VariousNice Enough To Eat

Label:Island Records – IWPS 6, Island Records – IWPS-6
Vinyl, LP, Compilation
Genre:Rock, Folk, World, & Country
Style:Psychedelic Rock, Prog Rock, Folk


A1Fairport ConventionCajun Woman
ProducerJoe Boyd
A2Mott The HoopleAt The Crossroads
ProducerGuy Stevens
A3Spooky ToothBetter By You, Better Than Me
ProducerJimmy Miller
A4Jethro TullWe Used To Know
ProducerTerry Ellis
ProducerChris Blackwell
Written-ByFraser*, Rodgers*
A6Heavy JellyI Keep Singing That Same Old Song
ProducerGuy Stevens
B1Blodwyn PigSing Me A Song That I Know
ProducerAndy Johns
B2TrafficForty Thousand Headmen
ProducerJimmy Miller
Written-ByCapaldi*, Winwood*
B3Nick DrakeTime Has Told Me
ProducerJoe Boyd
B4King Crimson21st Century Schizoid Man
Written-ByLake*, McDonald*, Giles*, Sinfield*, Fripp*
B5Quintessence (3)Gungamai
Written-ByRothfield*, Bhava*, Shankar*
B6Dr. Strangely StrangeStrangely Strange But Oddly Normal
ProducerJoe Boyd

Companies, etc.



First on cover, second on label.

A1. Warlock Music (from ILPS-9102 Unhalfbricking)
A2. MCPS (from ILPS-9108 Mott The Hoople)
A3. Blue Mountain Music (from ILPS-9107 Spooky Two) - Ceremony: An Electronic Mass is actually ILPS-9107, whereas Spooky Two is ILPS 9098
A4. Chrysalis Music (from ILPS-9103 Stand Up)
A5. Blue Mountain Music (from ILPS-9104 Free)
A6. Maroon Music
B1. Chrysalis Music (from ILPS-9101 Ahead Rings Out)
B2. Island Music (from ILPS-9112 Best Of Traffic)
B3. Warlock Music (from ILPS-9106 Five Leaves Left) - Kip Of The Serenes is actually ILPS-9106, whereas Five Leaves Left is ILPS 9105
B4. E.G. Music (from ILPS-9111 In The Court Of The Crimson King (An Observation By King Crimson))
B5. Blue Mountain Music (from ILPS-9113 Quintessence) - actually from ILPS-9110 Q In Blissful Company
B6. Warlock Music (from ILPS-9105 Kip Of The Serenes) - Kip Of The Serenes is actually ILPS-9106, whereas Five Leaves Left is ILPS 9105

(Not credited on release, track A6 is a stereo remix of the 'Heavy Jelly' single).
Images of 8 of the album covers appear on the back cover, where sleeve artist credit appears bottom-left, together with;
"(Logo) Island Records Ltd.,
Basing Street, London W11"

Pink Island labels.
Nice Enough To Eat has pink rim palm tree labels.
Nice Enough To Eat has blue rim palm tree labels.

Barcode and Other Identifiers

  • Matrix / Runout (Side A runout, variant 1): IWPS + 6 + A2
  • Matrix / Runout (Side B runout, variant 1): IWPS + 6 + B2
  • Matrix / Runout (Side A runout, variant 2): IWPS + 6 + A3
  • Matrix / Runout (Side B runout, variant 2): IWPS + 6 + B3
  • Rights Society: MCPS

Other Versions (5)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Nice Enough To Eat (LP, Sampler, Stereo)Island Records88 519 DYGermany1969
New Submission
Nice Enough To Eat (LP, Compilation)FontanaSTL 251South Africa1969
New Submission
Nice Enough To Eat (LP, Compilation, Sampler)Island Records88 519 DYItaly1970
Nice Enough To Eat (LP, Compilation, Reissue, Sampler)Island RecordsIWPS 6UKUnknown
New Submission
Nice Enough To Eat (LP, Compilation, Reissue)Island RecordsIWPS 6UKUnknown



  • marathon85's avatar
    I really enjoyed listening to this compilation with my wife. We gave most of the songs two thumbs up. The number one reason I searched this record out was due to its inclusion of one of my favorite artists, Nick Drake. And to my surprise, I found this at a thrift shop in Morgantown, WV that had a small vinyl section. Some of the best eight bucks I've ever spent.
    • JohnWDennis's avatar
      I bought this compilation specifically for "I Keep Singing That Same Old Song" by Heavy Jelly, which appears here as a stereo remix. This Orlake pressing on the pink Island label presents it quite well. It is mastered lower than the preceding tracks on Side 1, but I think this was a good idea considering it is a long track at the end of the album side. Just adjust your volume accordingly, and it sounds great. Given what a rowdy track this is, I was expecting quite a bit of inner-groove distortion, but it was not an issue. Yes, the drums are still in the red, but that's just how they were recorded. To me, the telling part is that the other elements of the mix are all pretty clean, and certainly not "swallowed up" by the drums. And don't worry, the drums are still ferocious as always (as they should be).

      I did play it with finer styli (Micro Line and then Special Line Contact), so obviously that helps with inner-groove distortion. However, my copy is only VG. No matter how good your stylus is, it won't fill in information that simply wasn't cut into the original lacquer in the first place or which was cut but then lost from the vinyl record itself due to wear to that specific copy. Finer styli also won't make up for surface noise, but surface noise was not an issue on this track, despite it being cut at a quieter level. Of course, the fact that it is a very full recording helps make it possible to cut it low without a lousy signal-to-noise ratio resulting.

      My copy has runouts ending in A2 and B (just B, no number after it). I recommend this pressing to those who are interested in this release for that track in particular.
      • NoelClive's avatar
        Track B5 Quintessence - Gunga Mai is not on the album 1970 Quintessence.
        It appears on 1969 Nice Enough To Eat, and is found on their earlier album 1969 In Blissful Company.


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