John Collins – A Producer’s Story

One of the most enigmatic names in the story of 2 Tone, John Collins was drafted in to produce the label’s finest moment, Ghost Town, after Jerry Dammers lauded his production on Victor Romero Evan’s ‘At The Club’. Below is an interview with John plus excerpts from ‘Ghost Town – The Producers Story’ from Johns’ LocalRecords.com website.

What was your background up to 1981, how did you get involved in writing and producing? And why reggae and dub?

I was born in 1950, grew up in Tottenham and had an interest in records from an early age. In the 60’s I had a Saturday job in a record shop in Tottenham High Road which had a special section for West Indian customers, so I got to hear a lot of Jamaican records. Around this time I got a tape recorder for Christmas and started to experiment with my own recordings. I had a basic acoustic guitar that I was learning to play and attached a pick-up and built a volume and tone control circuit from “Practical Electronics”.

In 1969 I went to University College London and graduated in 1972 with a degree in electronics and got a job at a research laboratory in Battersea. I was there for over six years and during that time I continued buying and building equipment and making recordings. I also got married and moved into my own house in Tottenham.

My wife was a teacher at a local school and ran a dance group which consisted of students from West Indian families. I helped out with the sound for performances and got to meet Victor (Romero) Evans and Nat Augustin who were in the dance group and started writing and recording reggae tracks with them.

The laboratory where I worked closed in 1979 and I decided to try being a full time record producer and began putting out records on my own label aiming at the reggae market. There was a network of reggae shops and distributors like Dub Vendor, Third World, Hawkeye, Arawak and Jetstar. I would take the records round myself, they would play one and, if they liked it, they might buy some. If a record started selling you would start getting more orders . Doing this was daunting at first but I got a lot of encouragement and advice. The shops all had sound systems playing the latest hits which helped me keep up with the latest developments in reggae. “At The Club” was recorded and released in 1980.

What did you know of The Specials before working with them and what were your expectations prior to meeting them?

I’d heard all their records on the radio and had seen a TV documentary about them. I even sent a demo tape to 2 Tone after seeing the programme. There seemed to be a lot of black/white cooperation in music at the time with Rock Against Racism and bands like The Specials and UB40. The Specials fans appeared to be mainly teenagers, I was in my late twenties at the time and was listening to records by people like Dennis Brown and Gregory Isaacs. I also had the “Man From Wareika” album by Rico and went to see a couple of his gigs. I was a bit in awe of meeting him and Dick Cuthell.

What did they say they were trying to achieve with the songs particularly Ghost Town?

My understanding was that Ghost Town was about the decline of industry and the rise of unemployment in Coventry and Why? was written in response to a racist attack on Lynval. I think they were writing about what was going on around them, but the main motive was to make a hit record! The decision about which of the three tracks should be the A side was made on which one sounded the best.

How long in total did the Ghost Town sessions last at Woodbine Studios in Leamington?

My recollection is two weeks.

Friday Night, Saturday Morning was made available on a BBC archive CD of Peel Sessions with that session marked as date unknown, but it is a slightly edited version of the one you produced, any idea how the BBC would have this and think it’s one of their sessions?

I do recall being asked to do this radio friendly edit for Chrysalis (cutting “piss stains”) to give to John Peel. This was before the record was released and was on tape. This might explain why it was regarded as a “session”.

Jerry has said that every part of Ghost Town was worked out, that there were little or no rehearsals so to speak, how prepared was the track, and what elements were improvised or found in the studio?

When I had my first meeting with The Specials they were rehearsing in a room in a pub in Coventry and they played the three tracks for me. Rico and Dick weren’t there so there was no brass but all the other musical elements were there. There were no sound effects at the start or end (I added that later during mixdown in Tottenham). Brad was playing his full kit so the drumming was busier than on the record.

During the sessions at Woodbine I remember waiting for Jerry to finish off the lyrics before the vocals could be recorded but this wasn’t a problem. From the outset I got Brad to set up just snare, hi-hat and kick to get a less busy, heavier groove.

Jerry had a home entertainment type organ which was ok for comic cheesy sounds but Woodbine had a Hammond which was just the thing for reggae. I got Jerry to over-dub a two handed organ shuffle on it. It wasn’t what he was used to doing and after a few drop-ins nearly gave up in frustration saying that it felt like the tempo was varying and maybe this wasn’t a good way to work after all. The engineer, John Rivers, checked the tempo with a stop watch and found it to be solid and Jerry carried on, but it nearly all ended there!

The band played and sung right to the end of the track where Jerry played a falling organ figure that sounded a bit like laughing (I left it in on the 12″ edit, just before Rico’s solo). I think Jerry had a fade finish in mind but I did the the dub style ending during mixdown by muting various parts and fading up the sound effect.

Rico’s solo was obviously improvised and laid down on a track alongside the vocals and other parts so this had to be mixed separately, with the unwanted parts muted, and edited into the 12″ version.

Terry’s toast was over-dubbed later in Tottenham as he came up with the idea after the Woodbine sessions.

There have been stories of Terry wanting Friday Night, Saturday Morning to be a vocal and piano only recording but being overridden by Jerry, do you have any knowledge of this, also the demo version of Why? has been doing the rounds on the internet for a while, again was Jerry the one who dictated the direction of the final recorded arrangements etc?

Terry was professional and cooperative but didn’t say very much to me. Friday Night, Saturday Morning was pretty much Jerry’s arrangement. I suggested the descending semi-tones and double tracking on the chorus. I liked this track a lot particularly Terry’s vocal and all the keyboard parts that Jerry played.

The drumming on the internet version of Why? is much busier than on the record for the reasons given earlier. I suggested that the bass line go down rather than up at the end of each phrase. Horace did this but had to tune his E string down a tone to get the low D – I still think it sounds better. It was left up to me to dub up the mix.

Were there any specific musical reference points for the Ghost Town track, either by you or by Dammers & The Specials?

I took a 12″ of “What A Feeling” by Gregory Isaacs to Woodbine to test the sound of the monitors. It’s a Sly and Robbie rhythm similar to Gregory Isaacs’ “Night Nurse”. I think this influenced Brad’s playing, it certainly influenced me in getting the drum sound.. Also I had used the idea of fading up a track through a sound effect on “Lift Off”, the B-side of “At The Club”, and the idea of fading out under a sound effect on “Working Dub”, which I had put out on Local Records previously.

You mention that you left out a toasting recording of Terry, we’re there any other elements tried or recorded that were not used on the finished versions?

Just some congas on Ghost Town.

Much has been made of the tensions within the group at this stage and during these recording sessions, how did it feel for you as an outsider trying to work within that? Did you have dealings with some members more than others? Did you socialise with the band outside the recording sessions?

There were clearly tensions in the band but they were all cooperative and professional with me. I think it helped that they weren’t all in the studio at the same time. I was invited to the pub but as I commuted from Tottenham by car each day I was unable to go. Jerry was my main point of contact with the band – he was the one who phoned me in the first place.

Do you have personal keepsakes from the sessions? any photos or any alternate takes that would get us collectors excited about..?

I did get a signed publicity photo for my cousin’s daughter who was a big Specials fan…

Excerpts from ‘Ghost Town – The Producers Story’ from Johns’ Local Records website.

It started in March 1981 with a phone call from Jerry Dammers. He had heard a reggae record I had made at home in Tottenham, At The Club by Victor Romero Evans, and asked if I would be interested in producing The Specials. Suspicious that it was some sort of joke, I nevertheless agreed to travel up to Coventry a couple of days later to meet the band and was surprised to find that they were serious. They were surprised to find that I was white.

There were clearly tensions in the band, they needed somebody to unite around and they seemed keen to work with me. Jerry was disillusioned with high tech, expensive studios and liked my homemade approach and reggae credentials. He had found a small 8-track studio in Leamington and although it was a step down for The Specials, it was a step up from my 4-track home studio. It was decided to go there to record three songs for the band’s next single. I was given a producer’s contract for 2 points and an advance of Ł1500 which was a good deal for an unknown producer.

And so the experiment began. On the first day in the studio I wanted the rhythm tracks to be recorded: drums, bass, rhythm guitar and guide organ. The Specials usually recorded by all playing together live, but I was used to building a backing track bit by bit. They wouldn’t have all fitted in the studio anyway. I got drummer John Bradbury to set up just his bass drum, snare and hi hat; and bass player Horace Panter to plug directly into the mixer, going for a Sly and Robbie sound. The other songs for the single: Friday Night Saturday Morning and Why? were also begun in the same way.

The drums were mixed down (bounced) to one track (mono) as were the rhythm guitar and shuffle organ, freeing up tracks for more overdubs. The track laying and bouncing continued for a couple of weeks. Time wasn’t a problem, the studio was relatively cheap and I was told by The Specials’ manager, Rick Rogers, to “take as long as it takes”.

When the backing vocals were added it still hadn’t been decided exactly where they would be used so, to keep the options open, I got Jerry, Neville, Lynval and Terry to sing throughout the track – this was before samplers. This turned out to be very useful for the ending; by the time they got to the end of the track, “this town is coming like a ghost town” had become an hypnotic chant.

After the tracks were laid, I spent the following three weeks at my house in Tottenham mixing and editing. I had to get an eight track tape machine to play the multi-track tape but continued to use my home-made equaliser and compressor units along with MicMix Master Room XL-305 spring reverb and DeltaLab DL-4 echo units going through two Teac mixers onto a Teac A3300SX 1/4 inch tape recorder.

Since there was no automated desk, I mixed each section of Ghost Town separately and spliced the sections of 1/4 inch tape together manually. To keep the 7 inch version close to three minutes long I decided to leave Rico’s trombone solo for the 12 inch version. Other things I decided to leave out altogether including a “toasting” (reggae rapping) Terry Hall section – I thought the middle section (“Do you remember the good old days…”) featuring Terry worked brilliantly and for me it was a case of “less is more”.

It was at this stage I sorted out the beginning and end of Ghost Town by using my kit-built Transcendent 2000 synthesiser to make the ghost sound effect at the start of the final mix, fading up The Specials from Brad’s drum count-in and fading down the synthesiser under Jerry’s chromatic diminished chord sequence. At the end, I muted everything apart from bass, drums and backing vocals, dub style, and faded the ghost synth back up just before The Specials come to a halt, leaving the synth on its own again for a few seconds before the final fade.

Click here to visit Johns’ Local Records website at www.localrecords.com

Not that 2 Tone is an especially collectable label, but many releases have maintained a modest market value and some sometimes change hands for exorbitant prices. Here is a selection of some of the more interesting and hard-to-come-by releases on the label.

Nispressings

2 Tone at its peak (’79 – ’81) released 17 singles and all but 2 of them made the national charts. It was not uncommon for singles on the label to reach sales figures in excess of 250,000. Given such numbers it’s maybe not that surprising that there were a few mishaps at the pressing plants. The anomalies and general pressing mistakes which occurred are listed below. The jury is still out on whether incorrect labels should be considered mispressings or misprints. Most collectors seem to identify them as mispressings while typeographic or colour errors are identified as misprints. Although many of these may seem trivial, they do make things interesting for the collector. For the more dedicated fans there are a few minor variations in the layout of various plastic labels pressings, but the following list contains the more obvious and interesting UK releases plus one Dutch pressing of note. As always, we welcome any corrections or additional items not listed.

Gangsters – The Selecter TT1/TT2

The first release on the label has a few mispresses to its credit. Most significantly a Dutch pressing which had completely the wrong track and artist pressed instead of Gangsters. In addition, some UK copies were pressed with the ‘Gangsters’ labels on both sides as well some copies with ‘The Selecter’ labels on both sides. There are also reports of some copies with the labels missing completely.

The Prince CHS TT3

Camden’s finest debut release saw the first of the mysterious blue plastic labels. There have been suggestions that these blue plastic labels are promotional copies, but since to our knowledge, only three other singles have surfaced in this format (On My Radio, Ghost Town & Girlfriend), and in various shades of blue; it does suggested that the pressing plant rather than the promotional department was responsible.

On My Radio CHS TT4

The second single on the label to appear on a blue plastic label. A batch was also pressed with one side grey and the other blue.

A Message to you Rudy CHS TT5

A double A-side on the label but a small number of pressings list both sides incorrectly as ‘Nite Klub’.

Too Much Too Young CHS TT7

Although this was the label’s first EP and is marked on the paper label pressing as such, some paper label pressings omitted this fact. The catalogue number is also displayed within the white section paper label on some of these pressings.

Three Minute Hero CHS TT8

The UK paper label pressings list this as an EP. It appears that they used the previous single’s label as the template for the next single, so this having followed TMTY, it carried the EXTENDED PLAY text, either by error or by mischief. Some copies also have the ‘James Bond’ labels on both sides. It’s also worth noting the change to the ‘James Bond’ writing credits on some pressings. They can alternate between Monty Norman and John Barry. A few of the plastic label pressings commit the cardinal sin of referring to the band as ‘The Selector’.

Lets do Rocksteady CHS TT9

The Bodysnatchers first release for the label is listed incorrectly as ‘People do Rocksteady’ on some of the grey labels. Also the reissue grey labels marked Made in France list the band simply as Bodysnatchers. NOTE. These 2 Tone grey labels, which are marked Made in French, are NOT the French issues of the singles. They are in fact the reissues that were available in the early 80s. All non UK 2 Tone releases were handled directly by Chrysalis. Some of the paper label pressings have the ‘Ruder Than You’ labels on both sides.

Missing Words CHS TT10

The Selecter’s last single for the label was listed as ‘Nissing Words’ on the grey plastic reissue and the writing credit is to N. Davis rather than N. Davies.

Easy Life CHS TT12

Yet another release that appears to have caught the pressing plant totally off-guard, with copies produced with the ‘Easy Life’ labels as well as the ‘Too Experienced’ labels printed on both sides.

Do Nothing CHS TT16

The grey plastic re-issue of The Specials’ penultimate single includes the ‘ Ice Rirk Strirg Sourds’.

Ghost Town CHS TT17

Some paper labels display the catalogue number in the white section of the label. Blue plastic label number three in some cases.

Braggin and trying not to lie CHS TT999

Included with the first issue of More Specials LP as a free single because of lack of space on the album, the single clearly states Free Single Not For Sale. However pressings appeared which failed to include this text.

Sock it To ‘Em J.B.(DUB)/Rat Race (DUB) CHS TT32

It’s difficult to image what could go wrong with this limited pressing, but somehow a small amount were pressed with ‘Sock it To ‘Em J.B.(DUB)’ labels on both sides.

Thanks to Paul Rogers, the ever resourceful Paul Flanagan and ‘Pritch’ from the 2-tone.info forum for their input to this article.

Much has been written about 2 Tone and its ongoing resonance both political and musical. Below we list all of the books/magazines in the archive plus a small selection of some of our favourites…

Although 2 Tone was initially closely identified with Ska, opportunities existed to broaden the label’s musical output. Two bands that almost made it onto the label with their debut singles were UB40 and Dexy’s Midnight Runners, both from the English midland city of Birmingham and both playing a cultural mix of music.

Dexy’s Midnight Runners

Formed in 1978, Dexy’s took their name from the commercially available amphetamine Dexedrine. Dexedrine was one of the favoured drugs of 60s mods and soul boys and was an essential part of any night out. It enabled users to stay awake and kept energy levels at a maximum for ‘All Nighters’, hence the name Dexy’s Midnight Runners.

One of the main instigators behind the band was Kevin Rowland who had previously been vocalist with original punk outfit The Killjoys. He set about recruiting like minded musicians who took inspiration from the sounds of James Brown and Sam and Dave. The band played various pubs and clubs in their native Birmingham and soon came to the attention of the music press. By know 2 Tone-mania was taking a grip of the nation and Dexy’s with their brass driven dance sound were widely rumoured to be the labels next signing. They managed to pick up a slot on the first 2 Tone Tour, replacing Madness who had to leave the tour due to other commitments. According to reports at the time they “kept themselves to themselves” on the tour and rarely mixed with any members of the other bands.

Their sound and indeed image was not a million miles away from the traditional fair and certainly would have made a welcome variation to the labels portfolio, but Kevin Rowland was having none of it, and refused to be part of what he called “anyone else’s movement”. Having turned down 2 Tone the band released their debut single, Dance Stance, on the small Odd Ball label, which was owned by a certain Bernie Rhodes… Although Dance Stance failed to make a major impression on the charts, it did get favourable reviews in the music press mostly via the bands’ association with 2 Tone. Smash Hits in a rather strange review hailed the arrival of “a single by ska’s horniest band”.

Following a few line up changes (including the addition of future member of the Style Council, Mick Talbot) the band continued to release soul-based singles and managed a UK number one with the single Geno, their tribute to soul legend Geno Washington. The song contained the line ‘my bombers, my dexys, my high’ Bombers being a reference to yet another amphetamine pill with the street name Black Bombers. The band also recorded a critically acclaimed album, Searching for the Young Soul Rebels, which contained a small snippet of Rat Race by The Specials, but were soon to adopt an ever changing musical style and image. The band would go from dungarees and banjos to an image that was once described as “the look of a double glazing sales man” with various degrees of success.

UB40

Named after an unemployment benefit card UB40 were formed in 1978 in their native Birmingham. They were not exactly competent musicians at the time, in fact some of the members of the band couldn’t play any instruments at all, but a few months of practice in a cellar of all places soon brought everyone up to scratch. The majority of the band were unemployed at the time so there was plenty of time to practice, so aided by a supply of electricity which they ‘borrowed’ from the premises above the rehearsal room they were soon able to knock out covers of various reggae classics.

The band soon felt confident enough to play small local venues, their first gig was in February 1979 at the ‘Horse & Hounds’ in nearby Kings Heath, and they even managed a session for a local radio station. As luck would have it a certain Mr John Peel heard the broadcast and before the band knew it they were recording a session for national radio, which was broadcast in January 1980. It was during this period that the band picked up support slots for local band The Beat and generated media interest via their loose association with 2 Tone. Although the band played a laid back style of reggae rather than the frenetic ska of 2 Tone, the multicultural make up of the band placed them under the media spotlight.

Shortly before their first recording session, the band were joined by Astro, whose role initially was to encourage the audience to dance, but soon became compere and Toasted over some of the extended tracks, this role in fact was similarly filled by Neville, Roger & Chas in The Specials, The Beat & Madness respectively. UB40 turned to local producer Bob Lamb to supervise their demo recordings.

The band were keen to release a single and signed a deal with local independent label, Graduate. Graduate was run by David & Susan Virr from their record shop in Dudley, and the deal was the the band & label would share royalties 50-50. Why the band didn’t sign with 2 Tone has never been fully explained, all Dammers has said on the matter is “that we missed out signing UB40”, but UB40 subsequently claimed that they were anxious not to be associated with the potentially short lived ska phenomenon.

The debut release was a double A side of King/Food for Thought, with airplay concentrating on the less obviously political Food For Thought, the record met with the public’s approval and reached a very respectable number 4 in the national charts and went on to sell half a million copies. This placing was no doubt aided by the fact that Chrissie Hynde had offered the band a support slot on The Pretenders UK tour which coincided exactly with the singles release.

The band’s follow-up single ‘My Way Of Thinking/I Think It’s Going To Rain Today’, moved away from politics and inevitably led to “sell-out” accusations from some quarters, however it was the groups policy, at least in the early years to alternate between ‘pop’ and ‘message’ songs. The third single ‘The Earth Dies Screaming/Dream A Lie’ was to be their last for Graduate (and oddly includes the inscription DEP! on the run-out grooves), and neither track appeared on their aptly named debut LP, ‘Signing Off’. The album became the biggest selling UK Independent LP to date, reaching No.2 and spending a total of 71 weeks in the charts.

The band severed their relationship with Graduate after the label allegedly tried to omit the anit-apartheid anthem ‘Burden Of Shame’ from the South African release of ‘Singing Off’.

The band left their producer too, and set up their own label DEP International and vowed to release a dub version of their next long player which was ‘Present Arms’. The album was promoted by two singles ‘Don’t Slow Down’ & ‘One In Ten’ which became their only single besides King/Food for Thought not to have a 12″ format release. For many this record marked the end of UB40’s ‘message’ singles, before moving in a lighter pop direction.

Black & White and Gold & Silver

By Paul Rodgers

Despite not being one of the aims of 2 Tone, the label was responsible for several singles and albums which were recognised by the British Phonographic Industry (BPI) for their sales figures. The BPI’s Certified Awards (silver, gold and platinum discs to you and I) are issued for full-price albums to recognise sales of 60,000 (silver), 100,000 (gold) and 300,000 (platinum). For singles, the thresholds were 250,000, 500,000 and 1,000,000 when the label was active. Since 1989 they have been 200,000, 400,000 and 600,000 respectively.

Dealing with the singles first, it is somewhat remarkable that the label’s first single, Gangsters by The Specials, had sold 250,000 copies to go gold by 1 September 1979. Proving this was no fluke, the same sales award was quickly achieved by The Specials with A Message To You Rudy and The Beat’s Tears Of A Clown. It’s worth pointing out that the awards are for sales to retailers not by them. This is most obvious when a record qualifies for an award before (or on the day of) its release. This was the case with Too Much Too Young, giving The Specials their third silver disc from three singles. Too Much Too Young’s award date was 1 January 1980. This was a busy day for 2Tone as A Message To You Rudy and Tears Of A Clown both qualified on the same day.

There was then a quiet period as The Bodysnatchers and The Selecter dominated the release schedule for most of 1980. The next 2 Tone single to receive a silver disc was Do Nothing by The Specials, which was recognised on 1 January 1981.

It’s probably not that big a surprise that the next big 2 Tone single was the next to be recognised. On 1 July 1981 Ghost Town received two awards, going silver and gold on the same day.

At that stage, six of the label’s sixteen singles had gone silver and one had gone gold. It is even more remarkable when you consider that the majority of 2Tone’s releases to that point had been on 7” vinyl only. Granted there were paper and plastic labels for most releases, but Ghost Town was the first 2 Tone single to also be released as a 12” single. All single sales were based on the humble 7”. The label eschewed formats such as picture discs, cassingles, poster bags, double packs et al. Hell, only Too Much Too Young, Do Nothing and Ghost Town had the luxury of a picture sleeve!

To date no other 2 Tone singles have received an award. The reason I say to date is because in the modern digital world there has been an important change in the way awards are made. Originally the record label would have to apply to the BPI for certification . In July 2013 rules changed so that records are automatically certified on reaching sales thresholds. This has meant that the BPI has retrospectively been making awards, often to previously unrecognised titles, based on sales since 1992 (when the Official Chart Company took over compiling the charts in the United Kingdom).

I’ll come to those awards soon, but before that I must deal with the 2 Tone albums which received awards when still on general release.

The first award was to Specials on 15 November 1979 for 60,000 sales. It was declared gold barely a month later on 11 December 1979 for 100,000 sales.

Not to be outdone, Too Much Pressure by the Selecter went silver on 21 February 1980 and gold on 30 May the same year. So the label’s record stood at two gold records from its first two releases as it prepared for the third. More Specials was that third release and it had gone silver by 29 September 1980 and raced to its gold disc by 8 October 1980.

The next 2 Tone album release was the film soundtrack Dance Craze featuring The Specials, The Selecter, The Beat, Madness and The Bodysnatchers who had all been signed to the label and Bad Manners who were associated with the ska revival that 2 Tone had been a major part of and had also featured in the film. Dance Craze was another album that was quick out of the blocks going silver on 9 February 1981 and gold two weeks later, on 25 February 1981.

The next releases on 2 Tone were not so commercially successful. In the case of Rico’s two albums they were arguably not meant or expected to be. The same could not be said for the compilation album This Are 2Tone and the Special AKA’s post Fun Boy Three album In The Studio. None of these albums were certified by the BPI.

In fact ten years passed before the next 2 Tone album that could be called a bona fide commercial success. Singles by The Specials compiled the singles by both line-ups Jerry Dammers put together. Released in August 1991 it went silver on 1 September 1991. It subsequently went gold on 27 April 2001.

That would be that were it not for the revised rules I mentioned earlier. In mid 2013 the BPI began a massive trawl of audited sales figures that have meant that titles that remained available either on CD, vinyl or download at some stage post 1992 could receive awards the labels might not have applied for.

So it was that on 22 July 2013 the Various Artists compilation The Best Of 2 Tone went gold. With these retrospective awards only the highest award is actually made. In theory the album went silver as well at some stage, or would have if 2 Tone still existed to make the application.

So six of the label’s first twelve albums went gold, with sales of more than 100,000.

In addition two EMI issued collections Too Much Too Young (The Gold Collection) by The Specials and Too Much 2 Tone by Various Artists also got awards on 22 July 2013. The former was gold and the latter was silver.

So in summary:

Gold Singles (500,000 sales)

The Specials – Ghost Town

Silver Singles (250,000 sales)

Gold Albums (100,000 sales)

The Specials – Specials
The Selecter – Too Much Pressure
The Specials – More Specials
Various Artists – Dance Craze
The Specials – Singles
Various Artists – The Best Of 2Tone

These awards (and plenty more) can be searched on the BPI’s website: www.bpi.co.uk/certified-awards.aspx

Information on chart placings and chart rules can be found on the Official Chart Company’s website: www.officialcharts.com/chart-rules/

Paul Rodgers