Summary of Articles Re: Island Records- The “Pink Label” Era

July 6, 2015 by Bill Hart

This collects in one place, the various articles, essays and interviews on the Island “pink label” and early “pink rim” era. It will be updated as additional, related pieces are posted, to make it easy for readers to find all articles on the subject in one place on the site.

Further Reading and Reference Materials: The Island “Pink Label” (and early pink rim) Era

Emerson Lake & Palmer -self titled

Cat Stevens- Tea for the Tillerman

Nick Drake- Then and Now (with contributions by Joe Boyd, Drake’s producer and Cally Callomon, who worked at Island in the later years and now manages the Drake legacy)

King Crimson- In the Court of the Crimson King

Traffic – Mr. Fantasy

Blind Faith – self titled (not an Island record but an important part of Winwood’s transitional period, with co-executive producer credit to Mr. Blackwell)

Traffic -John Barleycorn Must Die

Fairport Convention- A Culmination In Three Albums- 1969 (with insights from Joe Boyd, their producer)

Jethro Tull, Stand Up, Island/Chrysalis

Island Records: The “Pink Label” Era (and Early “Pink Rim”)

Previously published:

Free- Tons of Sobs

Power to the People-Back Up Generator

Shortly after the Texas "big freeze" in February 2021, I contacted various vendors of back up generators. Some did not bother to respond, a few came out, ostensibly to give me a quote and I never heard from them again. One vendor did send me a blank form with a very high total price, without completing the cost analysis for running gas lines, electrical wiring and the other things that are "adds" to the cost of the generator itself. I kicked this around for a while-- given the heat in Central Texas during the summer--110F for days on end, we got constant warnings last summer (2023) to reduce power consumption, lest we suffer rolling blackouts. And then there's the fact that Austin really isn't "built" for freezing temperatures. Black ice with no road crews, downed power lines, and demand that teeters off the edge of power failure catastrophe. I do not want to go into the power grid … [Read More...]

Incoming-Know what I mean?

Cannonball Adderley's "Know what I mean? is a warhorse, to be sure,but one that deserves its reputation. I was prompted to explore a few different pressings as a result of a thread on the Hoffman forum: https://forums.stevehoffman.tv/threads/do-you-have-cannonball-adderley-bill-evans-know-what-i-mean-the-best-sounding-vintage-jazz-lp.1175660/ I used to shop these OJCs as bargains back in the day when Tower Records was thriving. They were a solid entry point into some very good sounding jazz--some of it "straight ahead" but well made, taken from analog masters for the most part and did I say cheap? Back in the day, these were bargain records when they were released, and until the more recent surge in prices of older LPs, could be readily found for little money. The recent Craft reissue cut by Kevin Gray has brought renewed attention to the record. I thought it might be fun to do a … [Read More...]

We’re Back!

We’re Back! Some fresh content for your consideration. Neil Antin did some modest updates to his seminal book on Precision Aqueous Cleaning of Vinyl Records. Neil did not regard these changes as a “new version” so the download is now 3.1 with a “Record of Changes” at the end. I’ve talked to Peter Ulrich, the drummer from Dead Can Dance a few times over the years because I was fascinated by the group. They hit it big in audiophile circles with “Into the Labyrinth” which became a “demo” record with the MoFi release. I got that, but also sought out an original 4AD pressing, and as I delved into their music, bought more original copies- they were not crazy expensive at the time. When Peter told me he was doing a book on the history of his involvement with the band, I was eager to read it. It offers some great insight into a period when this band was inventing new sounds in the post-punk … [Read More...]

Drumming with Dead Can Dance: and Parallel Adventures- Peter Ulrich

Drumming with Dead Can Dance: and Parallel Adventures Peter Ulrich I didn’t really get on to Dead Can Dance until “Into the Labyrinth,” their most popular LP that made the audiophile rounds here in the States. 4AD, their label, wasn’t well distributed in the US when the band was first developing, it wasn’t exactly mainstream stuff here, even in the audiophile community. Yet the band had a following, starting in Australia, where Lisa Gerrard and Brendan Perry had a band and moved to a council flat in London where the two met our narrator, a soon to be jobless publicist for a theatrical/live show venue. Ulrich had the time, interest, musical background, and chops as a drummer to become part of their band. So we get the story of DCD from the outset of their adventures in England, playing local venues and developing a following. The scene was a sort of post-punk, … [Read More...]

There Is No “Magic Bullet” in Hi-Fi

There Is No “Magic Bullet” in Hi-Fi No Magic Solutions I’ve spent some time on the audio chat fora over the years. Many popular threads these days are devoted to cheap improvements that can be made using audiophile “tweaks” or repurposed non-audiophile products. These can be applied to isolate gear, enhance the signals or connections or otherwise address some perceived problem that, once solved, offers to raise the level of music reproduction. It’s like a cheap solution to upgrade your system: from audiophile fuses, special wires (beyond simply having a high-quality interconnect, speaker wire or power cable) and other tweaks, to contact fluids and other things that you can attach to power sources, equipment, or place in the room (bowls, various harmonizers or active resonators, noise harvesters, etc.) This is apart from room treatment, which is sui generis; that is, every situation is … [Read More...]