An early p.r. study for F-Beat Records finds Steve Nieve clearly unimpressed with the old urban backdrop routine.

Tired but probably not too emotional, Elvis endures another long bus ride somewhere in America.

Showing America they had more than one Elvis to get excited about, Keith found the band’s gigs there had just as much if not more intensity as their British performances

One of several p.r. assignments for Stiff Records, the idea of not actually showing the band’s faces was a typically playful Keith ploy, and one that also perfectly reflected both the label and the band’s dismissive attitude to standard music biz protocol

Keith was a big fan and friend of the irrepressible Barrie Masters and his band, and long before ‘mosh pits’ were invented and snappers regularly began pointing their lenses at the punters, this audience shot captured the raucous appeal of punk.

Demon needed some p.r. shots for their re-release of Ian and the Blockheads’ wonderful Do It Yourself album (originally put out by Stiff). As ever, not wishing to muck about, Keith took Ian onto their warehouse roof and knocked off a couple of rolls.

The loveable power trio had just released their second and eponymously titled album when Keith produced this winsome portrait. N.B. the guns were fake. Probably.

Nick in pensive mode by a pedestrian underpass near Keith’s Maida Vale flat, which incidentally enabled the photographer to combine his feel for the aesthetics of austere urban architecture.

Typifying the Essex band’s hearty embrace of good if not hard living, this was one of many portrait’s Keith took of Lee Brilleaux, Wilko Johnson et al during their career

Along with the infamous ‘paper bag’ band portraits also shown in the exhibition, Keith photographed the Damned individually and this is his fetching study of their coy young drummer