The Island Book of Records project began in 2004. It has developed into a series of hardback, lavishly illustrated volumes which will, when complete, fully document the analogue age of the coolest label on the planet by forensically chronicling all of the albums issued between 1959 – when Chris Blackwell founded the label in Jamaica – until 1989 when it was sold to what is now Universal.

The stories behind the records and the art within which they were (are still) presented is told by those who were actually involved in their making – the musicians, designers, photographers, producers, engineers, record company personnel of the time. The IBoR contains contemporary interviews together with comments from years gone by.

The IBoR is published by Manchester University Press.

Volume 1: 1959-1968

Issued in October (UK)/November 2023 (USA). 392 pages.

… includes Island’s initial Jamaican releases before the company moved to London in 1962 with Chris Blackwell selling 45s to shops out of the boot of his Mini-Cooper, by way of early bluebeat, ska and rocksteady, Millie’s world-wide smash ‘My Boy Lollipop’, the Spencer Davis Group topping the charts with ‘Somebody Help Me’ and label debuts from Jethro Tull (This Was), John Martyn (London Conversation), Spooky Tooth (Its All About), Nirvana (the original duo –The Story Of Simon Simopath), Fairport Convention (What We Did On Our Holidays) and Traffic (Mr Fantasy).

Volume one also includes features on Chris Blackwell’s forebears the Lindo family escaping Torquemada and the Spanish Inquisition and eventually landing in Jamaica, the genius of Guy Stevens and the Sue label, the Berkshire cottage which gave birth to Traffic, the Spencer Davis Group splitting up, CB’s role in Dr. No as well as his first Jamaica-only-released album productions, Steve Winwood becoming the first cornerstone of Island and the formation of Joe Boyd’s Witchseason production company. Plus the most comprehensive discography of 45s and EPs issued during these years ever assembled.

Volume 2: 1969-1970

Publishes November 26 (UK)/March 2025 (USA). 432 pages.

… includes King Crimson’s first recordings, the growth of the Ellis-Wright agency growing into the embryonic Chrysalis label, the move to Basing Street and the opening of the company’s first studios there, the reformed Traffic’s John Barleycorn, Free with Fire And Water which contained their smash 45 ‘Alright Now’ and, the signing of the second cornerstone, Cat Stevens as well as charting new territory with the ground-breaking compilations: You Can All Join In, Nice Enough To Eat and Bumpers.

Features include Nick Drake and photographer Julian Lloyd going walkabout, Paul Samwell-Smith detailing the evolution of Mona Bone Jakon and Tea For The Tillerman via his own studio track-sheets, Traffic’s Chris Wood and his box of tricks (the Gibson Maestro), Brian Cooke talking about the solarisation of The Alan Bown, sampling infancy with musique concrète (Spooky Tooth’s Ceremony), a year on the road with Fairport Convention as well as detailing all of the 45s issued during this period.

Volume 3: 1971-1972

Publishes (approx.) April 2026. 456+ pages.

… continues with a new label design (the pink-rim palm-tree) and includes Cat Stevens cementing his global success with Teaser And The Firecat, the signing of the Bronze and Blue Thumb imprints as well as the birth of the HELP label. Sandy Denny becomes a solo artist, Head Hands & Feet sign for the world ex-USA, Mott The Hoople’s swansong before success came with ‘All The Young Dudes’ on CBS in July 1972, Traffic’s Low Spark Of High Heeled Boys and its corner cut sleeve giving the illusion of a three-dimensional cube, Nick Drake’s second and third albums Bryter Layter and Pink Moon being issued to continued indifference and the soundtrack to the finest Jamaican film of all time The Harder They Come starring Jimmy Cliff.

Jim Capaldi begins his solo career, Emerson Lake and Palmer issue Pictures At An Exhibition (the first HELP album), Sandy Denny releases Sandy while Roxy Music’s epoch-making self-titled first album ushers in a new glam era. Features will include a year on the road and in the studio with Traffic, The Wailers, broke and stranded in London, are loaned enough to get home and make an album, the arrival of Visualeyes, more on Basing St and, of course, all the 45s issued both in the UK and internationally.

Volume 4: 1973-1974

… will detail over 100LPs and will include Bob Marley becoming the third cornerstone as The Wailers’ release Catch A Fire in its specially commissioned cover resembling a Zippo lighter as well as Burnin’, Bryan Ferry strikes out solo with These Foolish Things, Free implode after Heartbreaker, Bob Dylan’s Planet Waves comes to Island from Asylum via a contra-deal for Traffic in the US and there are label debuts from Bad Company and Sparks (Kimono My House) alongside Toots And The Maytals, Peter Cooke and Dudley Moore (Good Evening), Richard and Linda Thompson (I Want To See The Bright Lights Tonight), Jess Roden and Robert Palmer’s Sneakin’ Sally Through The Alley. There’s more from HELP with Fripp and Eno (no pussyfooting), Basil Kirchin and the Soul of Jamaica compilation, with double albums from Uriah Heep (Live!) and Traffic (On The Road). And, of course, all the 45s issued both in the UK and internationally.

Volume 5: 1975-1976

… Swamp Dogg… John Martyn… John Cale…Toots & The Maytals… Jim Capaldi…Manfred Mann… Bad Company… Murray Head… The Jess Roden Band… The Chieftains… Ronnie Lane… Burning Spear… Bob Marley & The Wailers… Jade Warrior… Automatic Man… Roxy Music… more. And, as usual, all the 45s issued both in the UK and internationally.

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Throughout the IBoR, no album is excluded and where known, those which never got issued are also included. Each is fully illustrated to include covers, gatefold and/or inner sleeve, A&B-labels, inner bag or other inserts as well as international edition variants, each with the correct release date annotated.

Album adverts of the time are long-forgotten pieces of art in their own right. Included is every relevant full page + teaser,  ¼ page,  ½ page or double-page advertisement from Melody Maker, NME, Sounds, Record Mirror, Time Out, ZigZag, IT, OZ, Disc and Music Echo, Black Echoes, Record Collector, Q, Blues & Soul, StreetLife, The Face + others as well as the UK edition of Rolling Stone, together with trade ads from Record Retailer and Music Week. Tour and gig ads – many at venues which no longer exist – together with shop posters, concert tickets, magazine front pages and other artefacts and ephemera also feature.

Each volume includes an illustrated discography of 45s covering the pertinent timeframe. We’re also featuring internationally released singles.

The text is drawn from those involved with the making of the music represented. But… now that we’re almost midway through second decade of the 21st century, it is painfully apparent time is not on our side; the last few years have been particularly cruel with some of the giants of contemporary music passing. Logic dictates the chances of the years to come being even more unkind are high.

Therefore, IF the recollections of those who were at the coalface at the time aren’t collected now, they almost certainly never will be. And the sad consequence of that (yes… complacency) will be an irreplaceable span of music history – Island’s legacy, contextually set within its own socio-political milieu – not being preserved, as it should be for future generations.