A young Morrissey

Morrissey - London 1982

I used to work a lot for Rolling Stone in the 80’s, I was the photographer they came to when they needed something done in Europe. Most of the time it was American bands I had never heard of, but sometimes it was British ones.

So one Sunday afternoon in 1982 the Smiths showed up at the door of our little studio in a Bayswater Mews, to say they were young and inexperienced at photo shoots would be an understatement. They took direction well, but they had yet to really get their individual looks together and their clothes were pretty bad.

Doing what we often did we gave then black turtle neck sweaters and decent jackets to wear, but the singer, clad in this terrible rayon smock refused to wear anything else. He seemed to only have one name too, that of Morrissey.

Having done some reasonably decent group shots we turned our attention to the singer. He really had no clue as to what to do now he was on his own, it was kind of sad really, he was the front man yet he hardly had as much presence as a tin of cat food.

For 30 years these photos of him remained unseen, but, on closer examination there were one or two frames where he looked pretty good. I would never have guessed that he would go on to become so successful, but you never can tell, success is a fickle thing.

Madness being Madness

Madness - Glasgow 1980

Because I worked for the Specials I knew the chaps in Madness from the Two Tone Tour, but I took few photos as they had their own favourite photographers and I did not want to intrude.

Then they quit the Tour and were replaced by Dexy's Midnight Runners, another great band from that era, with a leader who had more passion than anyone I had ever met.

When Madness subsequently went out in their own tour I was commissioned to photograph them. To be honest anyone could have done these guys, posing came naturally and they had a cohesion that made for great photos every time. But instead of the action packed photos they were used to doing I decided to simply take a photo of their heads, this picture was done in a couple of minutes backstage in Glasgow.

Not long after this I ended up on a train to Oxford with them, I was just going to their show and had no cameras with me. I got talking to Suggs and Kennedy's assassination came up, he had little recollection of an event that causes everyone from my generation to remember exactly where they were when they heard the news. 

Then it dawned on me, Suggs was the first person I knew who was born in the 60's, not the 40's or the 50's. I realized that he was part of the next generation, and at the age of 27 I felt old for the very first time.

Lemmy with Dynamite

Lemmy - London 1984

I think I first came across Lemmy in 1971 when he was in Hawkwind, he was someone you often saw in Ladbroke Grove or at the Marquee and other watering holes around town, as he was best mates with Mick Farren he became a regular visitor to the NME offices in '75 and '76 before he formed Motörhead. 

In fact I reviewed Motörhead's first gig at the Marquee in 1977 for the NME and whilst I saw potential in the Uriah Heep/Black Sabbath area I would never have thought they would have been as successful as they became, let alone expect that they would still be going strong thirty five years later.

Lemmy is a gruff, slightly imposing, yet adorable kind of a Rock Star, quite malleable too, always happy to oblige when one needs a quick photo for a Magazine.

This picture was originally shot for the cover of Time Out in 1984 and the 'session' lasted about ten minutes. Lemmy arrived, took off his leather jacket, grabbed the fake dynamite and stepped into the studio grinning. He then did 24 assorted poses, giving me everything I needed on exactly two rolls of film. 

Knowing that all good photographers were skilled in the art of quick shoots, he put the dynamite down, put his leather jacket back on and left the building.

Iggy Pop

Iggy Pop - Manchester 1977

When Iggy Pop released The Idiot in 1977 he did a British Tour featuring the album's producer, David Bowie, on keyboards. This meant that security was very tight, and photographers were not invited.

This did not stop me going to the first show at Friars in Aylesbury. In an attempt to avoid the security personnel I ended up in the roof looking straight down at Bowie, but the lights were terrible and I knew I needed to try again.

So Tony Parsons and I went to Manchester a couple of days later. This time security was even tighter and I was unable to get my cameras into the show. But the next night, in Birmingham, I strapped the lenses to my ankles and hid the cameras under my clothing, having seen the show twice I knew exactly when Iggy would throw a few shapes and decided to limit myself to those numbers.

This time I did much better, I got quite a few good photos, including this one which pretty much sums up Iggy, having got what I needed I kept my cameras hidden for the rest of the show, I was not going to take a chance that I would get caught, and luckily I didn't.

Elvis at The El Mocambo

Elvis Costello at The El Mocambo - Toronto 1978

My philosophy regarding live photography was simple, instead of wasting film, study the show on the first night, see where the best opportunities occur, then concentrate on getting the best photographs during those numbers the following night.

Given that Elvis was playing the El Mocambo, a small club in Toronto,it meant using flash, and that meant taking as few pictures as possible.

I saw that during Less than Zero and Watching the Detectives EC gave his most animated and manic performances. Not only that, he dropped to his knees in Detectives just after singing "she's painting her nails as they're dragging the lake" and my aim was true, it was to catch that particular moment.

I waited patiently and caught him right on cue, I was mighty happy with myself, but his manager was not happy with me.

Whilst accepting that Elvis did this every night Jake did not want the public to know, he wanted each audience to think it was spontaneous, so he told me quite bluntly that I could not use the photo.

I reluctantly agreed, because I could see the logic behind this decision, it was strategic in nature and I respected that. Jake respected me for agreeing and from that day on gave me total access to EC whenever I needed it.

So I waited thirty five years before making it available, to me it sums up those early years perfectly.

Ian Dury at the Dentist

Ian Dury at the Dentist 1978

Whilst others had problems with him, I always found Ian Dury to be fun to photograph and his enthusiasm made the job easy, no matter what else might have been happening he always switched into photo mode for me and we did some memorable shoots together.

In 1978 the Stiff Tour had made Ian pretty successful, the first album had sold really well and his management set their sights on America.

But before he went there, and paid for by the royalties from Hit Me With Your Rhythm Stick, he decided to get his teeth fixed. Like fellow Punks, Lydon and Strummer, Ian's teeth were in terrible condition and he underwent serious dental work.

Due to the pressure of gigging he had this done in stages and the Dentist dealt with his lower jaw first, this involved putting a temporary bridge in place and while chatting to the Dentist Ian came up with a unique idea, just in time for his first trip to the Americas.

He had a Union Jack painted on this bridge so that when he gave those septics (septic tank = yank) a big toothy grin they would see the flag of his beloved Britain.

Hearing about this it seemed a natural thing to take photos of, and so I went down to Harley Street with my lights and set up in the Dentist's office. Ian sat in the chair and mugged away for the camera, it's one of my favourite sets of photos of him and the NME liked it enough to use it as a cover.