Posts tagged as 'The Specials'
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Thursday, 18th Oct 2012
Horace Panter was studying for a degree in Fine Art when he and some friends formed a little band called The Specials. Several albums, tours and trips around the world later, art is back in the frame for the musician and painter who has used these opportunities as inspiration for his work. We caught up with Horace to chat influences, icons and what's up next.
Fred Perry: Hi Horace, talk us through your most recent work:
Horace Panter: I’m currently working with a screen printer in Birmingham. After having read a book on Warhol, I liked the way he used a process that removes the artist, while at the same time using the process to make the work very personal. Also, I like the idea of fake, so I want to do a fake Warhol. I’m also looking at the idea of mixed media, collage and the like. I’ve recently met up with a Scottish artist, Colin Brown, who does some cool collages; I saw his work in a gallery in St Andrews and they reminded me of some of my ʻChicago Bluesʼ pieces so I bought one. I’m always referring back to the work of Joseph Cornell because he is an important influence. In terms of painting, I’m doing some faux-religious stuff. I’m fascinated with the symbolism of all those Fra Angelica Giotto, early Renaissance painters- I’m convinced I’ll end up painting real icons!
FP: You were studying art when you first formed The Specials - do you think your art and music inspire one another, or are they very separate disciplines?
HP: They are separate disciplines. As a musician (I’m a bass guitarist) I’m dependent on drummers, singers, guitarists, etc., and I’m a very good team player. This is very different to painting, which I view as my ʻsolo careerʼ. Where the two disciplines converge is in the marketing. I’ve used a music-business model to get the work seen; my wife is my Malcolm McClaren!
FP: Is there any particular music you listen to whilst you work?
HP: When I’m doing my Blues paintings, I listen to Blues! I have difficulty with multi-tasking; I could never do my school homework with the TV on. I generally work in silence – total concentration.
FP: Are there any particular visual artists who have inspired you, or whose style is evident in your work?
HP: I’m like a chameleon…or the Borg! I assimilate a lot of stuff I see: Henri Rousseau, Peter Blake, Wayne Thiebaud, Robert Indiano, Kenneth Noland, Mark Rothko, Ed Rusha, and traditional iconography. I have some cool books on Australian Aborigine Art and I was really impressed with what I saw in Beijing a couple of years ago. I suppose Pop Art is my biggest influence, but I’ve started looking a lot at American 19th century Realists. I think The Borg is the best description of my influences and tastes!
FP: Several of your paintings feature other noted musicians - do you see art as a means of paying homage to your heroes? Is there a reason behind these pieces?
HP: I love The Blues and I have always wanted to describe the music visually, not just paint a picture of Muddy Waters, but try to describe the music itself. The Blues wasn’t tidy, wasn’t polite, neat. It was visceral, brash, came from the heart, rather than the head. I’ve tried to put that over in the work. And yes, absolutely, these paintings are a homage to my favourite Blues practitioners!
In another galaxy altogether, I saw an exhibition of Stanley Spencerʼs ʻGarden Paintingsʼ that I thought were beautiful, so I painted a picture of a scarecrow in a kitchen garden with him in mind - trying to ‘channel his spirit’ I suppose. One of my favourite Wayne Thiebaud paintings is of a pair of shoes and I’ve just gone out and bought myself a new pair of Doc Marten brogues that are currently sitting atop a desk in my painting studio!
FP: Do you have a favourite piece, or a project you are particular proud of?
HP: The ʻFruit Girlʼ paintings probably, although ʻPunk Rock Girlʼ and ʻBeijing Street Sweeperʼ both have something special about them. Of the Blues paintings, ʻHound Dog Taylorʼ and ʻStevie Ray Vaughanʼ are my favourites, although ʻBo Diddleyʼ and ʻMuddy Watersʼ seem to be the most popular. If there is a painting I’m NOT proud of, you don’t get to see it!
FP: Youʼve been in several successful musical groups, but your painting is a solitary project. In your mind, what are the pros and cons of creating individually and as part of a group?
HP: As I said earlier, being in a band involves tight team work and working for the benefit of the group as a whole. Painting, as you remark, is a solitary occupation ... all the decisions, successes and failures, are my own! I enjoy my own company so I have no problem with immersing myself for hours on end in the process of realising an idea on paper. The studio is probably my favourite place. Having said that, I can’t deny that being on a stage playing bass guitar is close to heavenly!
FP: Finally, what’s coming up next for you - more music, or more art?
HP: The Specials are about to announce plans for 2013, which I’m really looking forward to. Regarding the art, 2012 has been a very positive year and has put me in a good position for 2013. My work is represented by several galleries in the UK and even one in Singapore: White Room Art, Leamington Spa and Bath; Number Nine Gallery, Birmingham; Contemporary Six, Manchester; Metropolis Art, Bournemouth; 1 Love Art, Bristol; The Artists Gallery, Aberdeen; Icon Gallery, Singapore. So, in answer to your question...both!
To see more of Horace's artwork and for information on past and future exhibitions, visit his official website.
Thursday, 19th Jul 2012
Justin Thomas has spent the last 35 years working as a music photographer, documenting some of the industry's finest and most influential artists through his intimate behind the scenes portraits and captured moments of on-stage theatrics. This Friday sees the opening of When You Hear the Music, Trouble Disappear, an exclusive solo exhibition held at West London's Graffik Gallery that highlights some of the photographer's most iconic images. We caught up with Justin ahead of the show's opening to talk about his methods, most memorable images and the shots that got away...
What draws you to photographing musicians?
I’m drawn to bands who move. I’m looking for that moment when Bob Marley flicks his head back and all his locks flail out like tendrils, when the stooping KEEF brings down his arm or Wilko Johnson does the splits in mid-air with his Strat pointing straight out like a machine gun.
Bob Marley at the Crystal Palace Bowl, June 7th, 1980
It's a challenge, and when all the elements that make a good photo come together at the same time, composition, exposure and capturing THE moment, it’s extremely satisfying, especially if you have captured it exclusively - a unique image, yours. There's a lot of luck involved in 'live' photography, 9 times out of ten you'll misfire, but digital cameras give you the freedom to shoot at will, which was a luxury I never had when I was starting out - I didn't even have a motordrive. I think that enhanced my sense of anticipation. Photographing musicians, is, like most other forms of photography, about pushing your finger down a fraction of a second before you think 'it' is going to happen. It’s about anticipation...if you've seen the picture already, you've missed it.
Is there one shot that has particular meaning to you, or you would describe as your best work?
I particularly like the Stevie Wonder, Marvin Gaye and Diana Ross frame. I had been very moved when Stevie came back for the 2nd part of his 3 hour Wembley show after the interval.
He was led to the lip of the stage, and then left on his own. He was using his feet to balance, half on, half off the stage, while he rocked his body to the sound of his harmonica. There were moments when he was so involved in his music that his upper body was almost parallel to the stage, so much so that I thought he might fall on my head. It was very endearing watching him, knowing that he might fall 12 feet down. He looked very vulnerable in his ecstasy.
Diana Ross, Marvin Gaye & Stevie Wonder at Wembley Stadium, 7th September 1980
On the final encore he brought on Marvin and Diana, and it brought tears of joy to my eyes. Motown, was, without a shadow of a doubt, the greatest label of all time-joy unlimited, and here were the Kings and Queen. The only thing that might have topped it would’ve been if Aretha had popped up on harmonies. I love the composition and Marvin in the middle, pin sharp; smiling sweetly...can I get a witness?!
Has there ever been a moment where you’ve missed what could have been an iconic shot?
It was about 1978 and I’d been in North London to shoot George Thorogood and the Destroyers and they’d put on such a blinding show that I used up all my film.
It was a bad mistake.
Me and my mate decided to go down the Music Machine to catch the end of Link Wray and Robert Gordon's set - two fabulous gigs in one night! At the end, my mate went backstage to shake their hands, but took ages. I went to see what was keeping him and the first person I bumped into was Sid Vicious. I couldn’t believe I had no film left, at which point my mate elbows me in the ribs and goes, ‘It gets worse, look who’s just walked in behind you’ – and when I turned around there was Bob Dylan himself! The king of punk and America’s greatest singer-songwriter together in this tiny little room in Camden Town – can you imagine how many copies of that shot I could’ve sold? One good thing did come out of it though, and that was noticing just how small Dylan actually is. I mean, this bloke is a hero of mine, always has been, but he’s just a little fella. That moment really helped me with my approach to the job after that because I realised that no matter how big the stars look on screen or on stage, they’re just flesh and blood...'just like everybody else'
The Jam at Towhouse Studio, Shepherds Bush, 1979
What’s the most difficult factor when photographing live music?
There are loads of difficult factors involved in shooting live photography - having flagons of piss thrown at you by bored audience members at heavy metal concerts like Castle Donnington spring to mind. I was the house photographer at Brixton Academy for 10 years, and it would not be uncommon to have a full pint of beer come flying over into the photo pit and exploding all over your camera; at other times it might be somebody's foot kicking into your head on the way back into the mosh pit.
When I started out doing punk bands, I’d run my hand through my hair on leaving the venue and it would be coated in spit.
The Specials at The Hope & Anchor, Islington, 1979
Is there one musician you haven’t shot, who you’d like to?
There are many artists I wished I’d photographed, but THE one, was the greatest performer and guitarist of all time, Jimi Hendrix. I wanted to go to The Isle of Wight festival when I was 14, but my mum wouldn't let me. No-one has or ever will come near. I went to see Jeff Buckley as a punter once at The Astoria and was completely blown away by the way he turned the place into a church...a very spiritual occasion...but in a way I’m glad I didn't take pictures 'cos I appreciated his performance so much more. When you are taking photos you don't notice the performance so much 'cos you are concentrating on getting 'THE' shot.
'When You Hear the Music,Trouble Disappear' is open 20th July - 18th August 2012 at Graffik Gallery, 284 Portobello Road, London, W10 5TE
All images courtesy of Justin Thomas/Graffik Gallery.
Tuesday, 21st Feb 2012
We were excited to hear that Blur have been confirmed as headliners of the Olympic Closing celebrations at Hyde Park, supported by Fred Perry extended family The Specials and the recently reformed New Order.
The concert will take place on Sunday 12th of August, celebrating the best of British music as the 2012 Olympic Games draw to a close. Tickets have just become available HERE