Madness being Madness
Lemmy with Dynamite
Iggy Pop
Elvis at The El Mocambo
Ian Dury at the Dentist
Elvis, Nick and Steve
Elvis Costello, Nick Lowe, Steve Nieve - Buffalo 1978
In April 1978 one of the biggest Blizzards in decades hit the East Coast of America, it covered the ground in over two feet of snow. I was on tour with Elvis Costello and the Attractions and we were in New York when the blizzard hit. It snowed for eighteen hours and when the snow stopped it was obvious that there was no way we were going to be able to drive the bus to the next gig.
Elvis hated flying and would normally do anything to get out of traveling by plane, but we had no choice as we had to get to Buffalo in upstate New York in order to play a show at the University that evening. The travel agents worked like crazy to get us tickets and eventually we were able to fly there via Boston.
You always see those classic photos of bands with planes and I was lucky that in those days you often had to walk from the plane to get to the gate. Knowing this was the case in Buffalo I made sure I was the very first person off the plane. When Elvis saw me lying in wait for him he laughed, not something you usually saw him do back then, but we were good friends so I saw a different side of him.
In front of EC is his keyboard player, Steve Nieve, behind him is Nick Lowe, also known as Basher, writer of hits and the producer of EC's first three LP's. I have to say that this is one of my all time favourite photos.
Elvis Costello - Hoover Factory
Elvis Costello at the Hoover Factory 1978
One of the songs on Elvis Costello's Demo Tapes for Stiff Records was called Hoover Factory. It was written about the giant Art Deco building out just outside London that EC saw every day on his way to work as a computer operator at Elisabeth Arden. It's a simple song, and quite unusual in subject matter and lyrics. In early 1978 the Sunday Times commissioned me to shoot Elvis for the colour supplement and I thought it would be an interesting place to go and shoot. Given that nobody knew the song at that time it also provided yet another of the little "in jokes" that were so often contained in his record sleeves.
We both went out to Western Avenue and did a bunch of different photos outside the Hoover Factory gates, many were full length and featured the vast building in the background, EC wore a number of outfits, from an American Brass Bandleader's jacket to a bright blue sweater with stripes.
It's the latter which is featured here, knowing him as well as I did he did not mind me using a wide angle lens and being only about 15 inches from his face. Looking back at this image he seems so young, and that impish look in his eyes makes for a great photo of the best new British singer/songwriter to have come along in decades.
Bob Dylan and Graham Parker
Bob Dylan and Graham Parker - Blackbushe 1978
I was in America with the Rolling Stones when I got a call from Promoter Harvey Goldsmith, he wanted me to fly home and be the official photographer for the Bob Dylan concert at Blackbushe Airport.
I jumped at the chance of shooting Dylan and jumped on the first plane home, I went straight from Heathrow to the gig. But when I got there I was given the news that Bob had his own photographer and I was out if a job, his Tour Manager told me to put my cameras away and be sure not to take any photos of Bob, even when he was performing.
I was mightily depressed by this news and wandered around backstage in a daze. I bumped I to Graham Parker and told him my tale of woe.
Then, a voice behind us says "Hey man, I just want to say, man, that I really love your albums, man."
We turn around and see Bob Dylan standing there, GP, suffering from shock looks Bob in the eye and says "Hi, do you know my photographer, Chalkie" I offer Bob my hand and receive the worst wet fish handshake ever.
I ask Bob if it's OK to take a photo of them and he happily obliges, shaking like a leaf I take three frames. Bob and Graham then have a long and short but meaningful conversation before Bob bids us both farewell and wanders off into the sunset.
Shane McGowan - ICA
The Specials - In the Studio
The Specials - Ghost Town
The Specials - Ghost Town - London 1981
Having done all their Record Covers I had a great rapport with the seven members of the Specials who were a truly exceptional Band, I was fortunate to be able to go just about anywhere with them including the making of their videos. My dear friend, the late Barney Bubbles was chosen to direct the Video for Ghost Town, their song about living in Thatcher's Britain. It was to be shot at night, with the band driving around a deserted City of London in a vintage car. We got cooperation from the Police and were able to get some of the Tunnels under the Thames to close to other traffic long enough for us to film the Band in these empty tunnels as well as other parts of the City. The filming took all night and as dawn broke we wound up on the banks of the Thames just East of Tower Bridge. The band walked to the edge of the water and started throwing stones into the river, I grabbed about three frames before they dispersed and moved away from each other. This photo really is the last one we took of the original line up, they split up after this single, Terry, Lynval and Neville formed the Fun Boy Three, Jerry Dammers continued with the Specials for one more album. But this photo also catches them at play, showing their individual characters as well as showing them as a group and serves as a fitting final tribute to this very special Band.
The Specials - More Specials
The Specials - Coventry 1979
We were doing the cover for the Specials LP and just when I thought we were finished Jerry Dammers asked if we could do one final group shot.
He took us over to this abandoned and decaying boat that was located in another part of the Coventry Basin. Although I thought he was nuts wanting his photo taken here, we carefully arranged the band members on the boat.
Jerry had this huge smile on his face, positively beaming at the camera. When we were selecting the photos for the first LP he asked for a print, saying he was not going to use it now, but maybe it would have a use in the future.
The second LP was shot deliberately out of focus on an SX70 Polaroid camera, this was because Jerry wanted it to look just like an old sleeve and less than one pack of film was used, Jerry was so enamored with one of the Polaroids that he declared the session over. Worried that the American record company might not be too thrilled at the idea of an out of focus sleeve I insisted we shot a roll of film on the Hasselblad as well.
I asked him what he wanted for the back cover. We already did the back he proclaimed with a huge toothy grin. A little confused by this I asked him to explain, it's the photo on the boat that you did when we shot the first LP he gleefully replied.
The Two Tone Tour
The Two Tone Tour - Brighton 1979
The first date of the Two Tone Tour was in Brighton, I went on the bus with the three bands, my old friend from my Thin Lizzy days, Frank Murray, was the Tour Manager and so I grabbed a ride.
There was a fabulous camaraderie on the bus, as there often is at he beginning of a tour, the musicians were all getting to know each other and we had the same coach as used on the legendary Live Stiffs Tour.
Because I had moved on from the NME to shooting record covers I felt no need to take that many photos and so I just settled in and enjoyed the atmosphere.
However, it did seem a good idea to take a photo of all the bands on Brighton beach. Trying to keep control of seven people, i.e. The Specials, was something I was used to, but now there were more than twenty musicians to keep track of, I tried in vain to organize everyone.
The Two Tone School Photograph idea lasted about a minute before someone spotted Specials Manager Rick Rogers calmly walking on the beach.
Suddenly most of the people in the photo jumped up and started chasing after Rick, he legged it as fast as he could but in the end they caught up with him.
The 'reason' for the chase was apparently that he was holding everyone's Per Diem's and they just wanted their readies.
The Specials LP - Front
The Specials - Front Cover - Coventry 1979
I have to thank my friend Elvis Costello for suggesting us to Jerry Dammers, he was producing the First Specials LP and thought we would get on well together. There are few people who I would describe as genius, but it applies to both Jerry and this Band. Seven very individual people, and one of the best bands I ever worked with. Jerry had both the locations and ideas worked out for their first LP sleeve, he showed my some LP's that he liked visually, one of them was the Who's My Generation. Although taken in colour the band is shot from above, and with seven people in the band, group shots are never usually easy. We went to a location Jerry suggested at the Canal Basin in Coventry, these guys took direction really well, but, they also knew how to hold their own in a band this big, each had his own personality and it shows, if only all groups were this easy to deal with, I might have continued doing it. For the LP cover we cut out the band members with a pair of scissors at Jerry's request, he wanted it to look cheesy, then we stripped it onto a white background, but here, for the first time you can see the actual photograph as it was originally taken. There were only ten frames done of this pose, the last two on the roll were used for the back cover, and that's a slightly different story.
The Specials LP - Back
The Specials - Back Cover - Coventry 1979
The front cover was taken from the first floor of an abandoned building, looking down at the Band who were standing in a triangular shape, the strongest shape there is. But Starr, my partner in life and crime took an SX 70 photo of the same shot from the side, at ground level. When I got down the stairs she showed it to me and I told the Band to stay in position, I sized it up the the Hasselblad viewfinder, gave minuscule directions to each musician to get the image perfectly composed and clicked the shutter. Once. One single frame. I think it's because I knew it was perfect, what young and arrogant confidence that is. But it's probably the best group shot I ever did, and it certainly passes the test of time. Instead of a picture we had done earlier in the day we used it as the Back Cover, and also
the Poster. In America they used it as the Front Cover, against our wishes, back then we also designed the sleeves, and Starr did the typography by hand with Lettraset. It's an Architects Drawing, side and top elevation, not that the Two Tone fans were supposed to get that, but it justified the position when we showed it to the Record Company, they saw one sleeve, just two photographs, nothing more. Luckily they really liked it and all the hard work we put into it had paid off. I love this picture.
Phil Lynott - OGWT
Thin Lizzy in Paris
Thin Lizzy in Japan
Phil Lynott - Tokyo 1979
After working with him a few times for the NME Phil Lynott and I became best friends and I became their Tour Photographer. In fact we got on so well that we shared a house for a few years, we went everywhere together and I went all over the World with them including numerous Tours of America, the UK, Europe and Australia. The highlight however was a trip to Japan for their first tour there in 1979. I had always wanted to go to Japan and found the place fascinating despite being unable to speak a word of Japanese. After spending a few days in Tokyo we moved on to Osaka and Nagoya which meant taking the high speed Bullet Train between towns. We were standing on the platform at the Tokyo Railway Station when a bunch of schoolboys recognized Philip and came over to ask for autographs, seeing them in the traditional school uniforms of the time I asked them to pose with Philip as there was a great contrast in the way they and Philip were dressed. Looking at this photo now their uniforms seem so formal, but back then this is how all Japanese Schoolboys dressed. I took many great photos of Philip but there is something about this photo that makes it my favourite. The clash of cultures makes it distinctive but the look on his face also captures this spirit of this great musician who left us way too soon.
Thin Lizzy in Australia
Thin Lizzy - Sydney Opera House 1978
I travelled the world with Thin Lizzy, I did numerous American, British and European Tours, but I also went to Japan and Australia with the band.
The concert in Sydney was going to be televised live, a stage had been built on the steps of the Sydney Opera House and it was a free concert. This meant that more than a hundred thousand people showed up to see the performance.
This gave me the chance of one of the best backgrounds to a live photograph you could ever get. I positioned myself between the amps onstage and waited for the band to go on.
The first number was Jailbreak and the crew had built three ramps for the guitarists to use to get closer to the audience. Philip, Scott and Gary immediately used these ramps for the first chorus, Philip machine gunned the crowd in true Wilco Johnson style and the audience erupted in applause.
I rattled off about a dozen frames before the band came back onto the regular stage, I realized that my job was probably done, nothing could beat this photo for atmosphere, it really summed up the dynamic stage presence the band had.
Of course I shot more film, but this one frame, in black and white and shot in daylight is almost as good as the color image of Philip on his knees that graced the cover of Live and Dangerous.