In this introductory episode of U2-Y, we trace Steve's relationship with U2 back to it's origins.

We also explore how before there was any notion of Steve doing design-work for the band, he was given a simple task; to come up with a name for the burgeoning post-punk band known then as, 'The Hype'.

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In the second episode of U2-Y, we explore Steve's initial design work with the band, paving the way for their debut LP, Boy.

The bold and effective sleeve for 'Boy' was widely praised for it's minimalism and neo-classicism, but was not without some controversy ..

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In the 3rd episode of U2-Y, we focus on the difficult second LP, 'October'.

This record, both from a sonic and visual point of view, has become the least celebrated of all U2's releases, notably by the band themselves.

However, this record is hugely important in establishing U2's honourable desire for creative control and the important of sticking to your guns.

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In the 4th episode of U2-Y, we discuss the album that closes the first trilogy of releases.

'War', released in 1983, was a highly respected record, with the design work itself netting Steve a Music Week award, much to his surprise.

We discuss how the record that gave us the iconic and potent track, 'Sunday Bloody Sunday', drew its influences from war photography, propaganda and newsprint iconography.

We also discuss the link back to the debut album and how the 'Boy' featured on one sleeve, who was once representing innocence, is now a symbol of tragedy.

This would also be the first time Steve would work with the great Anton Corbijn.

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As U2 forge a hugely successful creative-partnership with production duo Brian Eno and Daniel Lanois on The Unforgettable Fire, the sleeve for the fourth LP brings a set of challenges.

The result is a much-loved album cover created in the 11th hour, bringing along with it some controversy and lessons learned.

We also discover how The Unforgettable Fire would lay the foundations for what would be their biggest breakthrough record (The Joshua Tree), and how some confusion amongst printers as to what colour 'magenta' actually was.

As big a record as The UF was, it ultimately was still the calm before the storm.

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We're taking a short break this week, but found something very interesting in Steve's archive and are briefly revisiting the night of March 4th 1978 ..

Normal service resumes next week.

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In 1986, a small crew embarked on a three day journey across the stunning landscape in the deserts of California.

This was the photoshoot for the upcoming 5th album from U2, then known by its working title of 'The Two Americas'.

The Joshua Tree would eclipse everything that came before it. It would become a critically acclaimed and top selling cultural touchstone that still looms large today.

With plenty to analyse in the cinematic design and iconic art direction for the sleeve, we come to realise that the personal stories of that journey were as important as the work carried out afterwards.

Next week we will publish a conversation from 2017 between Steve Averill and Marc Coleman, former U2 assistant, about their shared memories of being in the desert with U2 in 1986.

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Steve Averill and Marc Coleman in conversation in 2017 about their trip to Death Valley in 1986 to shoot the iconic cover sleeve for The Joshua Tree with photographer Anton Corbijn.

Steve and Marc add a beautiful and personal touch to the story of the great voyage to the inspiring landscape of Western USA.

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