• Andy Rosen remembers: “This image was taken in 1982 at the famous Air Studios in London. In 1969 George Martin left EMI to establish an independent recording complex in the heart of Central London. It became one of the most successful studio operations in the world. I knew it pretty well and had shot bands there before. As it happens, I did a session with Paul McCartney there. At the time I was working for Sounds music paper. The Jam were recording The Gift. When I arrived, John Weller (Pauls's dad and manager) informed me that I would have to be quick as the band were behind schedule and Paul was already late. No surprise there. I would always arrive early to shoots to scope out locations and prep everything. I decided to take the stairs rather than the elevator to save time. As I opened the door, a burst of blazing sunlight suddenly filled the staircase and projected the window framing on the opposite wall. I had to look no further for a location. It was perfect.” “One problem was that Paul had still not arrived, and there was no guarantee the sun would shine for me on demand. I ran back upstairs hoping Paul had turned up, but there was no sign of him. I went back to the staircase to prep for the shot. It's actually a tough shot to get exposure-wise and even harder to print. The difference between the highlights and the shadows are extreme. It would be much easier now with digital, but with a pre-digital Nikon F2, it was not so easy. You also had no idea if you got it right until you got your film back from the lab. I opened the door… no sun. I was disappointed by resigned myself to the fact that if there was no sun, there was no sun. I would just do the shoot without it. In the end, Paul turned up. I grabbed him and the band and dashed back to the stairways. The stars were aligned, and for the next thirty mins the sun blazed. This shot actually is one of my favourite shots out of all of my portraits.”
  • Andy Rosen remembers: “This was their last performance and the last ever shot of the Jam on stage. I worked with the Jam the most out of all the bands I photographed. I first met them through 5th Column, the famed T-Shirt silk screen printers from the punk days. Before the big merchandising companies took over, they designed and printed for most of the punk bands. I would do all the photography for the t-shirts. This led to meeting many bands on a social level and also getting access to take photos. That's how I met The Jam. We used to go to all the gigs and deliver the merch.” “Paul rang me up and asked me if wanted to cover the last gig since I had covered so many of their concerts. The band gave me an all-access pass. I got good stuff before and after the gig. I even got a classic shot of John Weller (Pauls's dad and manager) walking across an empty arena after the gig. Everybody has gone and he looks pensive as he contemplates the end of the Jam. The only shot I had never taken of the band was from behind the stage I had many from the side. I wanted to capture the last moment looking through the band and to the audience. All the others I took could have been taken on any night, but the band "saying goodbye" to their fans was the shot I had to get. On the last song, I dived back behind Rick's drums and got my chance. After that shot, I rushed back to the dressing room before they arrived and got the last shots of them coming backstage as the Jam.”
  • Andy Rosen remembers: “This image is pretty unique in the fact that the whole band are laughing, and especially Paul. It was taken at the famous Air Studios in 1982, when The Jam were recording The Gift. I don’t remember taking any other photographs of Paul laughing, and I have not seen many. To get them all laughing is a Gift (excuse the pun), and here they all are, laughing their heads off. I can’t actually remember why they were laughing, but I knew it was a rare moment. In the early days, Paul was always serious and moody. The irony is that not long after this shot the Jam broke up.”
  • Andy Rosen remembers: “This image was taken in my studio in Camden Town. I had just rented a small space in the back of a print shop on Chalk Farm Road, bang opposite the market. Nowadays, the whole area has been developed. I think it’s now the second biggest tourist attraction in England. Back then, it was just a small cool market and area. Paul arrived early on a weekday. The whole studio thing was new to me. I remember being nervous because I was not really confident about being in a studio.  I had three strobe units and a few rolls of backdrop. Learning how to use the strobe and getting the results you wanted was a bit of a learning curve. Strobe lighting blasts out a lot of light, and it’s hard to control it. I decided it was best to keep things simple. I only used one light with the only attachment I had, a spotlight. As you can see, it cut down the light, and it was easy for me to control. Paul stayed for a few hours. I shot a few different setups but kept the light more or less the same for all.”
  • Andy Rosen recollects: “I think I must have covered every live gig they played at the Rainbow. Whenever I think of The Jam, I seem to always think of the Rainbow and sweaty beer-drenched nights. They would often do 2 or 3 nights in a row. I would usually cover the soundchecks as well. I remember being in the orchestra pit and getting pelted with spit and stuff and even seats that were ripped from their fixtures by excited fans. In the end, the owners of the venue realised that taking the seats out when the Jam played might be better for everyone involved.” “I also remember how good the gigs were. The Jam had to be one of the best live bands bar none back then. Not that we knew it at the time, but this gig was the Jam at their peak. Setting Sons had just been released. The night would start with “Down in the Tube Station at Midnight” and the recording of a tube train thundering through before the lights came up. Then it was non stop speeding, “Saturday’s Kids”, “Little Boy Soldiers”, “Thick as Thieves”, “The Eton Rifles”….. and the encore was “Heatwave”. Wow! I remember the number of guitar strings that Paul would break and the roadies running in to replace the guitars.” “I hated using flash when I shot live gigs, os I had to rate my film at around 1600 ASA, underexpose and then overdevelop. I would also rely on very fast Nikon lenses. I used to use Accuspeed developer to get the contrast and grain I wanted. This shot is a perfect example, it captures the movement and the mood accurately. Flash would have just blasted away all the atmosphere. I took many live shots of the Jam and this has to be one of my favourites.”
  • The Jam ‘Setting Sons’ Album cover shoot, Brighton Beach, 1979 by Andy Rosen

    Andy Rosen remembers the session well:

    "The main thing I remember is that the dog got paid more than I did! Robin Richards, the art director and I had booked a handsome British bulldog for the day, and a few friends to help out. We arranged to meet at my place in Kentish Town early on Sunday morning—but the dog never showed up. This was before cell phones, and we had no house phone.  After waiting for two hours, we decided to try and find another dog. This was not so easy on a Sunday morning, but a friend of a friend had a friend who had bulldog. We rushed to a call box and woke them up. I explained the situation. All was cool, except for one tiny detail. The dog was not a bulldog. It was a boxer. My first instinct was that it would be a like replacing the MGM lion with a tiger – not the same deal, but we had to roll with it. We also had to pay the owner a ridiculous fee to get him out of bed for an away day to Brighton at such short notice. To this day many people have no idea it's a boxer. They just assume it is because it fits the iconic reference we set out to capture with Brighton Beach and a bulldog. If you check it out though it definitely looks like a Boxer… once you know."

    "When we finally arrived in Brighton, the first thing we had to do was staple the Union Jack we had silk screen-printed to the public deckchair. The moment the dog hit the beach, it was off. The next hour was spent chasing it down. This was going to be a problem as we needed the dog to sit still in an exact position on the beach. In the end, after many attempts, we found some rope and tied him down so he couldn't run off. We also had to hide it under the pebbles. If you look carefully, you can see a tiny bit of rope hanging from his neck. After a few hours, the dog went on strike and refused to stand up. So we called it a day and began to pack up our stuff. As we ripped the Union Jack off the deck chair an angry  policeman appeared. We were done for defacing public property by stapling a Union Jack to a weather-beaten deckchair. Go figure. But in the punk days, the young and rebellious were treated like terrorists. It seemed like any chance the establishment had to knock us, they took with pride. All ended well in the end. The image has over the years become an iconic and recognised image,  evoking memories of the Jam and of England, a time gone by. I banged off colour (used for the cover) and black and white film. The black and white shot to me is the one that works."