Their noble antecedents including Hawkwind, Social Deviants and Motorhead, this is the psychedelic rascals’ line-up for Kill ‘Em and Eat ‘Em, their only LP with ex-Mick Farren guitarist, Andy Colquhoun. A version of this picture appeared on its cover.

Originally released in ’82 by Robert Wyatt, Elvis late recorded his anti-Falklands War song ‘Shipbuilding’ for his own album Punch The Clock featuring the mournful, muted trumpet of jazz legend, Chet Baker. Here they are at the Clive Langer-produced session.

Featuring the ubiquitous (in Keith’s oeuvre anyway) Martin Stone (Guitar) and Phil ‘Snakefinger’ Lithman (almost everything else), staunch favourites of the pub-rock circuit Chilli Willi were not to be confused with the later and similarly named U.S. stadium outfit.

Bass guitarist in Dave Edmunds’ Rockpile was just one of Nick’s many distinguished musical roles, and here he poses with the Welsh guitar wizard and a brace of the largest acoustic axes known to man.

A sign too good to miss provided an appropriate warning to the meek and the vulnerable on the band’s first U.S. tour.

Just four rolls of film were instrumental in establishing the singer’s early intense yet gawky image and produced cover shots for Elvis’s first two albums, My Aim Is True (shown here) and Live At The Mocambo, the latter a Canada-only but widely bootlegged release

Canvey Island’s greatest export caught in typically restrained performance at Keith’s favourite personal hang-out.

The sometimes surprisingly taciturn young editor of highly influential punk ‘zine, Sniffing Glue caught in repose outsides his council flat.

To promote Mick’s first post-Social Deviant’s album, Mona – The Carnivorous Circus (which also featured T-Rex’s Steve Peregrine-Took), Keith’s rather grandiose image of the underground poet/polemicist/author conveys just a touch of self-irony.

A decade after his first London forays, Keith was back on the streets shooting a very different culture but, as ever, from his own unique point of view