The Sensational Alex Harvey Band – An Introduction
SAHB, the Sensational Alex Harvey Band, were a rock band from Glasgow, big in the 70s, popular, influential, even had a following in Europe and the US (they were an influence on Nick Cave). Often incorrectly labelled a glam rock band (a misnomer), although one member did wear facepaint, the band mixed hard rock, blues, glam, prog, jazz, music hall, avant-garde and rock’n’roll. That possibly makes them the most progressive rock band ever.
The band were both Sensational, and a Band. There was so much more to them than one man. Alex Harvey, singer, guitarist, songwriter, talent show winner (labelled Scotland’s answer to Tommy Steele), began working in the late 50s, playing Skiffle, blues, soul and rock’n’roll, even fronting his own Soul Band. Alex Harvey had recorded a version of the Isley Brothers’ ‘Shout’ prior to it becoming a hit for Lulu, and his version / arrangement was echoed by Otis Day & The Knights (from the film National Lampoon’s Animal House).
Then in 1972 he teamed up with a local progressive rock band, Tear Gas (previously known as Mustard), who had released two now sought after LPs, and at the time featured drummer Ted McKenna, cousin and pianist Hugh McKenna, bassist Chris Glen, guitarist Zal Cleminson (real name Alistair) and singer David Batchelor. With Alex replacing David, SAHB were born.
The band signed to Vertigo in the UK (later joining Nazareth on Mountain in the mid 70s) and their debut Framed featured a cover of the title song, and also Willie Dixon’s I Just Want To Make Love To You. Some of the songs had already been part of Harvey’s solo repertoire for some time. Buffs Bar Blues is a solid blues number, and There’s No Lights On The Christmas Tree Mother, They’re Burning Big Louie Tonight a song about the mob.
With 1973’s Next, the title track a cover of the Jacques Brel song, the stand out track is The Faith Healer, prog rock with a hint of avant-garde at its best. By now the band’s image was taking shape too, with Zal Cleminson’s cat suite and mime-artist-esque face paint. Here was the start of Alex Harvey’s story telling and cartoon-esque super hero characterization.
1974 and The Impossible Dream (the original recording unreleased until 2009, as Hot City – The Unreleased Album) featured a typical mix of styles. Largely hard rock, Sergeant Fury was a nod to trad jazz. The following year’s Tomorrow Belongs To Me continued the fashion, and The Tale Of The Giant Stone Eater (an environmental song) epitomised the “Gather round kinds and listen to the story” persona.
Later in 75, a show at the Hammersmith Odeon was recorded for a live album. This features a fantastic cover of Tom Jones’ Delilah, (this live version a hit single) and if you’ve not seen the video of either the Top OF The Pops or Old Grey Whistle Tests performances, with the Glen/Cleminson synchronisation, you seriously have not lived. When it comes to single LP live albums that should have been a double, this set, in my very humble opinion, tops AC/DC and Motorhead and is rivalled only by Foghat’s Live album. In fact, many years later, the fanclub issued the complete show as a 2CD.
1976’s The Penthouse Tapes was an album largely of covers (they’d always dabbled in 1 or 2 per album), and standouts include Del Shannon’s Runaway, and a cracking take on the Osmond’s Crazy Horses. By now the band had reunited with Tear Gas vocalist David Batchelor, but now in his capacity as producer.
Later the same year the band released SAHB Stories, which featured another hit single Boston Tea Party.
1977 saw Alex Harvey quit his own band, partly due to stress and exhaustion, to then recorded the solo Loch Ness Monster set, while the rest of the band recorded the album Fourplay, credited as SAHB Without Alex. One wonderful track was the Cleminson composition Big Boy, which Zal would later rerecord with Nazareth when he joined them 2 years later.
SAHB’s final album was Rockdrill, with Alex back in the fold, but with Hugh McKenna absent due to an internal disagreement, and Tommy Eyre taking his place. A solid if much overlooked album. Check out the Mrs Blackhouse (also a single), a less than subtle dig at Mrs Whitehouse. Early copies featured a song No Complaints Department that was later withdrawn and now very rare. It was considered too emotional or sad for release.
The band split soon after, and Alex Harvey died in 1981 following the release an album as Alex Harvey The New Band.
Post split, Zal formed The Zal Band, then recorded two albums with Nazareth, and worked with Midge Ure, Elkie Brooks and others, Ted McKenna recorded with Rory Gallagher before teaming up again with Chris Glen in the Michael Schenker Group.
Zal, Chris and Ted started playing together again in local cover bands, as The Party Boys, with a revolving door of vocalists, including Fish, Billy Rankin, Dan McCafferty and Maggie Bell. When Hugh McKenna rejoined, they reformed the Sensational Alex Harvey Band with other vocalists, and recorded a couple of live albums. More recently, Zal recorded as Sin Dogs, which were much more metal, the heavier material coming from his Tear Gas roots.
There are a number of live albums available, all worth checking out, notably the aforementioned Live, but there’s BBC Radio 1 Live In Concert, British Tour ’76 and US Tour ’74. There are a huge number of compilations, most notable Last Of The Teenage Idols (14CD box, spans Alex Harvey’s career).
5 Essential studio albums
1 Next
2 Framed
3 Impossible Dream
4. Tomorrow Belongs To Me
5. SAHB Stories
Joe Geesin | Now Spinning Magazine
