Top Ten 4AD Covers, What's Yours?

A reader got in touch with me recently and asked me to do a feature on my top 4AD cover designs (Thanks Ar Ti).

The late seventies and early eighties independent music labels became renowned for their artwork. Of course 4AD, along with Factory, became synonymous for a label identity created through their cover art. All art is so very subjective. I did a blog entry on my favourite 4AD albums, but I'm sure there were many people that scratched their heads wondering why I picked what I did. I think visual art is even more subjective and opinion seemingly more open to ridicule. Nevertheless, I know what I like and why. My opinion has been asked for so I shall give it.

It is my opinion though which tends to cause some arguments. I have always had an issue between the lines of art and function or art and business. The past couple of decades have seen very clever people in business using clever strategy to sell something as art, that basically isn't art at all. Many of us are drawn to limited numbers, a special opportunity to experience something that only the appreciative will get to experience, but marketing anything as limited doesn't make it an instant collectible. Limited edition Mars bar anyone? In a similar way, just because something is marketed as art, doesn't make it art in my opinion. Designers are the problem. That half way house where an artist uses their talent to spruce up a functional item. While I respect the talent, I think many of these examples are simply not art. If a ceramic artist creates a cup, it's still a cup, no matter how talented the artist is. Selling it as a piece of art is just marketing. A cup is not made to represent any kind of emotional state or to represent the feelings or despair of its maker, it's simply to drink out of. A car is a functional item and, while it is nice to drive a nice looking car, it's not a work of art. Instead it is an object that has had the food budget of a third world country spent on it just to get potential buyers to go weak at the knees at the sight of it rolling around the streets of an eerily deserted city road.

The music industry is where sonic art meets visual art and a greater clash between representation and pure marketing uncomfortably meet. There's a blurred line between music made purely for commerce, cleverly marketed and packaged as the "real deal" against music made by artists that primarily make music to express themselves. My opinion is that designers for labels such as Factory and 4AD, although true artists, inadvertently helped blur the lines between function and art. For me album design is just on the right side of art, like a beautiful piece of painting on the side of a cup. The cup isn't neccasirly art, but the painting is. It doesn't matter how much artistic talent a designer has, if their work is poured into a functional item, for me the item doesn't become art.

But then I am an over opinionated walrus!!!

I've always loved the visual side of collecting music. I was always in awe of Roger Dean's designs in the seventies of strange other worlds on his Yes album covers. There was nothing better than sitting listening to Budgie's Never Turn Your Back On A Friend while studying the gorgeous full colour gatefold sleeve

I always thought that the Cocteau Twins cover design for Love's Easy Tears was very similar to Pink Floyd's Meddle

Anyway, onto my top ten 4AD covers, in no particular order, let's get on with it...


1 - Birthday Party - Junkyard

You may think that I would completely bow down to 23 Envelope but thats not true. I don't care for popular opinion or trend of thought. Just because I love much of what 4AD produced, there is no rulebook that says I have to be elitist in my personal taste.

This picture was created by an artist called Ed Roth who was a custom car designer and builder who put his talents into cartoons and illustrations. His character Rat Fink (with the gun) was a sort of alternative Mickey Mouse. I think that this cartoon represents the music perfectly, tight and structured while on the verge of chaos and both simultanious implosion and explosion.

2 - Dead Can Dance - Aion poster

Not the actual cover, but the UK tour poster. I like the actual cover of the album itself which is a very small part of the Garden Of Earthy Delights by Hieronymus Bosch. The poster covers the tour around the UK for the Aion album, a tour I had a chance to witness but regrettably I didn't go to. The tour poster is probably my favourite peice of 4AD artwork and looks fantastic framed and displayed. The quality of the colour and print is remarkable and must have cost a sweet sum to have had printed. If you ever get a chance to purchase this, you won't be disappointed. Of course the album is amazing too and featured in my Top 10 4AD Albums list (in fact, a lot do, so am I biased towards the sleeve design).

3 - Dead Can Dance - Within The Realm of a Dying Sun

This cover always reminds me of Joy Division's Closer album cover in a small way. It's a step between life and death as the figure almost looks like an actual person cloaked and not an actual statue in a graveyard. The cover's photograph was taken in Paris, at the Père-Lachaise cemetery. It features the grave of the politician Raspail. Can you get more gothic than this and could the music be anymore gothic as well. Another fine example of the cover reflecting the mood of the music therein.

4 - Colourbox - Baby I love You So

I'm a sucker for reds. I know nothing about the images on this release, I just love the feel of the image. Very velvety. Let's hope that somewhere out there, there exists a poster for this. For me the font and text are irrelevant. "Sacriledge!" I hear you scream, but this is where function has to be performed for me. This would be even better without the text, yet maybe the 45 in the centre I would let stay. Don't get me wrong, the choice and style of font and the presentation of text is amazing, but it is functional in my opinion and would be better without it. But needs must as the devil grinds the marketing wheel. Still an amazing cover though

5 - Le Mystere Des Voix Bulgares - Le Mystere Des Voix Bulgares

Used for the background of this blog. Reminds me of a drowned former glamourous life like a memory on a sea floor of some luxury liner. I wouldn't say the music is as atmospheric as the cover suggests, perhaps one small example of where the cover doesn't always accurately reflect the music within. I love the music on this album, but Bulgarian folk music can be quite harsh and beautiful at the same time, something not really reflected here. Still as a piece of artwork stood alone, it's a magical piece of photography.

6 - Pixies - Doolittle

The original UK release of Doolittle came as such a great package. A plastic bag with the cover printed on it, a full colour 12" 16 page booklet and an inner sleeve. Also 4AD sold a set of postcards with the artwork from the booklet. This is a full art set, an amazing collection of photography reflecting the songs of the album. The graphical element added to the overall look of the artwork and fits the metronomic feel of the songs. The images fit so well with the music on the album, even if the cover is overtly obvious with it's interpretation of the song Monkey Gone To Heaven, the artworks only negative reflection.

7- Coctea Twins - Treasure

Maybe it's because V23 liked to reflect the music in their covers that I like a lot of the covers for Cocteau Twins releases. I like the music and the covers reflect the music, so it should go that I like the covers as well.

This cover for me is very gothic. Hints of the Victorian and a melancholic wedding. The use of material gives you a reminder to your senses of something that you have have touched before and felt in your fingers, material that feels soft to the skin but coarse between a finger and thumb. Eerie and beautiful, it looks almost derelict, decaying. Incredible gothic beauty


8 - Cocteau Twins - The Spangle Maker

Victiorialand would be included in my top ten except for the beige surround which ruins the cover. But The Spangle Maker is a beautiful piece of work.

The original UK release came with an embossed sleeve where the frame was slightly raised around the photograph by Gertrude Käsebier called The Crystal Gazer. Once again that Victorian feel blends with the gothic feel of the music and the blurred, distorted edges reflect the wash of effects used on the Cocteau Twins signature guitar sound. There are no fonts and text needed here. The tour poster is quite an incredible piece as well.

9- Cocteau Twins - Head over heels & Sunburst and Snowblind

Head Over Heels along with Sunburst and Snowblind is just the most brilliant photography. Nigel Grierson did some of the most unusual things to get shots like these. The high quality and sharpness in the variation of colour is just breathtaking. The photos encourage you to not only look deep into the detail and the range of colour, but to look more closely at the every day beauty around us all in the seemingly randomness of patterns in nature, things you wouldn't normally look at closely. A set of posters from these photography sessions looks incredible framed and mounted. I know as I have them in my hallway.

10 - Lush - Scar

The reason I have included the rear sleeve here is because the whole cover (even inside the outer sleeve) is a collective work of art. Once again it reflects the harsh and soft combination of the music. If this is shoegaze, those are some interesting footwear. This was released in an era when computer generated graphics were all the rage and years on look really tacky. But here Vaughan Oliver and Christopher Bigg have resisted the trend and produced something much more timeless.

All comments are welcome, remember these are just my personal choices and opinion, which I have a right to, even if you think my opinion is total tosh. Would love to hear your preferences....

From a time when music was inventive...Bauhaus

Years ago, as a young lad hungry for music, I spent many a year just going to any gig going. When I wrote my Fanzine in 1991-92, I went around the local counties interviewing bands and seeing concerts. Then when I joined a band and did gigs around the country, I inevitably saw a lot of other bands also doing the same thing. Then on top of that, going out nearly every weekend and then several times a week, meant seeing a lots of bands that just happened to be on.

Unfortunately, I would say in my humble opinion, that the vast majority of bands I saw were somewhere between OK and terrible. On the rare occasion that there was something that had potential or promise, they were never seen again. For me the early nineties were a turning point in music, where popularity started to mean more than originality in music. Even in the marginalised gothic culture that I was heavily into, anyone who thought the big goth four were just ok (Mission, Sisters, Nephilim, Rosetta Stone) and preferred more of the diversity of the culture, were even marginalised within a marginalised culture. Where goth music had sprouted out from the roots of punk, by the early '90's it had drifted heavily into standard stadium rock and the diversity was drastically diminishing. Every band on the scene was trying to either emulate the big four or emulate each other emulating the big four. The only hope at the time was from outside the UK.

So in my older years, I got more picky about what music I went to see. In the yesteryear, before the internet and a million young bands, the only way of finding new music was either taking a chance and buying it or going to copious gigs in the hope of stumbling across something worthwhile. Of course today, anyone can spend an eternity looking for new music on the interweb. There was an interesting statement in this months record collector magazine about how the easy access to music has cheapened it for many of today's youth, to the point that the majority just don't see the worth in music and have very little attention span for it.

In the past fews years I have seen some of the best gigs of my life. I've already gone on before (at great length you may think...sorry) about how good Dead Can Dance are live, or even better a Lisa Gerrard gig. But this week I went to a gig that really blew me away. Peter Murphy is currently doing a world tour, playing only Bauhaus music. I saw the first leg of the UK part of the tour this weekend and I have to say it was one of the best gigs I have ever seen. I came out it thinking about how privileged I am to be able to listen and witness the kind of music I am exposed to at the moment. I was too young to have seen Bauhaus when they were a live act, so be able to just grab a snippet of that experience before either I or the creators of this music pass away has been a rare honour indeed and one that I would encourage anyone to see before the tour is over.



What also struck me about the gig and has also been the elements that I found the most fascinating about goth music when I first got into it, were the strong combinations of drums and bass. Bauhaus' music was built on this combination, with everything else being an additional flavouring on the top. Today the bass guitar seems a forgotten instrument, unfortunately. My love of Joy Division and The Cure also had this same element, where the bass accompanied by some skilful and diverse drumming patterns, makes the music so powerful and strong, that the additional of a guitar or keyboard becomes almost an afterthought. The rhythms punched out at the Peter Murphy gig from the songs Dark Entries, Stigmata Martyr, In the Flat Field and Kick In The Eye were so powerful and strong it kicked the audience into a frenzy. These songs are over 30 years old now and still there is nothing like it around. I couldn't help but think how the younger generation are missing out on such music as there was practically no-one under 35 years old at the gig.


So just in case you are under 35 years old and starting out in a band, for goodness sake, give this stuff a listen, the world needs more music like this.


Then send me a copy of it please.
If you have the chance, go and see Peter Murphy on his tour. http://www.petermurphy.info/pmlive.html


The one surprise song from the set was a cover of Dead Can Dance's Severance, which wasn't done that well, but then I would think that Dead Can Dance wouldn't do a Bauhaus song very well either.


Just a quick message to TinyPie that I have seen your comment. There seems to be yet another version of the Bauhaus single Dark Entries which TinyPie has found, so that would bring the tally up to eight versions, will this end I ask myself while pulling the remainder of my hair out! I will get this added soon. Thanks again to you all for reading, let me know if you have seen Peter Murphy on this tour and let me know your thoughts

Peppermint Pig - Pigging Mint

Keeping on the same track as my previous submission by staying with the Cocteau Twins, I've recently collected all of the release versions of their single/EP Peppermint Pig. Although of course, this is everything I've discovered so far of of Peppermint Pig, who knows how many other versions I may find lying around the corner.

It seems the Cocteau Twins were not very happy at all with this release. As usual, there's a good write up of the history of Peppermint Pig on the Cocteau Twins Fan Site. This was the first and only time the Cocteau Twins used an outside producer, Ian Rankin of the Associates. The result was a release that the band were not happy with and didn't represent what the Cocteau Twins intended. So before I go through the releases, I'll try and explain how a producer can make, or completely arse up, a release.

An artist or a band put together a song either in the studio, on the road or by purposely sitting down and composing closed off from the outside world. If not composed in a studio, songs will be a deliberate or experimental process not generally driven by anyone outside. In other words, what makes that artist or band have a particular style is defined through that process and not mixed up by the influence of another interfering artist. Sometimes, when a song is composed, it helps when recording that song to have another artist with another set of ideas to help push the artist or band to embrace a slightly different approach. Although not an additional member of the band or a co-composer, this extra artist can take the raw recording of a song and add or remove elements, direct the recording process in a certain way, or even re-arrange a song completely. This is what a producer is, adding an extra element of style or influence on the final production of a song.

This works well when the producer chosen "gets" the music or understands the focus and intention of the artist(s) and the vibe the artist(s) is trying to attain. A producer can make or break a record. When Joy Division recorded their debut album Unknown Pleasures, it was the producer Martin Hannet that heard what made Joy Division different to other punk bands and made that record have the iconic and distinct sound that it had. Joy Divisions songs were unique, but is was the production of the album that highlighted that difference and made it stand out from the crowd.

This nearly always creates friction and frustration from the artist or band. In the case of Joy Division, they didn't like Unknown Pleasures at first as they felt it didn't sound like them at all and Martin Hannett was a difficult, moody and bad tempered producer to work with. But Joy Division couldn't argue with how the production had added an extra definitive element to their songs.

The real problem comes when the producer just doesn't get what the band or artist is trying to do. And I think this was the case with Peppermint Pig, to the point that Cocteau Twins never let an external producer work with their recordings again.

So onto the Peppermint Pig release versions.

I'm showing eight in the picture below. Two of these are postcards and not the actual releases. One is also the CD version, that although was released in 1991 and so not released in the first decade, I've included as a useful record of when Peppermint Pig was released on CD.

These are the fronts of the releases, numbered for reference as follows :

(1) Netherlands 12"
(2) German 12"
(3) UK 12"
(4) UK 7"
(5) Netherlands 7"
(6) French Postcard
(7) Postcard from UK Set
(8) UK CD

These are the rear sleeves. Notice that all the rear photo's on the back are upside down except for the Netherlands 7".

(1) First up then the Netherlands 12" - 4AD - 151.109 - Released in 1983

This has a distinct Label code 151.109 in the top right corner of the front sleeve.

The rear of the sleeve has the Netherlands code, the 4AD logo and a 23 Envelope logo in the bottom centre

The "Grass" label is the same as the UK version

The none picture label has the Netherlands code printed at the bottom

(2) Next up is the German 12" release. Intercord - INT 125.209 - Released in 1983

This has a large pink banner across the top of both the front and rear sleeves. While the UK and Netherlands 12"s sleeves are made of card, the German release is thin paper and quite obviously different in thickness by feel.

The rear of the sleeve has a different set of label text at the bottom centre and an LC1109 printed in the bottom right

The labels aren't the 4AD labels, but blue Intercord labels. There are only 2 tracks on this version as opposed to three tracks on the other 12"s.

(3) Next is the UK 12" on 4AD - BAD 303 - Released in 1983

The front cover is just the picture with no other catalogue number printed

The rear just has the 4AD and 23 envelope logo's and no other print over the photo at the bottom of the sleeve. The labels have a "grass" label on the one side, then a 4AD printed label on the other side, slightly different to the Netherlands version.

(4) UK 7" on 4AD - AD303 - Released in 1983

The 7" is practically a miniature version of the UK 12" as you would expect, except for the inclusion of the catalogue number at the top of the rear sleeve - AD303. Why this is on the 7" and wasn't put on the 12" I have no idea.

The labels on one side has "Dry Ground" picture on it with the other side having the catalogue and track details

(5) The Netherlands 7" on 4AD - 145.033 - Released in 1983

The 7" single is similar to the Netherlands 12" version, with the catalogue number in the top right of the front cover. This same catalogue number is on the top right of the rear sleeve as well. The bottom centre is slightly different on the rear sleeve as below. The big difference to all the other versions is that the rear photo is actually the right side up, unlike every other version

The labels are similar to the UK version with one side being the "Dry Ground" picture and the other having the Netherlands catalogue number printed on it.

(6) French Postcard - CC 607

I don't know how legitimate this postcard is, but it has it's own catalogue number (which proves little I know). So I don't know if it was included with a release or was a separate promotional item. The print down the centre says "Delta Editions Imprime en France - Tous droits reserves"

(7) UK Postcard - From 23 envelope set PAD 23 - Released in 1986

Landscape version of just the photograph from the Peppermint Pig cover. No band logo or writing on the front. Postcard No 1 in a series of 12

(8) UK CD 4AD - BAD 303 CD - Re-released in 1991

I wouldn't normally include anything outside of the first decade. But this was the only time the Peppermint Pig single was released as a single on CD. It was released as part of a singles box set and separately as well. This included both the 12" extended version and the 7" version of the title track, so had 4 tracks on it. The front sleeve is as plain as the UK 12" and 7" versions, but the inside fold of the sleeve has the photo upside down the same as all but the Netherlands 7".

So there is the list so far. I'm certainly not saying that this is definitive, there may well be more to come. But as yet I haven't seen anything else. There maybe a poster, although I haven't discovered one yet. There may also be a French release that goes with that postcard, if that postcard is genuine. Of course there will be somewhere, test pressings for these releases, if they haven't been destroyed. But I will keep my eye out for any items missing

No-one has yet claimed the Cocteau Twins- Garlands album I was giving away last month. Is there no-one that wants it??? Surely not. If you want a genuine, free, debut vinyl album of The Cocteau Twins Garlands, then send me (Jonny Halfhead) a message on Facebook telling me why I should give this away to you. No catch, free postage, just take it off my hands.

Thanks for reading and let me know if I have missed a release, or even get in touch and have a boast if you have all of these already. Ta ta!

ADDITIONAL : 15th May 2016 - This is a typical example of the fluidity that will be required from this blog. I have found another addition to this list. The US CD single on Capitol. This is actually outside of the first ten years as it was released in 1991 in the same year as the UK CD single.

This came in a full size jewel case, instead of the thin single jewel case for the UK CD single. This was also part of a US box set and sold separately

Anyhow, the US version is different from the UK version

(9) US CD Capitol - C2-15767 - Re-released in 1991

The back sleeve has the Capitol logo as well as the 4AD Logo. If there are any other editions discovered I will add them as well.

A Lifetime of Music in Ten Albums

The hardest thing for any serious music fan to do, is to give any sort of favourite band, song, album etc. But it’s also loads of fun. So I decided to compile what is one of the hardest things to compile, a top ten album list.

Of course, this list is likely to change on a daily basis. But I’ve tried to be as subjective as possible. So this is a list of albums that I have always thought to be sheer brilliance. Also, I have included only albums where there isn’t a single track that lets the whole album down. With one exception. The only order they are in is by release year.

And the relevance to this blog I hear you ask? Well, two out of the ten are 4AD. That may not seem much, but out of hundreds of albums that have been the soundtrack to my life, it is quite incredible that two are from the same independent label.

Budgie - Never Turn Your Back on a Friend



Apart from the Roger Dean gatefold cover, this was is an incredible album. A clean and crisp recording, the whole album is like a set of sessions rather than an over produced set of layered tracks. All the songs seam natural on this album. The song lengths reflect where they should go and for how long they should go on for and not a second too long or short. So it has a mix of quick hard rock anthems and thoughtful journeys that don’t over indulge. They never did it again as good as this.

Mike Oldfield - Ommadawn



This is the one exception to the rule. A perfect album, with an awful twist at the end. A vocal track about about the joys of riding your horse. Apart from this terrible little ditty, the album is magical. The album has two tracks, where as usual Mr Oldfield plays thousands of instruments. The magic though is in the play of styles that runs through the songs. This is a mixture of classical, folk, medieval, tribal, all rolled together seamlessly as though he’s asking “how else would it sound?”. It’s also modest and not loud and brash. It takes genius to get that balance.

Joy Division - Closer



I was listening to this album quite a lot before I knew of it’s significant back story. One of the most Gothic albums ever made, but don’t dare ever say that. I love the schizophrenic element to this album, one minute up, the next minute right down to the very bottom. The depth this album reaches is beautiful in it’s darkness and yet manages it without any pretension, just sincerity. Then when you think you have understood the gravity of it’s aura and go on to discover the back story to this album, an even greater depth that you thought wasn’t possible is added.

Shock Therapy - Shock Therapy



An early “Industrial” pop album from the US, it’s raw, honest and at first you don’t notice the depth of the lyrical content. The music mixes the styles of Killing Joke, Alien Sex Fiend and Death Rock with a synthpop edge which would be more akin to the industrial pop bands of the 90’s. Filled with a satisfying mix of catchy riffs and mental conflict, it has a surprising depth which is given an added dimension with the unfortunate circumstances of it’s lead man, Gregory ‘Itchy’ McCormick who died in 2008 aged 44.

Clan of Xymox - Medusa



Not every band are completely original, but some perfect their genre. Clan of Xymox were great in the UK if you were elitist in your musical tastes. The music is very accessible, but by the late 80’s and early 90’s were not in the “it” crowd’s repertoire of music. I was shouting to every DJ in the early 90’s about how good this band were and no-one took me seriously. Now they are the darlings of the underground Goth movement when their music has become dull and predictable. Pieter Nooten is the shining star on the album and Clan of Xymox are the lesser for his absence. Mixes Joy Division, The Cure and Depeche Mode together with almost progressive changes and switches, that stop the songs becoming typically pop structured. Medusa is filled with emotion without going too deep, but deep enough.


The Cure - Disintegration



This was the second in what was to become a trilogy of albums. (Pornography, Disintegration, Bloodflowers). This is a perfect album and considered by many to be The Cure’s best. Very serious, purposefully depressive and fueled by Robert Smith’s drug of choice, it’s glimpse into what may have become of Joy Division in another world of what if. Disintegration also has a rare quality, of making the user slightly annoyed at the more upbeat tracks, but they help unhinge the listener before knocking you straight back down again.

Dead Can Dance - Aion



Dead Can Dance have led an interesting musical journey, from Post Punk debut to almost African jingly janglies on the final album. Aion was the halfway point which perfected a sound before quickly moving on to other styles. Even though it mixes classical, tribal, medieval and rock, it mixes in just the right amounts. Brendan Perry still gets plenty of great bass lines in, and the percussion moves you in a primeval way. Lisa Gerrard’s vocals are not classical, but unique to...well, herself. Many bands have tried to imitate this album but have fallen well short. It’s a fine line to walk to achieve an album like Aion succesfully. Many imitators are either too far on the rock end to be interesting, or too far on the cheesy end of attempting classical music and failing miserably. Dead Can Dance are genius.

Spock’s Beard - Beware of Darkness



Progressive rock is not to everyone’s taste. Some of it is way too over indulgent and on the other end of the spectrum, too boring, rigid and afraid of itself. Since the seventies turned on prog, it was very uncool to do anything other than 4 minute pop or rock songs. During the 90’s, the tide turned and now in the new century most types of music are at least tolerated. Spock’s Beard were not afraid to be out and out prog rock. But they also learned the lessons of the seventies. Although Beware of Darkness is typical of Yes and Gentle Giant, it has little to no pretension and has tongue firmly placed in cheek. It’s a fun album, but incredibly genius and clever and yet remains very accessible. Unfortunately, Spock’s Beard never did it again.

Tea Party - Transmission



It’s all been done before. The Tea Party picked up in the 90’s where Led Zeppelin stopped in 1980. The Tea Party have always leaned heavily on Led Zeppelin, especially with the hint of Indian and middle eastern percussion and strings. But this album has a depth I’m afraid Led Zeppelin never had. A depth even the lead singer Jeff Martin has said he never wants to go back to. The lyrics on Transmission making reference to Huxley, Orwell and Zamyatin, about death and the afterlife, have such depth and power, that you get completely lost in it’s dark waters. While still holding on to the Tea Party blues and the eastern influences, Transmission also mixes in industrial and plenty of keyboards.

The Girl & The Robot - The Beauty of Decay



I try to steer clear of newer albums making a top list, as time does change things when it comes to music. And a list like this usually has longevity as a proof of reckoning. But two recent albums were in close running. The one that didn’t make it was an album called R.E.T.R.O by a band called Mind in a Box. But pipped to the post is this Swedish duo under the moniker of The Girl & The Robot. Synthpop duos have been around for thirty years now. But the female fronted synthpop duo is a difficult variation to master. Eurythmics managed it with the Sweet Dreams album. But it’s rare to get the level of warm vocals mixed with cold minimal synths. The Beauty of Decay is a wonderful album. Dark enough to keep you gripped, warm enough to fall in love with and cold enough to make you shiver. A rare treat and I’m ready for a new album from them!!!


So that’s my top ten albums of all time.

It’s about time some of you readers added some comments. Get a google account and stop me talking rubbish, otherwise I’m likely to think that everyone agrees with every scrap of rubbish I come out with. I would love to read some of your top ten albums.