Zal Cleminson - Tear Gas

Born and raised in Glasgow, Scotland. Zal quickly became a self taught guitarist and in a matter of no time he had started his first band, Tear Gas. With two heavy and incredibly original works under their belt, the short lived group would soon be absorbed by The Sensational Alex Harvey Band and would go on to release the their debut LP on the legendary Vertigo label. It was a real joy speaking with Cleminson about his life on and off the stage and his wide range and exceptional music career. Sit back with one of the heavies from back in the day and enjoy!

When and where were you born? Are you originally from Glasgow? What was growing up like for you? Do you have any siblings? When did you first become interested in music and what was it about the guitar that initially fascinated you? Was this the first instrument you learned to play?

I was born in Penilee, Glasgow in May, 1949. I was born into a working-class family, living with my grandparents in a house specially built during the war for workers in the Rolls Royce factory nearby. It was a damp house, with metal frame windows. I shared a bedroom with my sister. Aged seven, together with our parents, we emigrated to Australia. The boat trip took us around the Cape of Good Hope, across the Indian Ocean to Australia. I had my eighth birthday crossing the Equator. For three and a half years we lived in an immigration camp in Adelaide awaiting citizenship. The heat, however, proved to be too much for my mother and we sailed back to Britain via the Suez Canal. I went back to the same school, with an Australian accent. My classmates thought I was an Aboriginal. In Australia I heard Elvis Presley, Bill Haley and Buddy Holly etc. My parents listened to Doris Day and Bing Crosby. Back in Glasgow, in my early teens, I started to listen to Chuck Berry, Wes Montgomery and Kenny Burrell, guitarists who have influenced me to this day. I decided to try and play the guitar. My first electric guitar, which my parents paid for, was a Hofner Verythin. I don’t play any other instruments.

What was the local music scene like? Where would you go to see bands perform and who were among some of the first groups you saw live? When did it dawn on you that music was something you wanted to pursue? Did you participate in any bands prior to Tear Gas? If so, what were they and can you tell me about your time and experience?

While still at school in Penilee I formed a band called the Bo-Weevils with Dave Batchelor and three other school mates. Our first gig was playing at the school dance – you call it Prom Night. We joined the Scottish music circuit, playing everywhere and anywhere until we had attracted a loyal fan base. Our music was mostly influenced by Stax, Tamla, Soul & Blues and the occasional West Coast sounds of The Association & The Byrds. Glasgow at this time had many clubs and dance halls, upon which the various gangs of the city would converge and attempt to kill one another. Fortunately no one died, so in the late 60’s the band morphed into Tear Gas.

How did you initially meet your bandmates Chris Glen, David Batchelor and Ted Mckenna? What were your first impressions of them? What led to the decision to start a band together? How did you guys’ land on Tear Gas and when/where was the band’s first gig? What was that experience like for you?

Tear Gas took a much more progressive route, and subsequently it was necessary to find the right musicians. Chris Glen and Ted McKenna provided a perfect rhythm section. Our first gig was the Electric Gardens in the centre of Glasgow. Most of the crowd wandered away because they couldn’t dance to the music. Ironic. Soon enough, we had attracted an even bigger following who preferred to smoke dope and sit cross-legged on the floor. Further irony. Tear Gas allowed me to express myself more fully on the guitar, trying to emulate my heroes like Jeff Beck and Ritchie Blackmore. Then I heard Frank Zappa and decided to stick to my own style of playing.

Can you tell me about the band’s process and approach to music? How did the deal with Famous come about for the band’s debut LP ‘Piggy Go Getter’? Can you walk met through writing that record as recording it? Would you mind giving a brief description and backstory of each of the songs that are featured on the record? How long did recording take from start to finish?

The Tear Gas albums came about because of our manager, Eddie Tobin. He helped build the band’s reputation further afield, even into Europe. We were offered the chance to record. I can’t recall where the first album was recorded; the second album was recorded at a studio in Wembley, London. I have little recollection of writing either album; Dave and I wrote all of the songs. No further details come to mind.

Who helped to produce/engineer the record for you guys? Did you hit the road to play shows and tour the album? If so, are there any particular performances that still stand out in your mind to this day? Can you tell me about the album cover?

Two guys both called Tony helped to produce and distribute the Tear Gas albums. The band toured all over the UK and occasionally into Germany, Netherlands and France. I don’t recall any stand-out gigs, the were all equally inspired.

What led to the decision to switch up labels for the band’s second and last record on Regal Zonophone that following year in ‘71? What was the process and particular approach you guys took this album and in what ways is it different from the band’s first record? You worked with producer Tony Chapman, who was in the original lineup of The Stones prior to the late Charlie Watts and engineer Tom Allom. What was your experience working with those guys?

Yeah, that’s the two Tony’s. No idea how Regal Zonophone became involved. The second album is much heavier and more guitar driven. We used a session keyboard player named Ronnie Leahy when required. We were still pretty raw and a little naïve but full of ideas and energy, which the two Tony’s admired. I think Tony Chapman ran off with a bunch of royalties/money – but don’t quote me on that!

Can you walk me through those songs and a little bit about their background? What are some of your favorite Tear Gas songs and why? What is your favorite of the two studio albums? What led to the band dissolving?

The songs were written by Dave and me. Favorite tracks are: Witches Come Today, Where Is My Answer, Woman for Sale and St. Anthony with Alex Harvey on vocals. The band was struggling to pay the bills. Most of us were on state benefits. We were on the point of winding it up when Alex came along.

Glenn, Mckenna and yourself joined Alex Harvey for his project in ‘72, how did this all come about? Did Ted have a relative that joined the band as well? How did this all go down in terms of The Sensational Alex Harvey Band practically absorbing Tear Gas and becoming one? What were your first impressions of Harvey and the other guys? Can you tell me about your time in that group?

Our respective managers suggested merging the two entities. We got together with Alex for a brief rehearsal and heard something that everyone liked, plus it meant keeping the band together. Ted’s cousin Hugh had recently joined Tear Gas on keyboards and vocals. Alex was cool. Very professional and obviously an experienced front man. SAHB were unique. Often a little indulgent. But essentially it worked because of the chemistry between the band members, on and off stage. Musically we never quite reached a peak – Rock Drill was hindered by ill health, a touch of ill-discipline and a sense of lethargy at this stage.

What are some of your most fondest members whilst being in that band? Are there any shows, or particular tours you guys did that stand out in your mind? Are you still in contact with any of those guys? Tell me about joining Nazareth in ‘79 and working on two of their albums ‘No Mean City’ and ‘Malice In Wonderland? What was that experience like? How did that all come about?

Highlight for many people including fans was our headline show at the Reading Festival and the infamous Xmas Special shows in Glasgow and London. Touring the states was always a gas. I’m not in contact with the members who have died; I try to avoid that kind of stuff. I don’t see Chris; we live in different parts of the country and to some extent in a different universe. I joined Nazareth to pay off my debt to their management company – that’s how it felt. The two projects were thrust at me, hoping I could provide some creativity, which I did. I enjoyed the recording and touring.  

Throughout the 90’s you participated in a band called The Party Boys. Can you tell me about that and your time with them? What led to the decision to reunite SAHB in the early 2000’s for a series of festival shows between in ‘04 and ‘08? What was it like to not only work with those guys again, but release another album?

Party Boys was an ill-conceived idea that Ted had. It never really worked. Max Maxwell auditioned as a vocalist for SAHB. I was so impressed by him that I decided to give it one more go. I got dressed up, stuck on the make up and it worked reasonably well. The resulting album is yet another version of all things SAHB. It’s ok, but I got bored repeating myself - in more ways than one - so I decided to call it a day.

2006 saw your debut in acting. Can you tell me about that? What inspired you to pursue this path? In 2008 you announced your retirement in the music industry. What led to this decision? What have you been up to in more recent years? Are you still working on music, but more on a personal level? When you reflect back on your music career, what are you most proud of? If you could give any advice to musicians starting out these days, what would it be?

I took part in a film called A Shot in The West, for which I wrote some of the music. It was a favor to a young Glasgow film director, Bob Kelly. I took a long sabbatical starting in 2008. My marriage had ended and I moved to Cyprus with my new partner. During this time, I had a complete mental breakdown. That’s when I decided to pick up the guitar again. I wrote a whole bunch of new songs and made some demos with a Glasgow keyboard player, David Cowan. I eventually formed the band Sin Dogs. We recorded an album and toured here and there. It fell apart for no good reason – a difference of musical direction is the usual mantra. Now I’m working with Billy McGonagle on creating new music for a project called Orphans of the Ash (downloads available soon). I’m also completing the final draft of a novel, which I hope to have published in the near future.

Is there anything else you would like to further share with the readers?

No!

Dakota Brown