THE ISLANDER

A memoir of a singular music mogul, his record label, and an era before rock became so corporate.

Early on, Blackwell identifies himself as “a member of the Lucky Sperm Club,” hailing from a mixed aristocratic bloodline reflective of his native Jamaica. Before music even enters the story, he recalls being punched by Errol Flynn and hanging out with Ian Fleming. Both had eyes for the author’s mother (Fleming modeled Pussy Galore on her), and both were partly responsible for popularizing the romantic notion of Jamaica as a unique tourist destination—as would Blackwell and his Island Records via their promotion of reggae music, especially Bob Marley and the Wailers. Writing with Morley, Blackwell chronicles how he straddled the cultures of London and Jamaica and how an indifferent student with few career prospects learned the music business from the ground up—stocking jukeboxes, paying close attention to what was drawing the crowds on Jamaican sound systems, and then delving into the process of recording, producing, and releasing music on his own label. He took his passion for Jamaican music back to England, where the breakthrough R&B/ska hit by teenager Millie Small, “My Boy Lollipop,” helped establish Blackwell as someone who could help emerging talent. The author went on to champion a young Steve Winwood and, later, U2. Though not a musician or studio technician, Blackwell showed a knack for putting people together in settings where magic might happen—and then recognizing it when it did. A wide variety of artists flourished at Island—from Tom Waits to Marianne Faithfull, Robert Palmer to Grace Jones—and Blackwell continued to demonstrate his originality in an increasingly stale industry. Yet Island was caught in the middle—too big to be a true indie, not big enough to compete with the majors—and Blackwell became a casualty of corporate consolidation.

Living well is the best revenge, and the author has lived very well indeed. Highly recommended.