joined the ranks of many other heavy rock bands, influenced by Hendrix, Cream, The Yardbirds et cetera.

I may be mistaken, but were you at first called Mustard?

Yes.

What can you tell us about the label that signed you up, Famous Records, and how did that come about?

Yeah, Famous Records, Regal Zonaphone I think they belonged to. Two guys, Tony Chapman and Tony (?) came to see us in Glasgow. They liked it. We recorded in London. I have no idea to this day how many albums we sold or how much money was earned. However, it kept the band together.

What does the album artwork for your debut album, ‘Piggy Go Getter’ show?

I haven’t a clue …

Then you moved to another label and recorded your well known 1971 self-titled album. Please share some recollections from the recordings.

It was recorded at a studio in Wembley, London. All the songs were written by Dave Batchelor and myself. Our friend Ronnie Leahy (Stone The Crows) came in to play keyboards on a couple of tracks. The album cover was designed by Storm Thorgerson, renowned for his work with Pink Floyd and many others.

There are some truly incredibly heavy guitar parts on the album. What gear did you use?

Pink Fender Stratocaster, Sound City 200w head, Marshall cabinet, Cry Baby.

Your guitar playing is killer. What are some of the most important guitar players that influenced your style and in what way?

Wes Montgomery, Chuck Berry, Steve Cropper, Jeff Beck, Jimmy Page, Ritchie Blackmore, Jimi Hendrix, Pete Townsend. They each had something very original to say. Then I heard Frank Zappa and swiftly decided to play the guitar my way.

Tear Gas morphed into The Sensational Alex Harvey Band. Did you know Alex from before?

We didn’t know Alex personally, but were well aware of him and his Big Soul Band.

How did the Sensational Alex Harvey Band come about?

Our respective managers organised a meeting and rehearsal with Alex in Glasgow. Alex played us the riff to ‘Midnight Moses’ and asked if we could play it. We instantly beat the shit out of it and he obviously liked what he heard.

He was a bit older than other guys…what was the relationship between the band members?

He liked to mentor us, like a director. He was very professional, organised and knew exactly what he wanted. It made things easy for us. His songs have a strikingly vivid narrative and he was keen for everyone not only to play the music but to perform it.

“I have a distinctive approach to expressing myself through my guitar playing”

You had a very special stage presence with the band, always wearing white-face mime makeup. What’s the story behind that?

I have a distinctive approach to expressing myself through my guitar playing. It is very active and animated. As the venues we played became larger, the white face helped to project that image further into the audience.

Do you recall working on the songs that appeared on the ‘Framed’ album?

We rehearsed the songs before going into the studio. The album was recorded live over a weekend at Morgan Studios in Willesden, London.

“For me the competition was Led Zeppelin, Deep Purple and Pink Floyd”

My dad had ‘Next’ in his vinyl collection so that’s a record that I know the best. Would you like to share a few words about it…

It was produced by Phil Wainman, who produced Sweet. I could say “enough said”. However, with hindsight, it was clear that our record company wanted to see the band on Top of the Pops. But for me the competition wasn’t Sweet or Mud or heaven forbid, Gary Glitter. For me the competition was Led Zeppelin, Deep Purple and Pink Floyd. I honestly believe SAHB never really recovered from that mindset.

I bet there were many crazy gigs involved back in the seventies. What are some that come to your mind?

As the band progressed our confidence grew immensely. We approached every gig like a military campaign; set out to assault the audience like a cohort, spearheaded by Alex. He loved the analogy. Accordingly, SAHB were either loved or hated in equal measure. America proved likewise, with pockets of fanatical support. Headlining the Reading festival was a highlight and turning point in the band’s career. The xmas shows, as they became known, showcased the band in all its theatrical glory.

A lot more happened, but I would love to talk about zal cleminson’s /sin’dogs/.

‘Sin Dogs’ was a cathartic process for me personally. It brought me back from the brink. Sadly, the chemistry got polluted and the band suffered an early demise.

I heard that you’re currently writing a novel?

Yes. It’s titled ROOL, Orphans of the Ash.

Looking back, what was the highlight of your time with all the bands? Which songs are you most proud of? Where and when was your most memorable gig?

Having the ability to be a musician, to play and record one’s own music is a happy outcome. I’m proud of a great deal of the music I have written and recorded and performed, but remain to a degree, unfulfilled. So, I play on today with Orphans of the Ash and look forward with as much hope and energy as I can muster.

What else currently occupies your life?

Writing and recording the album ‘Ellipsis’ with Orphans of the Ash. The completion of my novel.

Thank you for taking your time. Last word is yours.

Thank you for the opportunity to repeat myself yet again …

Klemen Breznikar

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