David "Clem" Clempson (born 5 September 1949) is an English rock and blues guitarist renowned for his contributions to progressive rock and hard rock through seminal bands such as Colosseum and Humble Pie.[1]Born David Clempson in Tamworth, Staffordshire, Clempson developed an early interest in music, beginning with a toy piano at age four before switching to guitar after being inspired by films like Rock Around the Clock and guitarists such as Hank Marvin of The Shadows.[1] His professional career started in the 1960s with local groups like The Vipers, leading to his breakthrough with the blues-rock trio Bakerloo, which signed with EMI's Harvest label and released a debut album produced by Gus Dudgeon.[1]In 1969, Clempson joined the jazz-rock fusion band Colosseum, where he contributed to influential albums such as Daughter of Time (1970) and the live recording Colosseum Live (1971), performing at major events including the 1970 Bath Festival and touring extensively across Europe.[1] The band reunited in 1994 for further recordings and performances. Following Colosseum's initial disbandment, he became a key member of Humble Pie in 1971, co-writing and performing on their gold-certified album Smokin' (1972) alongside guests like Stephen Stills, and supporting global tours that solidified the band's reputation in the hard rock scene.[1])Throughout his career, Clempson has also fronted projects like Rough Diamond and Champion in the 1970s, releasing albums that blended rock with soul influences amid the rising punk era, and later formed the Clem Clempson Band in 2013, debuting with the album In the Public Interest.[1] Beyond band work, he has earned acclaim as a session musician, collaborating with legends including B.B. King, Paul McCartney, and Bob Dylan, while composing music for television and film, such as contributions to The Simpsons.[1] His versatile style, drawing from blues, jazz, and rock, has influenced generations of guitarists, with ongoing activity including Colosseum's 2024 album XI and 2025 European tour highlighting his enduring presence in the music industry as of 2025.[2][3]
Early life
Upbringing in Tamworth
David Clempson, known professionally as Clem Clempson, was born on 5 September 1949 in Tamworth, Staffordshire, England.[1] Raised in this working-class town in the post-war era, he experienced a typical Midlands childhood shaped by community and local traditions.[4]Clempson's family frequently visited local working men's clubs on Sunday evenings, immersing him in the social fabric of Tamworth's industrial community during the 1950s.[4] These outings highlighted the modest, community-oriented lifestyle of the era, where such venues served as central hubs for working families. His mother referred to him as David, while the nickname "Clem"—adopted from his youth when he started school in the 1950s—became his preferred name among peers and later in life.[5]As a child, Clempson developed a strong passion for football, aspiring to play professionally for West Bromwich Albion as a number 8.[1] This hobby dominated his early interests, reflecting the sport's prominence in English working-class culture. Music emerged as a secondary pursuit alongside his athletic ambitions during this formative period.[1]
Musical beginnings and influences
Clem Clempson's musical journey began at the age of four when he received a toy piano as a gift, on which he quickly demonstrated a natural aptitude by playing popular tunes entirely by ear.[1] This early exposure led to formal classical piano lessons with local teacher Kitty King, where he practiced daily despite a stronger initial passion for football.[1] His piano training, which continued until around age fourteen, laid a foundational understanding of scales, chords, and music theory that would profoundly shape his later guitar work.[6]A pivotal moment came in the late 1950s when Clempson, still a child in Tamworth, saw the 1956 film Rock Around the Clock, which ignited his fascination with rock 'n' roll and the electric guitar through Bill Haley's energetic performances and the Comets' groundbreaking sound.[1][7] This cinematic introduction shifted his focus from piano to aspiring guitarists, particularly those embodying the emerging rock idiom.[6]By his early teens, Clempson's interest had turned decisively to the guitar, inspired by the clean, melodic style of The Shadows and their lead guitarist Hank Marvin, whose Fender Stratocaster tone and instrumental hits like "Apache" captivated him during the British instrumental rock boom.[1][7] In 1963, at age fourteen, he purchased his first guitar—a inexpensive acoustic model for £5, to which he added a £2 pickup to mimic electric sounds—marking the start of his hands-on exploration of the instrument.[1]Clempson's developing taste soon incorporated blues elements, drawn from Eric Clapton's seminal work with John Mayall's Bluesbreakers in 1966, whose raw, emotive solos on albums like Blues Breakers with Eric Clapton exemplified guitar expressionism.[1][7] He was equally influenced by Jimi Hendrix's revolutionary psychedelic blues innovations and the foundational Chicago blues of Muddy Waters, whose gritty rhythms and Delta roots provided a deeper emotional and technical blueprint for his playing.[1][7] These artists collectively guided Clempson toward a versatile style blending rock energy with blues authenticity.[6]
Career
Early bands (1960s)
Clem Clempson formed his first band, The Vipers, in 1963 at the age of 15 while attending school in Tamworth, Staffordshire, England. Comprising school friends, the group initially focused on performing covers of contemporary rock 'n' roll and instrumental hits, drawing inspiration from acts like The Shadows, on electric guitars. They quickly gained traction playing gigs at local working men's clubs and circuits in the Midlands, honing Clempson's skills as the lead guitarist in a demanding live environment.[1][4]As the British blues revival gained momentum in the mid-1960s, The Vipers evolved their repertoire from skiffle-influenced rock 'n' roll chart hits to more blues-oriented material, motivated by Clempson's admiration for guitarists like Eric Clapton and Jimi Hendrix. This shift reflected the broader scene's transition, with the band incorporating extended improvisations and rawer tones during their club performances. The experience solidified Clempson's foundational playing style, emphasizing live energy over polished recordings, though the group remained a regional act without formal releases.[1][4]In the late 1960s, Clempson co-formed Bakerloo (initially known as The Bakerloo Blues Line), a blues-rock power trio in Staffordshire, with bassist Terry Poole, and after an extensive search, drummer Keith Baker completed the lineup. The band relocated to London, securing a residency at the Marquee Club and exposure on John Peel's BBC Radio 1 "Top Gear" show in October 1968, which highlighted their heavy, improvisational sound. They also supported emerging acts like Led Zeppelin on the latter's first UK tour date, building Clempson's reputation in the progressive blues circuit.[1][4]Bakerloo signed with Harvest Records, EMI's progressive imprint, and recorded their self-titled debut album in early 1969 at Trident Studios in London, produced by Gus Dudgeon. Released in August 1969, the LP captured their live intensity with tracks like the epic instrumental "Train Plane Armour," a 10-minute showcase of Clempson's fiery Gibson Les Paul guitar work through a Laney amplifier stack, marking a breakthrough in the UK's progressive blues scene as one of the label's earliest underground releases. The album's blend of blues covers and originals, including "This Worried Life" and "Dr. Robert," demonstrated the trio's raw power and helped establish Bakerloo as a cult favorite among blues-rock enthusiasts.[1][4][8]
Colosseum (1969–1971)
In 1969, following the dissolution of his blues-rock band Bakerloo, which provided foundational experience in blending blues with more improvisational elements, David Clempson—adopting the stage name Clem Clempson—was recruited by Colosseum drummer Jon Hiseman to replace guitarist and vocalist James Litherland.[1] Hiseman had spotted Clempson during a Bakerloo performance opening for Colosseum at Cambridge University on May 8, 1969, and invited him to a London rehearsal where Clempson quickly learned the band's repertoire, securing the position as lead guitarist and occasional vocalist.[6] This lineup shift marked a pivotal evolution for Colosseum toward a more robust jazz-rock fusion sound, with Clempson's versatile guitar style integrating seamlessly into the ensemble's dynamic interplay.[1]Clempson's contributions were central to Colosseum's 1970 album Daughter of Time, the band's first release on Vertigo Records, which exemplified their pioneering jazz fusion approach through experimental structures and collective improvisation.[6] He co-wrote and performed on tracks such as "Three Score and Ten, Amen" and "Take Me Back to Doomsday," delivering incisive guitar lines that balanced bluesy phrasing with jazz-inflected exploration, while also contributing to the album's overall live-in-the-studio energy with minimal overdubs.[9] On the instrumental "The Idiotic Beet," his work highlighted the band's avant-garde leanings, featuring angular riffs and textural depth amid saxophonist Dick Heckstall-Smith's soaring solos.[10] The album reached number 23 on the UK Albums Chart, underscoring Clempson's role in elevating Colosseum's progressive edge.[11]During intensive UK and European tours in 1970–1971, including appearances at the Bath Festival, Fehmarn Festival, and Prague, Colosseum captured their vigorous stage dynamic on the double live album Colosseum Live, released in 1971.[1] Recorded at venues like Manchester University and Brighton, the set showcased Clempson's fiery guitar solos, notably his extended blues improvisation on "Skelington," which emphasized the band's high-energy fusion of jazz improvisation, rock drive, and blues roots amid Chris Farlowe's powerful vocals.[6] The album's raw intensity reflected the group's relentless touring schedule, peaking at number 18 in the UK and cementing their reputation as jazz-rock innovators.[12]By October 1971, escalating internal tensions—stemming from creative stagnation, material fatigue after extensive touring, management disputes, and exhaustion among members—led to Colosseum's original lineup disbanding, with Clempson opting against Hiseman's proposal for a stripped-down trio configuration.[1][6] This split concluded Clempson's tenure, paving the way for his shift toward harder-edged rock explorations.[13]
Humble Pie (1971–1975)
In 1971, Clem Clempson joined Humble Pie as lead guitarist, replacing Peter Frampton amid the band's transition toward a heavier blues-rock sound emphasizing raw energy and Steve Marriott's soulful influences. Recruited directly by Marriott after hearing Clempson's solos on a live Colosseum recording, Clempson auditioned at Olympic Studios and was announced via press conference, bringing his versatile guitar techniques—honed in Colosseum's jazz-rock fusion—to complement the group's intensifying style. This lineup shift marked Humble Pie's pivot from earlier pop-oriented rock to a more aggressive, blues-driven approach that resonated strongly in the American market.[14]Clempson contributed to four key albums during his tenure, capturing the band's commercial peak. The debut effort with him, Smokin' (1972), recorded at Olympic Studios with minimal takes to preserve spontaneity, became Humble Pie's breakthrough, peaking at No. 6 on the US Billboard 200 and featuring high-energy tracks that showcased Clempson's bluesy riffs and slide work. Follow-up Eat It (1973) reached No. 13 on the same chart, highlighting Clempson's rhythm guitar on the cover of "Black Coffee," originally by Ike & Tina Turner, which added a gritty soul edge to their repertoire. Subsequent releases Thunderbox (1974) and Street Rats (1975) continued the blues-rock formula but showed signs of strain, with the latter involving disjointed recording sessions due to internal tensions.[15][16][17]Humble Pie's extensive US touring from 1971 to 1975 solidified their fanbase, with Clempson adapting Colosseum-honed solos to crowd favorites like "I Don't Need No Doctor" and performing at major venues such as the International Amphitheater in Chicago. These grueling road schedules, often spanning months, built a dedicated American following but contributed to exhaustion among members, amplifying the band's already intense live dynamic.[15]Clempson departed in 1975 following Humble Pie's breakup, driven by creative differences, escalating internal quarrels, and fatigue from relentless touring and substance issues that eroded the group's camaraderie. After four years of high-output recording and performance, the split left Clempson reflecting on the loss of the initial creative freedom that had drawn him to the band.[15][18]
Later projects and reunions (1975–present)
Following the dissolution of Humble Pie in 1975, Clempson auditioned for the guitarist position in Deep Purple after Ritchie Blackmore's departure, but the role ultimately went to Tommy Bolin.[19] Around the same time, he participated in informal jamming sessions with bassist Jack Bruce at venues like Ronnie Scott's in London.[1] These experiences highlighted Clempson's ongoing connections in the rock scene, leveraging his Humble Pie tenure for potential collaborations.In the late 1970s, Clempson reunited with former Humble Pie bandmate Greg Ridley and drummer Cozy Powell to form the short-lived group Strange Brew, which conducted rehearsals but never released material or toured extensively.[1] He then joined Rough Diamond in 1977 alongside ex-Uriah Heep vocalist David Byron, ex-Wings drummer Geoff Britton, keyboardist Damon Butcher, and bassist Willie Bath; the band issued a self-titled album on Island Records that year, blending hard rock and blues elements before disbanding.[20]Clempson rejoined Colosseum for their 1993 reunion, reassembling the 1971 lineup including vocalist Chris Farlowe, keyboardist Dave Greenslade, saxophonist Dick Heckstall-Smith, bassist Mark Clarke, and drummer Jon Hiseman for initial concerts in Germany and subsequent European tours through 2015.[21] The reformed group released studio albums during this period, notably Bread and Circuses in 1997, which featured Clempson's guitar work on tracks like the title song and "Watching Your Every Move," alongside live recordings capturing their jazz-rock fusion style.[21] They performed at major festivals in 1998, 1999, and 2000, maintaining a rigorous touring schedule that emphasized extended improvisations and classics from their original catalog.[21]From 2008 to 2012, Clempson served as lead guitarist for the Hamburg Blues Band, led by Gert Lange, contributing to their performances of blues standards and originals during European tours and festival appearances.[1] In 2013, he formed the Clem Clempson Band with keyboardist Adrian Askew, bassist Reggie Worthy, and drummer Eddie Filippakis, debuting with tours in Germany and releasing the album In the Public Interest that year, which included covers and originals showcasing his blues-rock guitar phrasing.[22]In 2017, Clempson co-founded the power trio JCM with Jon Hiseman on drums and Mark Clarke on bass and vocals, drawing on their shared Colosseum history; the group released the album Heroes in 2018, a collection of blues-rock covers and reinterpretations that served as a tribute to influences like Cream and John Mayall, though Hiseman's death that year limited further activity.[23] Following Hiseman's passing in June 2018 from a brain tumor, Colosseum reformed in 2020 with a new lineup featuring Clempson, Farlowe, and Clarke alongside saxophonist Kim Nishikawara, keyboardist Nick Steed, and drummer Malcolm Mortimore, resuming European tours to honor the band's legacy.[21] This iteration continued with 2024 festival and club performances across Germany and the UK, including a show at the Rother Bluestage, and extended their "The Return of a Legend" tour into 2025, including dates in April and May, plus an appearance at the New Day Festival in August.[24]
Musical style and equipment
Playing style and influences
Clem Clempson's playing style is rooted in blues-rock, characterized by fluid and expressive solos that prioritize emotional feel and musicality over technical speed or flashy runs. His approach draws heavily from classic blues artists such as Howlin' Wolf, Muddy Waters, Buddy Guy, and B.B. King, which he encountered early in his career and which shaped his gritty, soulful phrasing.[5][7] In Colosseum's jazz-rock fusion, this manifested in improvisational solos that blended blues bends with harmonic exploration, as heard in live performances where he extended themes with a sense of spontaneity.[5] With Humble Pie, his style added raw intensity and jagged rhythms to tracks like those on Smokin', emphasizing adroit blues filigrees that enhanced the band's hard-edged sound.[7] This blues-jazz fusion continues to define his contributions in recent Colosseum releases, such as the 2025 album XI.[25]Clempson demonstrates versatility across instruments and roles, often contributing on keyboards and rhythm guitar alongside lead work, which stems from his classical piano training from ages four to fourteen. This background allowed him to visualize guitar notes as keyboard patterns, aiding complex arrangements and enabling seamless shifts between lead lines and supportive textures.[6] In Colosseum's Daughter of Time, for instance, his multi-instrumental input helped craft the album's progressive jazz-rock layers, where rhythm guitar underpinned improvisational sections.[26] His adaptability extended to balancing dual guitar duties with Steve Marriott in Humble Pie, where he focused on what best served the song rather than imitating predecessors.[5]Clempson's sound evolved from clean, Shadows-inspired tones in his early years—sparked by the electric guitar riffs in "Rock Around the Clock"—to the heavier, overdriven textures of the 1970s, reflecting a shift toward amplified blues-rock aggression.[6][26] This progression is evident in the transition from Bakerloo's straightforward power trio style to the denser, wah-infused grit of Humble Pie's era.[6]His lasting influences integrate the blues phrasing of Eric Clapton and Jimi Hendrix—whom he emulated by transcribing solos from albums like the Bluesbreakers—with jazz improvisation honed during the Colosseum period.[6][5][26] This fusion created a distinctive voice that avoided direct imitation, allowing blues-rooted expression to coexist with exploratory jazz elements across his career.[5]
Instruments and amplifiers
Clem Clempson's primary guitar throughout much of his career has been a 1958 Gibson Les Paul Goldtop, which he acquired in 1968 and has used on virtually every recording from his time with Bakerloo onward, including albums with Colosseum and Humble Pie.[25][6] This instrument provided the warm, sustaining tone essential to his blues-rock contributions in those bands.[4]In his early days with Bakerloo, Clempson occasionally employed a Fender Stratocaster for cleaner blues tones, complementing the Les Paul's thicker sound during live performances and recordings.[25] He also played keyboards and harmonica as part of the power trio's lineup, adding textural layers to their blues-rock sets.[27] With Colosseum, Clempson stuck primarily to guitar but incorporated occasional keyboard elements in ensemble arrangements, though the band relied on dedicated organist Dave Greenslade for most such duties.[25]For amplification, Clempson favored Marshall stacks during his stint with Humble Pie, delivering the high-gain rock sound on albums like Smokin' (1972).[25] Earlier, in Bakerloo and initial Colosseum work such as The Grass Is Greener (1970), he used Laney stacks for their robust projection in live and studio settings.[4][25] In the late 1960s with pre-Bakerloo groups like The Vipers and The Pinch, he relied on Vox amplifiers, including the Beatlemaster model, to support his developing blues style.[25]Clempson's gear evolved toward more versatile setups in later years, particularly during Colosseum reunions from the 1990s onward and into the 2020s tours. He continued favoring his 1958 Les Paul Goldtop paired with Marshall and Fender amplifiers, including a modified Fender Bandmaster for overdriven tones.[6] For sustained leads in contemporary performances, he incorporated effects pedals such as the Klon Centaur overdrive and Vertex Ultra Phonix, enhancing expressiveness without altering his core analog approach.[6]