The story starts with a telephone call one day in 1995, from Paul to Peter. Therein a simple enquiry from Paul as to whether Peter would be interested in creating the artwork for his forthcoming album.

Peter describes how they worked closely on the idea for the visual. Paul provided a list of preferred subjects for the collage elements that Peter and he then deliberated over. Some ideas were put aside; some kept; some discovered. George Best replaced another footballer in the original visual gallery. Peter had a definitive image of John Lennon. The family photos and mod shots are personal reflections. The double-take of Paul as a lad holding Paul as a contemporary is classic Peter Blake imagery, caught by the juxtaposition of photograph and portrait.

In 2002, approaching the creation of an original fine art print for the subject, Peter went back to the finished artwork in his studio and considered the scale and treatment involved. Peter’s friend, printer Brad Faine, was involved from the start and the screenprint expertise that results is a result of that collaboration. The individual finishes applied to certain areas of the finished print are both extraordinary and unique. The original and bespoke nature of the screenprint is self-evident. This is not a reproduction of the album cover art. This is the subject newly addressed by the artist.

Paul Weller received a finished print of the edition recently with a personal dedication attached from his friend, the artist. It is definitely worth looking at the art in the musical context.

In his time, Paul has formed and split up two very successful groups, The Jam and The Style Council. As a solo artist, his career continues to gather pace as the sales of his last album, ‘Days Of Speed’, proved. ‘Stanley Road’ will, however, always be something special, musically and visually, not just for its million and more sales. The great effect of Paul’s solo work has seen him draw on the best qualities of his former bands, combined with an increasing and impressive musical depth. Talking about ‘Broken Stones’, one song on ‘Stanley Road’, Paul tells Watch Magazine,’. it’s got a great feel about it. I think it really connects with people. They relate to it for their own reasons but it has a universal feel about it.’ On the song, ‘Wings Of Speed’, he recalls, ‘The song was inspired by a painting called ‘The Lady Of Shallot’ by John Waterhouse, which I saw at The Tate’. We can see all of this now in the artwork.

The elements that influenced the music become the components of the collage. Paul and Peter are working in the most complementary way possible. ‘It’s about using your influences and taking them elsewhere’ says Paul. Great minds truly think alike. The original screenprint of ‘Stanley Road’ is an investment opportunity that captures that illuminating collaboration completely.