This photograph of the one, the only Debbie Harry of the infamous punk band Blondie was taken by James Shive on a rainy night at the legendary and now defunct Palladium Theater, New York City, 1978. The image captures Harry at the height of her beauty ~ strong, sensual, and unmistakably iconic. With long, sexy legs and that cool, effortless Blondie allure, Harry embodies the very spirit of punk rock at its peak, a moment in time that’s gone forever but burns on in this image. Shive’s rare ability to shoot live concerts with the intimacy and clarity of a studio portrait gives this photograph its striking power and timelessness. If you were there, then you remember why this period was so special in music’s evolution. Preserved in the Rock & Roll Hall of Fame, Shive’s work is revered for a reason—and this image, available only in large print sizes, is a standout piece for any serious collector.

Shot by James Shive on New Year’s Eve 1981 at Nassau Coliseum, this B & W image of Bruce Springsteen and Clarence Clemons hits with pure rock-and-roll power—capturing the chemistry, brotherhood, and unstoppable energy that would define their 30-year partnership. Taken before Born in the U.S.A. and before the many twists in Bruce’s life and band, this photograph freezes the E Street Band at its raw, iconic core. With over nine dozen sold in signed limited editions, it remains one of the most sought-after Springsteen collector pieces. Now being offeredin a new large format Giclee Print and with Shive’s archive tightly controlled and never mass-produced, this is the Springsteen gift fans dream of—

There was not control of the lighting, you were at the mercy of the lighting folks at the sound board and the sometimes a spotlight. Often times, the low red cans shining down from the rafters were the only dim rays on your subject. You could adjust your exposure, change a lens and hope for a clear path between you and the artist … but there were always obstructions, monitors, mic stands or wires, lots of wires. Sometimes the only way to capture an artist was to move, move to the left or right and when the appropriate access was granted to you, move backstage. A few keys from the piano and a small glimpse of the harmonica are the only clues to know this is the back view of the Piano Man, Billy Joel. Photographed 1975