Friday, 4 March 2022

The Sensational Alex Harvey Band

 

SAHB at the 1973 Buxton Festival

I saw the Sensational Alex Harvey Band (SAHB) at the 1973 Buxton Festival and was very impressed. I recall Harvey climbing on the stage scaffolding, and the whole band putting on a thunderous and energetic set that for me was the dominant performance of the day, even better than Chuck Berry's performance.  They were more of a theatrical live act than a studio act; however, they did make several albums (incorporating their theatrical side by including cabaret style tracks on their albums), as well as two successful singles ("Delilah" and "Boston Tea Party"); I'm going to explore their recordings and their history, as I know very little about them. 

The band released roughly an album a year from 1973 to 1978 with mostly the original members - at the end of 1976, just when the band were having some success, Alex's manager died, he had a sprained back and/or legal problems preventing him from performing, and the band had to continue without him; he re-joined in 1978 for one more album, and then left the band, recording solo albums until his death from a heart attack in Feb 1982.  The best albums were the early ones, when you can feel the excitement and interest in the band. During their time together the band released singles, mostly to little or no effect, and toured constantly. They were hard working. Energetic. Fun. Creative. But, despite minor chart hits with "Delilah" and "Boston Tea Party",  they never quite made it into the big time. 

Wikipedia: 

The Sensational Alex Harvey Band were a Scottish rock band formed in Glasgow in 1972.[1] Fronted by Alex Harvey accompanied by Zal Cleminson on guitar, bassist Chris Glen, keyboard player Hugh McKenna (1949–2019) and drummer Ted McKenna, their music was a blend of glam rock, blues rock and hard rock.[2] The band had a critically acclaimed status in the UK,[3] were very popular in continental Europe, and influential in Australia, most notably on the young Nick Cave and his first band The Boys Next Door.

AllMusic: 

The Sensational Alex Harvey Band formed in 1972 when veteran vocalist Alex Harvey (February 5, 1935, Gorbals, Glasgow, Scotland; died February 4, 1982, Zeebrugge, Belgium) teamed with struggling Glasgow group Tear Gas. Zal Cleminson (born May 4, 1949; guitar), Hugh McKenna (born November 28, 1949; keyboards), Chris Glen (born November 6, 1950, Paisley, Renfrewshire, Scotland; bass), and Ted McKenna (born March 10, 1950, Glasgow, Scotland; drums) gave the singer the uncultured power his uncompromising rasp required and were the perfect foil to the sense of drama he created. Armed with a musical and cultural heritage, Harvey embarked on a unique direction combining elements of heavy rock, R&B, and the British music hall. He created the slum-kid Vambo, celebrated pulp fiction with "Sergeant Fury," and extolled a passion for B-movie lore in "Don’t Worry About the Lights Mother, They’re Burning Big Louie Tonight." Framed, SAHB’s 1972 debut album, was accompanied by a period of frenetic live activity, while Next... reflected a consequent confidence that was especially apparent on the title track, a harrowing, atmospheric rendition of a Jacques Brel composition.

Recordings



SAHB
 
Framed (1972)

This is the debut album of SAHB, though Harvey had been recording since 1964, and the rest of the band had been in Tear Gas, most of whom had been in that band when they released two albums, so the band are comfortable and confident.  This is a lively and attractive debut. "Framed" (a Leiber & Stoller song) and "Midnight Moses" are solid tracks and live favourites. 


 


"There's No Lights...." was released as a single. It didn't chart. 


"Midnight Moses" mimed on TV.   "Midnight Moses" covered by The Dead Daises 

ReleasedDecember 1972
Recorded1972
StudioMorgan Studios, London
Genre
Length42:09
LabelVertigo, 2002 CD reissue released on Universal International
ProducerThe Sensational Alex Harvey Band

All tracks composed by Alex Harvey; except where indicated

  1. "Framed" (Jerry Leiber, Mike Stoller) – 4:57
  2. "Hammer Song" – 4:08
  3. "Midnight Moses" – 4:26
  4. "Isobel Goudie" (Part 1: My Lady of the Night, Part 2: Coitus Interruptus, Part 3: Virgin and the Hunter) – 7:30
  5. "Buff's Bar Blues" – 3:07
  6. "I Just Want to Make Love to You" (Willie Dixon) – 6:40
  7. "Hole In Her Stocking" – 4:41
  8. "There's No Lights On The Christmas Tree, Mother They're Burning Big Louie Tonight" (Jim Condron) – 3:46
  9. "St. Anthony" – 4:47


Wikipedia
AllMusic: 8 
Score: 6 

Next  (1973)

The band's most acclaimed album. Assured, cheeky, and very likeable! A good rocking album, well informed by the glam rock of the day. Great fun.  Chock full of great songs that the band continued to play live throughout their brief career. 


 


"Swampsnake" was released as a single. It didn't chart. 



"Giddy Up A Ding Dong" was released as a single. It didn't chart. 




"Faith Healer" was released as a single. It didn't chart.  




"Next" was released as a single. It didn't chart. 

ReleasedNovember 1973
Recorded1973
StudioAudio International, London; Apple Studios, London
Genre
Length35:54
LabelVertigo, 2002 CD reissue released on Universal International
ProducerThe Sensational Alex Harvey Band, Phil Wainman


All tracks are written by Alex Harvey and Hugh McKenna, except where noted.

Side one
No.TitleLength
1."Swampsnake"4:54
2."Gang Bang"4:42
3."The Faith Healer"7:21
Side two
No.TitleWriter(s)Length
1."Giddy Up a Ding Dong"Freddie Bell, Joey Lattanzi3:14
2."Next"Jacques Brel, Mort Shuman, Eric Blau4:02
3."Vambo Marble Eye"Alex Harvey, Hugh McKenna, Zal Cleminson, Chris Glen, Ted McKenna4:25
4."The Last of the Teenage Idols"Harvey, H. McKenna, Cleminson7:15


Wikipedia
AllMusic: 8 
Score: 7 1/2 


 

 "Jungle Jenny" (1973) was a non-album single. It didn't chart. It was included on the odds and sods album The Penthouse Tapes in 1975. 


  
The Impossible Dream (1974) 

Quite theatrical with elements of cabaret. More interesting and ambitious, though less rocky than the previous albums.  I like the quirky and poppy nature of the album. 




"Anthem" was released as a single. It reached 47 in the Australian chart.  

 

"Sergeant Fury" was released as a single. It didn't chart. 


ReleasedOctober 1974
Recorded1974
StudioApple Studios, London
GenreHard rock
Length43:09
LabelVertigo, 2002 CD reissue released on Mercury
ProducerThe Sensational Alex Harvey Band, David Batchelor
"Sergeant Fury" by Derek Wadsworth

All tracks composed by Alex Harvey and Hugh McKenna; except where indicated.

Side one
No.TitleWriter(s)Length
1."Hot City Symphony Part 1: Vambo" 5:02
2."Hot City Symphony Part 2: Man in the Jar"Harvey, McKenna, Alistair Cleminson8:11
3."River of Love" 3:15
4."Long Hair Music" 4:43
5."Hey"Harvey, Cleminson, McKenna0:40
Side two
No.TitleWriter(s)Length
1."Sergeant Fury"Harvey, McKenna, David Batchelor3:31
2."Weights Made of Lead"Harvey2:41
3."Money Honey / The Impossible Dream"Jesse Stone / Mitch Leigh, Joe Darion2:11
4."Tomahawk Kid"Harvey, McKenna, Batchelor4:30
5."Anthem" 7:42



Wikipedia
AllMusic: 8 
Score: 6 

Tomorrow Belongs To Me (April 1975)

This has the feel of Mott The Hoople. There's a lot going on here, and Alex and co are clearly trying to do impressive stuff, but a lot of the immediacy, fun, swagger, and brilliance of the first albums is missing. The two most considered and interesting tracks are "The Tale of the Giant Stoneater" and "Give My Compliments to the Chef". 


ReleasedApril 1975
Recorded1975
StudioScorpio Studios, London
GenreHard rock
Length37:15
LabelVertigo
ProducerDavid Batchelor

  1. "Action Strasse" (Alex Harvey, Alistair Cleminson, Hugh McKenna) – 3:12
  2. "Snake Bite" (Harvey) – 3:55
  3. "Soul in Chains" (David Batchelor, Cleminson, Harvey, H. McKenna) – 3:55
  4. "The Tale of the Giant Stoneater" (Harvey, H. McKenna) – 7:20
  5. "Ribs and Balls" (Chris Glen, Harvey) – 1:51
  6. "Give My Compliments to the Chef" (Harvey, Cleminson, H. McKenna) – 5:32
  7. "Shark's Teeth" (Harvey, Cleminson) – 5:54
  8. "Shake That Thing" (Harvey) – 3:30
  9. "Tomorrow Belongs to Me" (Fred Ebb, John Kander) – 4:14
  10. "To Be Continued...(Hail Vibrania!)" (Harvey, Cleminson) – 0:50


Wikipedia 
AllMusic: 5 
Score: 4 1/2 

 


"Delilah". Non album single. Reached 7 in the charts in August 1975. 



Live (Sept 1975)

A solid live album capturing the band at their best - live, and in front of an audience. This is a decent summary of their strength when live, and a good example of a rock band in the 1970s. The atmosphere, sound, and feel is so earthy and authentic. 


ReleasedSeptember 1975
RecordedMay 24th 1975
VenueHammersmith Odeon, London
GenreHard rock
Length46:15
LabelVertigo (UK & Europe) and Atlantic (USA)
ProducerThe Sensational Alex Harvey Band, David Batchelor

  1. "Fanfare (Justly, Skillfully, Magnanimously)" (Derek Wadsworth) – 1:24
  2. "Faith Healer" (Alex Harvey, Hugh McKenna) – 6:50
  3. "Tomahawk Kid" (Harvey, David Batchelor, H. McKenna) – 5:50
  4. "Vambo" (Harvey, H. McKenna) – 9:25
  5. "Give My Compliments To The Chef" (Harvey, H. McKenna, Zal Cleminson) – 7:05
  6. "Delilah" (Les Reed, Barry Mason) – 5:17
  7. "Framed" (Jerry Leiber, Mike Stoller) – 11:04


Wikipedia
AllMusic: 6 
Score: 8

 


"Gambling Bar Room Blues". Non album single.  Reached 38 in the charts in Nov 1975. 



The Penthouse Tapes (March 1976)

Mostly covers. Mostly glam rock. Moderately entertaining, but below the standard of the previous SAHB albums, especially the Live album. 

 

"Runaway" was released as a single. It didn't chart. 


 

"Cheek to Cheek" was released as a single. It didn't chart. 



ReleasedMarch 1976
Recorded1975
StudioBasing Street Studios, London
GenreRock
Length38:42
LabelVertigo
ProducerThe Sensational Alex Harvey Band, David Batchelor

Side One
  1. "I Wanna Have You Back" (Alex Harvey, Zal Cleminson) – 2:42
  2. "Jungle Jenny" (David Batchelor, SAHB) – 4:07
  3. "Runaway" (Del Shannon, Max Crook) – 2:46
  4. "Love Story" (Ian Anderson) – 5:10
  5. "School's Out" (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) – 5:02

Side Two
  1. "Goodnight Irene" (Lead Belly) – 4:30
  2. "Say You're Mine (Every Cowboy Song)" (Harvey) – 3:23
  3. "Gamblin' Bar Room Blues" (Jimmie Rodgers, Shelly Lee Alley) – 4:09
  4. "Crazy Horses" (Alan Osmond, Wayne Osmond, Merrill Osmond) – 2:54
  5. "Cheek To Cheek" (Irving Berlin) – 3:52 (recorded live at the New Victoria Theatre, London, Christmas 1975)



Wikipedia 
AllMusic: 5 
Score: 4 


  
SAHB Stories (July 1976)

This contains the band's second hit, "Boston Tea Party". It's a fairly simple boogie and rock album, with little of the glam, prog, and cabaret elements that gave the band interest. And, while the album rocks along in a steady fashion, it lacks a lot of the confidence, fun, and energy of the early albums.  However, "Boston Tea Party" is a bloody good song, and that alone is worth the price of entry. 

 


"Amos Moses" was released as a single. It didn't chart. 


 

"Boston Tea Party" was released as a single. It reached 13 in June 1976. 


ReleasedJuly 1976
Recorded1976
StudioBasing Street Studios, mixed at AIR Studios, London
GenreRock
Length37:15
LabelMountain (UK), Vertigo (Europe)
ProducerThe Sensational Alex Harvey Band, David Batchelor

  1. "Dance To Your Daddy" (David Batchelor, SAHB) – 5:43
  2. "Amos Moses" (Jerry Reed) – 5:20
  3. "Jungle Rub Out" (Batchelor, SAHB) – 4:25
  4. "Sirocco" (Hugh McKenna) – 6:50
  5. "Boston Tea Party" (Alex Harvey, Hugh McKenna) – 4:36
  6. "Sultan's Choice" (Harvey, Zal Cleminson) – 4:06
  7. "$25 for a Massage" (Harvey, Chris Glen, Cleminson) – 3:22
  8. "Dogs of War" (Harvey, Hugh McKenna, Cleminson) – 6:10


Wikipedia 
AllMusic: 7 (high score, but review is negative: "the album's failure to ever get out of second gear" )
Score: 4 


 
Fourplay (Feb 1977)
SAHB (without Alex)

Despite the relative success of "Boston Tea Party", with the band appearing on TOTP, Alex had health problems, including a sprained back, and left the band. His contributions to song writing had diminished over the years. The band carried on without him - as there were just four of them left, the album is called Fourplay.  This is now, essentially, a reincarnation of the Tear Gas band that Alex picked up in 1972. It's smooth, funky, jazzy, and competent with touches of soul. Quite professional and listenable, but also lacking in character and easily forgotten. To be fair, it's no worse than the previous two albums. In some ways it's more professional and musical, but does have less character, despite McKenna's smooth blue-eyed soul voice. 

 

"Pick It Up And Kick It" was released as a single. It didn't chart. 

ReleasedFebruary 1977
Recorded1977
StudioBasing Street Studios, Air Studios, London
GenreRock
Length36:12
LabelMountain
ProducerThe Sensational Alex Harvey Band (without Alex), John Punter

  1. "Smouldering" (Hugh McKenna, Chris Glen) – 5:30
  2. "Chase It into The Night" (H. McKenna, Zal Cleminson) – 5:28
  3. "Shake Your Way to Heaven" (Cleminson) – 5:09
  4. "Outer Boogie" (Ted McKenna, H. McKenna, Glen, Cleminson) – 5:00
  5. "Big Boy" (Cleminson) – 4:54
  6. "Pick It Up and Kick It" (H. McKenna, Cleminson) – 4:25
  7. "Love You For a Life Time" (H. McKenna) – 5:09
  8. "Too Much American Pie" (T. McKenna, H. McKenna, Glen, Cleminson) – 6:16




Score: 4 

 
Rock Drill (1978)

Alex comes back, and the band gets a little more interesting again, but not quite enough to hold the interest for long.  I wouldn't say that Alex and the band are trying too hard, but more that they haven't found the right groove and feel. This has the typical tired feel of a band past its prime who keep on with the same old sound, investing it with a more contemporary feel to try to attract new listeners, but who have lost the spark that made them appealing in the first place. 

Review UDiscoverMusic;  

 

"Mrs Blackhouse" was released as a single. It didn't chart. 

Released1977
Recorded1977
StudioRidge Farm, Dorking, with the Maison Rouge Mobile and Basing Street Studios, London
GenreHard rock, glam rock
Length37:13
LabelMountain, 2002 CD reissue released on Mercury
ProducerThe Sensational Alex Harvey Band


  1. The Rock Drill Suite 
    (i) "Rock Drill" (Alex Harvey, Tommy Eyre) – 6:22 
    (ii) "The Dolphins" (Harvey, Alistair "Zal" Cleminson, Chris Glen, Hugh McKenna) – 6:10
    (iii) "Rock 'n' Rool" (Harvey, Cleminson, Hugh McKenna) – 3:40
    (iv) "King Kong" (Max Steiner) – 3:15
  2. "Booids" (Traditional; arranged by Harvey, Cleminson, Glen, Edward McKenna, Eyre) – 1:38
  3. "Who Murdered Sex?" (Harvey, Cleminson, Eyre) – 5:16
  4. "Nightmare City" (Harvey) – 3:48
  5. "Water Beastie" (Harvey, Glen, Hugh McKenna) – 4:50
  6. "Mrs. Blackhouse" (Harvey) – 3:34
  7. "No Complaints Department" (Harvey, Jimmie Grimes; pre-release issue) – 5:03


Score: 4 


 
Zalvation (2006)

 A live album of a reunion of the original band members, with Max Maxwell replacing the now deceased Alex.  It's not very good and can be avoided. 



Released2006
RecordedOn the UK tour in 2005
GenreRock
Length92:32
LabelJerkin Crocus Records
ProducerThe Sensational Alex Harvey Band

Disc 1

  1. "Faith Healer" (Alex Harvey, Hugh McKenna) – 7:35
  2. "Midnight Moses" (Phil O'Donnell) – 5:04
  3. "Swampsnake" (Harvey, McKenna) – 5:46
  4. "Next" (Jacques Brel, Mort Shuman, Eric Blau) – 4:54
  5. "Isobel Goudie" (Harvey) – 7:50
  6. "Framed" (Jerry Leiber, Mike Stoller) – 8:58

Disc 2

  1. "Give My Compliments To The Chef" (Harvey, McKenna, Zal Cleminson) – 8:03
  2. "Man In The Jar" (Harvey, Cleminson, Chris Glen, David Batchelor, McKenna) – 10:14
  3. "Hammer Song" (Harvey) – 7:04
  4. "Action Strasse" (Harvey, McKenna, Cleminson) – 5:43
  5. "Vambo" (Harvey, McKenna, Cleminson) – 8:36
  6. "Boston Tea Party" (Harvey, McKenna) – 6:31
  7. "Delilah" (Barry Mason, Les Reed) – 6:14



AllMusic: 
Score: 3 


Alex Harvey solo albums


Alex Harvey playlist on Spotify mostly Alex Harvey And His Soul Band, including "Shout"

Tear Gas


 
Piggy Go Getter (1970) 



Side One: 
Lost Awakening (Batch/Clem)
Your Woman's Gone and Left You (Batch/Clem)
Night Girl (Glen/Batch/Clem)
Nothing Can Change Your Mind (Batch/Clem)
Living For Today (Batch/Clem)
Side Two: 
Big House (Batch/Clem)
Mirrors of Sorrow (Glen/Batch/Clem)
Look What Else is Happening (Glen/Batch/Clem)
I'm Fallin Far Behind ( Batch/Clem/Munro)
Witches Come Today (Batch/Clem).


Chris Glen: Bass
Wullie Munro: Drums
Zal Cleminson: Guitar
Eddie Campbell: Keyboards
David Batchelor: Lead Vocals


 
Tear Gas (1971) 

 

That's What's Real 5:55
Love Story 6:56
Lay It On Me 3:40
Woman For Sale 4:19
I'm Glad 5:45
Where Is My Answer 5:51
Jailhouse Rock 5:43
All Shook Up 5:43
The First Time 4:47


Chris Glen: Bass
Eddie McKenna: Drums
Davey Batchelor: Guitar
Zal Cleminson: Lead Guitar
Davey Batchelor: Vocals 


Discography

YearTitleUK
[9]		AUS
[10]		SWE
[11]
1972Framed———
1973Next...37——
1974The Impossible Dream1678—
1975Tomorrow Belongs to Me9——
1976The Penthouse Tapes14—35
1976SAHB Stories119833
1977Fourplay (without Alex Harvey)———
1978Rock Drill———


Live performances

The Marquee 1972 (John Peel Show): "Framed", "Burning Big Louie", "St Anthony". No make-up 

Performances on Old Grey Whistle Test:
"Give My Compliments To The Chef"; "Delilah"; "Next" ; "Faith Healer" Dec 1973 

In Concert (1974): Live At Rainbow Theatre
1. Vambo 01:34; 2. Sergeant Fury 07:17; 3. Framed 11:03; 4. Dance To The Music 17:26

Don Kischner Live: "Delilah", "Vambo", "Man In The Jar"  1974 

Ragnarock Festival 1974 

"Boston Tea Party" TOTP 1976 

"Runaway" on Supersonic 1976. Alex singing, band miming

"Framed" live.

"Midnight Moses" live at a festival 



Summary

Voice/Musicianship (15)
Workmanlike and attractive. [9]

Image/Star quality (5)
Remained minor - brief appearances on TOTP, OGWT, and other TV shows. [2]

Lyrics/Music (20)
Decent enough. [10] 

Impact/Influence (10) 
Had an impact on Nick Cave (who's he, some may ask - see Nick Cave), but little else. [5] 

Popularity (5)
Didn't quite make it. [2] 

Emotional appeal (5)
Entertainment rather than engagement. [2] 

Authenticity (15) 
Always kinda felt like a band who had devised their image and worked hard to get success, falling slightly short, rather than a band who were committed to what they were doing. [7]

Art (5)
Yes, there are art elements in what they did. [3] 

Classic albums/songs (5)
Nothing really classic, though "Delilah" and "Boston Tea Party" are worthy mentions. [2] 

Originality/Innovation (5) 
They kind of took what was happening (glam and theatre), but then didn't really develop it. [2] 

Legacy (10)
Sadly they are almost ignored. [2] 

Total:  46/100


All in all an attractive and moderately interesting mid Seventies rock band who incorporated elements that were popular in the mid-Seventies: blues rock, prog rock, glam rock, theatrical rock, pop rock, etc. There's elements of  other mid-Seventies popular rock bands such as Spiders From Mars, Mott The Hoople, Slade, etc.  But they didn't quite stand out at the time and remained minor. Reviewing them now, and they are interestingly representative of minor but decent mid-Seventies pop rock bands, and their albums, particularly the early ones, are very listenable. The band were more than capable. And Alex was an engaging front man. But somehow their image and/or their sound didn't (and still doesn't) quite grab and hold either mass or critical interest. They are workmanlike and decent, especially live, but not great. 


80 minute compilation CD

Fanfare
The Faith Healer 
Vambo 
Tomahawk Kid 
The Last of the Teenage Idols 
Sergeant Fury 
Swampsnake 
There's no Lights on the Christmas Tree Mother 
Give My Compliments to the Chef 
Gang Bang 
Framed 
Midnight Moses 
Next 
Delilah 
Boston Tea Party
Tomorrow Belongs To Me
 

Links

* Classic Rock - Top 10 SAHB tracks
* Rocking Scots: Tear Gas
* BestEverAlbums
* RateYourMusic
* Discogs
* Documentary Part 1
* Documentary Part 2
* SetLists
* SAHB Experience - tribute act (FaceBook)
* SAHBRock (a low key annual concert in Glasgow to remember Alex Harvey)
* 1982 interview with Alex 

* Classic Rock - Alex Harvey, the last years 
* Glasgow Live article 


***






Compare van halen with the Alex Harvey Band



Great comparison—Van Halen vs. The Sensational Alex Harvey Band (SAHB) actually makes a lot of sense once you look past era and popularity. They sit in different scenes, but they share some important DNA.
1. Core identity
Van Halen


California hard rock (late ’70s → ’80s)


Built around guitar innovation (Eddie Van Halen)


Party-oriented, flashy, athletic, high-energy


Tight, explosive, and technically precise
Alex Harvey Band (SAHB)


Scottish hard rock / proto-punk / glam-influenced (early–mid ’70s)


Built around the frontman (Alex Harvey as performer/storyteller)


Theatrical, gritty, confrontational, surreal


Loose, dangerous, cabaret-meets-hard-rock feel

Big picture:
Van Halen = instrumental virtuosity + fun
SAHB = character, attitude, and menace
2. Musical style & heaviness
Guitars


Eddie Van Halen


Hyper-fluid, fast, joyful, technically revolutionary


Blues roots filtered through modern gain and effects


Zal Cleminson (SAHB)


Slashing, angular, aggressive, sometimes ugly on purpose


More punk-like and chaotic than bluesy

Comparison:
Eddie dazzles; Zal attacks.
Rhythm & groove


Van Halen


Deep groove and swing (often underestimated)


Tight, polished, rhythmically playful


SAHB


Stomping, sometimes lurching rhythms


Raw, street-level energy

Comparison:
Van Halen groove dances; SAHB groove menaces.
3. Vocals & frontmen
David Lee Roth


Showman, comic, acrobat


Influenced by vaudeville, swing, Vegas flash


Sex, humor, bravado
Alex Harvey


One of rock’s great theatrical anti-heroes


Snarling, sneering, often disturbing


Social satire, crime, madness, absurdity

Comparison:
DLR is a party ringmaster
Alex Harvey is a dangerous storyteller
4. Lyrics & themes

Van HalenAlex Harvey BandSex, fun, cars, confidence Outsiders, crime, madness, satire
Escapism Confrontation
Optimism Cynicism / dark humor


Van Halen wants you to escape.
SAHB wants you to stare something ugly in the face.
5. Stage presence & image
Van Halen


Spandex, smiles, athletic energy


California sunshine aesthetic


Crowd-pleasing spectacle
SAHB


Face paint, striped jumpsuit, grotesque theatrics


Pre-punk menace and glam weirdness


Intentionally unsettling

Key link:
Both valued performance as much as music—but for opposite emotional effects.
6. Influence & legacy
Van Halen influenced


’80s hard rock


Glam metal


Shred guitar


Arena rock showmanship
SAHB influenced


Punk attitude (Johnny Rotten, others)


Post-punk theatricality


UK hard rock’s darker edge


Bands that valued persona over polish

Crucial difference:
Van Halen created a mainstream template.
SAHB created an underground mindset.
7. Where they actually overlap

Despite sounding different, they share:


Love of rock as theater


Strong frontman identity


Rejection of “serious” rock pretension


Humor (Van Halen = playful; SAHB = sardonic)

You could argue SAHB represent the dark, European cousin of Van Halen’s theatrical instinct.
Final takeaway


Van Halen: Virtuosic, joyful, groove-driven American hard rock


Alex Harvey Band: Theatrical, gritty, confrontational UK hard rock


Common ground: Performance-first rock with personality


Key divide: Fun vs menace; polish vs danger

If you want, I can also:


Compare David Lee Roth directly to Alex Harvey as frontmen


Compare Eddie Van Halen to Zal Cleminson in detail


Or place SAHB in the lineage between glam, proto-punk, and metal

Place SAHB in line with AC/DC and Van Halen and Motley Crue and New York Dolls and Aerosmith



This is a lineage / positioning question rather than a genre-label one, so the cleanest way to answer is to place SAHB (The Sensational Alex Harvey Band) on a rock-’n’-roll attitude spectrum that runs from raw, street-level danger to polished, arena-sized spectacle.

Below is a conceptual family tree, not a claim of direct influence in every case.
1. The core rock-’n’-roll line (1970s → 1980s)
New York Dolls (early ’70s)

Street glam / proto-punk


Trashy, decadent, confrontational


Gender-bending, sloppy, dangerous


Rock as attitude and provocation

👉 Rock as rebellion
Sensational Alex Harvey Band (early–mid ’70s)

Theatrical hard rock / outsider glam


Dark humor, menace, satire


Storytelling and character


Performance art meets hard rock

👉 Rock as theater + threat

Connection to Dolls:
Both embrace outsiders, sleaze, and irony, but SAHB are more structured and musically heavier.
AC/DC (mid–late ’70s)

No-nonsense hard rock


Blues-based riffs


Sexual bravado, simplicity, power


Zero irony, zero glam pretense

👉 Rock as physical force

Connection to SAHB:
AC/DC strip away the theater and keep the danger and grit.
Aerosmith (’70s → ’80s)

American sleaze hard rock


Blues roots + swagger


Sex, excess, charisma


Between grit and polish

👉 Rock as swagger

Connection to SAHB:
Aerosmith share the sleaze, but replace menace with sex appeal.
Van Halen (late ’70s → early ’80s)

Virtuosic party hard rock


Groove, flash, joy


Guitar hero as entertainer


Athletic, California energy

👉 Rock as celebration

Connection to SAHB:
Both are performance-driven, but emotionally opposite:


SAHB = unsettling


Van Halen = exuberant
Mötley Crüe (early–mid ’80s)

Glam metal excess


Sleaze + spectacle


Shock value and decadence


Heavily image-driven

👉 Rock as transgression + spectacle

Connection to SAHB:
Crüe inherit the shock instinct but lose the satire and intelligence.
2. Visualizing the spectrum

Raw / dangerous → polished / spectacular

New York Dolls
→ SAHB
→ AC/DC
→ Aerosmith
→ Van Halen
→ Mötley Crüe

SAHB sit between the Dolls and AC/DC, closer to the danger and theatricality end than the arena-polish end.
3. Key dimensions compared

BandAttitudeMusicPerformanceNew York Dolls Chaotic, decadent Loose glam rock Provocative
SAHB Menacing, satirical Heavy theatrical rock Confrontational
AC/DC Aggressive, blunt Pure riff rock Physical
Aerosmith Sleazy, cool Blues hard rock Charismatic
Van Halen Joyful, flashy Groove-based hard rock Athletic
Mötley Crüe Excessive, shocking Glam metal Spectacle

4. The key insight

SAHB are the missing link between:


Proto-punk/glam danger (New York Dolls)


and hard rock heaviness (AC/DC, Aerosmith)

But unlike Van Halen or Mötley Crüe, they never softened their edge for mass appeal.

They represent:


Rock before it chose between danger and fun.
Bottom line


SAHB = theatrical menace with hard rock muscle


AC/DC & Aerosmith = grit distilled into riffs and swagger


Van Halen = virtuosity + joy


Mötley Crüe = spectacle + excess


New York Dolls = raw provocation

If you want next, I can:


Draw the same lineage focusing only on stage persona


Or map this group onto punk vs metal vs hard rock trajectories


Or show which modern bands still carry SAHB’s DNA

show which modern bands still carry SAHB’s DNA



Here’s a clear map of modern bands that still carry the DNA of the Sensational Alex Harvey Band (SAHB)—not sonically identical, but aligned in theatrical menace, outsider stance, dark humor, and confrontational performance.
1. Nick Cave & the Bad Seeds

SAHB’s spiritual heir



Shared DNA


Storytelling frontman first, band second


Morbid humor, violence, religion, satire


Commanding, preacher-like stage presence

Difference


More literary and restrained musically


Less rock ’n’ roll flash, more gothic intensity

👉 If Alex Harvey had gone darker and art-rock instead of hard rock
2. The Pogues

SAHB’s ragged street-theater side



Shared DNA


Drunken outsiders and anti-heroes


Chaos as authenticity


Folk + rock + menace

Difference


Punk/folk instead of hard rock


Less visual theatrics, more emotional rawness

👉 SAHB’s pub-fight energy translated into punk folk
3. Arctic Monkeys (early era → Tranquillity Base)

SAHB’s character-driven storytelling



Shared DNA


Songs built around characters and scenes


British sarcasm and social observation


Frontman as narrator, not just singer

Difference


Cooler, more detached


Less menace, more irony

👉 SAHB’s storytelling instinct without the danger
4. IDLES

SAHB’s confrontational spirit reborn



Shared DNA


Aggressive delivery with intelligence


Moral outrage + dark humor


Audience confrontation

Difference


Post-punk minimalism


Political rage replaces theatrical satire

👉 SAHB’s “in your face” ethic updated for modern punk
5. Queens of the Stone Age

SAHB’s menace filtered through groove



Shared DNA


Sleazy, unsettling groove


Cool-but-dangerous atmosphere


Dark humor beneath the riffs

Difference


Minimalist, hypnotic approach


Less overt theatricality

👉 SAHB if they stripped the makeup and leaned into menace
6. The Darkness

SAHB’s theatricality turned absurd



Shared DNA


Camp, exaggeration, performance-as-art


Knowing humor about rock excess


Frontman larger than life

Difference


Comedic instead of threatening


Glam-metal parody replaces danger

👉 SAHB’s theater without the teeth
7. Ghost

SAHB’s dark satire in metal form



Shared DNA


Costumes, characters, ritual


Satire masquerading as shock


Frontman as persona

Difference


Polished modern metal sound


Controlled spectacle vs chaotic confrontation

👉 SAHB’s theatrical menace systematized
The through-line (this is the key)

Bands carrying SAHB’s DNA usually share at least three of these:


Frontman as character or narrator


Rock as theater, not just sound


Menace + humor together (not one without the other)


Comfort with making the audience uneasy
One-line summary


SAHB’s legacy didn’t survive in metal technique or radio rock — it survived in bands that treat rock as dangerous theater.

If you want, I can:


Rank these bands by how close they are to SAHB


Show which ’90s bands briefly carried the torch


Or explain why SAHB’s DNA skipped the glam era and resurfaced later

Please do all of that



Perfect — here’s the full picture, broken into three clean parts, exactly as requested.
1. Ranking modern bands by closeness to SAHB’s DNA

This ranking is about spirit, not sound: theatrical danger, frontman-as-character, menace + humor, confrontation.
Tier 1 — True heirs (closest in spirit)
Nick Cave & the Bad Seeds




Frontman as preacher / narrator / threat


Songs as grim short stories


Audience engagement that feels charged, not friendly

👉 Closest overall descendant
IDLES




Confrontational, moral, abrasive


Dark humour mixed with intensity


Anti-rock-star posture that paradoxically dominates the room

👉 SAHB’s menace without the costumes
Tier 2 — Strong carriers of specific SAHB traits
Queens of the Stone Age




Sleaze, danger, and irony


Cool that feels slightly hostile


Groove as something unsettling

👉 SAHB stripped of overt theater
The Pogues




Outsider narratives


Chaos as authenticity


Frontman as tragic, confrontational figure

👉 SAHB’s pub-brawl storytelling instinct
Tier 3 — Theatrical descendants (but safer or stylized)
Ghost




Persona-driven performance


Satire + ritual


Shock aesthetic with humor

👉 SAHB’s theater formalized and polished
The Darkness




Camp and exaggeration


Rock as knowingly absurd performance

👉 SAHB’s humor without the menace
Arctic Monkeys (character-driven eras)


Scene-setting lyrics


Narrator-as-character

👉 SAHB’s storytelling instinct minus confrontation
2. ’90s bands that briefly carried the torch

The ’90s are where SAHB’s DNA re-emerged, but often briefly or partially.
Nick Cave & the Bad Seeds

(Yes, again — the most important bridge band)
They are the direct conduit from ’70s theatrical menace to modern alternative rock.
Manic Street Preachers (early era)


Provocation as art


Intellectual aggression


Performance as statement

👉 SAHB filtered through post-punk politics
Faith No More


Frontman as unstable character


Genre-shifting unpredictability


Performance-first mentality

👉 SAHB’s chaos translated into alternative metal
The Jesus Lizard


Hostile stage presence


Anti-charisma charisma


Audience discomfort as goal

👉 SAHB’s confrontation stripped of glam
Marilyn Manson (early period)


Shock-as-satire


Persona-driven performances

👉 Borrowed SAHB’s surface theatrics, not its wit or humanity
3. Why SAHB’s DNA skipped glam metal and resurfaced later

This is the key historical insight.
Glam metal chose spectacle without danger

Bands like Mötley Crüe, Poison, Warrant inherited:


Shock


Image


Sleaze

But they removed:


Satire


Menace


Intellectual confrontation

SAHB made audiences uneasy.
Glam metal wanted audiences to buy in.
Van Halen changed the rules

Van Halen reframed rock as:


Fun


Athletic


Joyful


Technically dazzling

This pushed theatrical rock toward celebration, not confrontation.

SAHB didn’t fit that world.
The ’80s punished ambiguity

SAHB thrived on:


Irony


Mixed emotions


Characters you don’t fully trust

The ’80s rewarded:


Clear heroes


Clear vibes


Clear markets

So SAHB’s DNA went underground, not extinct.
It resurfaced when rock rejected polish again

When scenes valued:


Authenticity over success


Unease over pleasure


Persona over product

SAHB’s spirit came back — in punk, post-punk, alternative, and dark rock.
Final synthesis (the big picture)


SAHB were too dangerous for glam, too theatrical for punk, too strange for metal


Their legacy survived in attitude, not genre


Whenever rock becomes theater + threat, SAHB’s DNA is present


SAHB didn’t lose history — history just wasn’t ready for them yet.


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