Emily Beaver is a rock photographer who spends much of her time making sure the kids get dosed-up on all things Domino, from Royal Trux to The Last Shadow Puppets and beyond. She has a musical knowledge that is second to none, so was the obvious choice when London's legendary 100 Club decided they needed someone to update the faded pictures of jazz icons that have adorned the walls for so long. Having tracked down some rare photographs, by a process of what she calls "gentle stalking", she has put together a permanent exhibition of live images that anyone with that slightest interest in rock'n'roll history, or indeed cultural history, should see.

Dazed Digital: How did you choose the photos you wanted to exhibit at the 100 Club?
Emily Beaver: I worked behind the bar for three years, and when I saw some beautiful pictures knocking around of the Rolling Stones on stage in 1982, I knew they had to be displayed in some way. The Punk Festival of 1976 was a good place to start, as it's one of the most iconic events in the club's lifetime.

DD: Have you got any favourites amongst the photos exhibited?
EM: They are all favourites. Although I did find it hard to let go of Elaine Constantine's shots from the 60s Northern Soul All-Nighter. They are stunning. And I love the Rolling Stones shots that became the inspiration for the whole thing, taken by Carole Lateman. Jill Furmanovsky also made us an amazing montage of her punk shots. She ripped them up and put them together herself to form a great window in to the late 70s. But you'll have to come down to the club see some of those.

DD: If you could form a band to play the 100 Club what would they be called and what kind of band would they be?
EM: It would be Electro Skiffle featuring Lonnie Donegan. Steve Lomax from the mighty Tokyo Dragons would be Lonnie, obviously.

DD: How do you think new bands shape up against classic rock'n'roll bands from the 60s and 70s?
EM: The quality control department has broken down a little. The freshness and experimentation in rock'n'roll has obviously had to slow down, and the social climate isn't demanding the same level of reinvention as it did then. For me it's all about the 60s, the 50s and the 70s. But it's personal taste. And it's easy to look back and romanticise it. Particularly if you weren't born - the grass is always greener before you were born.

DD: For you, which is the greatest decade in music and why?
EM: The 60s. It started with Skiffle and ended up with Black Sabbath. How can it not be the best? Plus the 60s gave us The Who, so that does it. The Who are always name checked as having played at the 100 Club but for the two gigs they played in April 1964, supporting The Mike Cotton Sound, they were actually billed as The Detours. It seems I have more chance of being in The Detours than finding any stills of them playing at the 100 Club.

DD: Who are the best bands you've ever seen at the 100 Club?
EM: Chuck Berry played at the club a couple of months ago. That was unbelievable! To be standing right next to him like that. It was a really exciting evening for everyone there. Towards the end of his set he invited all the women up on stage with him. Not sure he was ready for that kind of onslaught. I saw him rightfully edging over to a younger cute girl and away from the embarrassing wedding party women. He's still got it.

The 100 Club Picture Show is open to the public on Friday, Saturday and Sunday afternoon this week.