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MRS Authentic Jamaican Calypsos – The Mento Series and their sleeve notes.


Authentic Jamaican Calypsos & All Jamaican Calypsos – Stanley Motta’s 10″ Lp Output

In the 1950s Stanley Motta the early Jamaican record producer, released 5 x 10″ Lps, each a collection of Mento songs and instrumentals previously released only on 78rpm single. Rare and sought after they all host a collection of illuminating sleeve notes, which reflect the perceived exoticism of a Caribbean Island holiday destination to the nascent tourist and the long held traditions of Jamaica’s people in song.

They are indispensable to any collector of early Jamaican recorded music, folk music enthusiast, or lover of the Roots of Ska, Rocksteady and Reggae. Many of the lyrics, themes and songs feature in Jamaican popular culture today and once recognised one cannot ignore Mento’s influence on all styles of Jamaican music that followed because the first recorded Jamaican song was birthed on a Mento 78rpm record, one released by Stanley Motta in 1953.

Sleeve notes . . . 

Sleeve notes can tell the interested party so much about the time, the music and the people making it, that they are offered here for those of you interested in that history, but perhaps unable to get hold of the actual Lps themselves (yet).

Authentic Calypso?

Although labelled as Calypso, this is not, this is Mento, a distinct style and genre of music, related to Calypso, the form mainly of Trinidad, but that of Jamaica. In the 1950s though an audience in the USA who had fallen for the romanticism of Calypso would consume a variety of musics, providing it had the attraction of being called Calypso, hence much Mento has wrongly been attributed to this form. It’s something that annoys those that evangelise the Jamaican style, the peculiarly distinct sound of Mento.

The Series

Numbers 1-4 feature the same cover artwork in a variety of colours, the 5th edition has an entirely different cover and is actually called ‘All Jamaican Calypsos’ though it states ‘Series 5’ on the sleeve and shares catalogue and matrices with the other volumes, BUT different sleeve notes. And finally there was a collection, again with different variant artwork to the first 5 volumes and sleeve notes, released in the U.K. on London International Records. All are pictured below, and the accompanying sleeve notes transposed for volumes 1-4, then for Series 5 and finally for the London International  Record label release. It is thought that the sole London International release may have been part of a deal in exchange for pressing the other 1-4 Authentic Jamaican Calypso series and ‘All Jamaican Calypsos’ 10″ Lps for Jamaican release. Those releases all state ‘Made In England’. The London international release was only ever sold in England as far as I can find out.

Sleeve Notes Vols 1-4

CALYPSO JAMAICA

The visitor to Jamaica can never quite forget the music of the island. He finds himself haunted by the memory of the soft murmur of the trade winds, and the breaking of the blue Caribbean on white sand shores. But more haunting than ever, above the music of nature, is the music of the streets, the endless varied obligato against which the life of Jamaica is lived. It is heard in the plaintive cal of the coconut seller, whose “Jell . . . oooooohhhh … Jell . . . oooohhhh” trumpets through the streets in the cool of the morning as he offers the tangy-sweet liquid of the green nut to thirsty passers-by. There is music in the short barking call of the fishmonger who pushes his squeaky-wheeled wagon or rides his laden bicycle from the flat of the plains to the twisted roads of the hills to bring is sparkling catch–grunts, snappers, jack, cutlass — all the glistening treasure of the deep. It is in the laughter tinged gossiping of the market-place, where broad-accented countrywoman and sophisticated city-bred higher meet to share the latest scandals.

Yes, there is music everywhere in Jamaica. It pulses in the traffic of the streets, where the brazen voices of modern auto horns argue with the sharp sudden accents of the donkey driver; it is in the quiet avenues of the suburbs where modern houses sprawl on cool green grounds; it is in the teeming slums where the crowded population finds expression in laughter, and in the provocative music-story of the island.

Jamaica’s music is the mento and calypso. Calypso is the general term that is applied to the ballad song of the islands, the song that tells a story and nudges laughter or amazement as the mood chooses. This is the fiery, fast sometimes risqué song of the troubadour who finds his inspiration in everyday happenings and spins his melodies and words to both intrigue and entertain the listener. Calypso is generally associated with Trinidad, but is a generic term, common to all the Caribbean islands.

Then there is the music that is peculiarly Jamaican — the mento. This is the specific tempo of the island. The result of the meeting of Afro-Latin influences is a distinctive beat and rhythm in the music of Jamaica that identifies it to the tuned ear. To the foreigner there is little difference, but to the Jamaican, dancing his swivel-hipped measures to the reedy prodding of bamboo flute and guitar, bongo and mambo drums, to the tuned intervals of the marimba box, it is unique, a native tempo that has it’s route through the slave chants, the French quadrille, the Spanish flamenca, the English round, all the polyglot, pulsing beats of the many people who have blended their histories and lives to make the golden people of the Caribbean.

Jamaicans are proud of their music. They are proud because in the distinctive beat of their music lies all their own history. Here is the musical meeting ground of the Chinese, the English, Welsh, Irish, Scots, the Portuguese and Spanish, in fact, all the varied people who are hidden behind the designation “Jamaican.”

In this envelope you will find captured not only the music of the Jamaican, but all of the varied tempos of the Caribbean. They are performed by native musicians, often with handmade native instruments. But always they are played with the rollicking devil-may-care musicianship that comes so naturally to the West Indian. Here you have transfixed in a record, moments of pleasurable memory.
Here you have CALYPSO JAMAICA.

Sleeve Notes Vol 5

CALYPSO JAMAICA

FullSizeRender 16. . . Jamaica’s carefree people have expressed in song all of the throbbing vitality that is so much a part of their country. Their songs are humorous, gay, sometimes happy, sometimes sad, but always enjoyable. It is music with a distinctive character that marks it as unmistakably Jamaican. Its distinctiveness is a combination of the musical dialect of Jamaican speech, the unique sound of native instruments and the subtle rhythm that marks it and separates it from the music of the other West Indian islands. The musical dialect of back country Jamaicans is basically English so interwoven with colloquialisms and the burr of local accents that is is almost unintelligible to anyone not familiar with the island’s speech. It is this distinctive Jamaican accent that gives added interest to the Jamaican calypso. There is also a unique character to the music itself which derives from the hand-made instruments played by calypso troubadours. These are the bambasax, an instrument wrought from bamboo by dextrous native craftsmen, with a bit of wood from a matchbox serving as a reed; the marimba, a deep-toned bass instrument that is just a simple box with bits of metal spring called “reeds” because of their similarity to harmonica reeds, and is normally used in place of the bass fiddle; the chattering marraccas, seed-filled gourds; and a whole family of drums from tiny, tenor bongos to big-voiced congo drums. Bamboo fifes and flutes, bambolins, a violin-like instrument comprised entirely from bamboo, and such conventional instruments as guitars, saxophones, trumpets and bass fiddles add their voices to the song of Jamaica. With voice and instrument, the Jamaican calypso troubadour regales, entertains and amuses, having a wonderful time himself as he brings you . . . CALYPSO JAMAICA.

Sleeve Notes – Authentic Jamaican Calypsos – LONDON International

FullSizeRender 19The visitor to the West Indies awakes to find himself in a tropical paradise — the birds sing and speak, the waters sparkle and laugh in the dancing sunshine, the leaves rustle to the tune of it all: and all is music. The people are happy — they rise with a song and they sing all day, even as they work. The Calypso which is the fold song of the West Indies is the pièce de resistance to this wonderful setting of life and beauty. The Calypso is the crux of it all — its fascinating, pulsating beat and rhythm remain forever in the heart of the visitor stirring up vivid memories of the romance of the West Indies.

No matter where you go among these islands — Jamaica, Barbados, Trinidad, Grenada, Antigua — in any one of the long chain of islands, and irrespective of the language, you will hear the Calypso. It is a common link — the link in this chain of jewelled isles.

The Calypso is a form of minstrel music. The singer, or Calypsonian, cites the chief events of the time, recounts the noble or infamous deeds, as the case may be, of some person past or present. He might sing of the latest scandal or the state o politics. On the other hand, as he frequently does, he might describe some amusing incident in the everyday life of the ordinary person or comically examine the behaviour and habits of domestic and indigenous animals. The Calypso always provokes laughter. it is witty, comic, subtle, ironic. It discusses human relationships in an intimate way, yet it is not vulgar. The spice of the Calypso lies in the ability of the Calypsonian to tell you even about the most intimate things in such veiled, juicy and allegorical language that stirs you, shocks or startles you and yet leaves you to say, “Honi soit qui mal y pense” or otherwise, “Whom the cap fits let him draw the string”.

The Calypso is not only an expression of little doings and things and of great happenings, it is in itself an expression and a manifestation of the local society and tradition and its very interesting historical background and intricate blend of peoples, For once upon a time these islands were the El Dorado of the West — the rendezvouz of the buccaneers, the chosen land of pioneers and the Empire builders and the glorious battlefields of the sea-faring powers, Spices, sugar, tobacco, cotton, cocoa made them prized jewels in the Crowns of Europe, as also did their strategic position as the gateway to the Americas. Thus it was that all manner of people settled upon these islands. The indigenous Amerindians were out-numbered, decimated, and soon practically disappeared. Labour for the plantations was drawn from Africa and India. Descendants of the latter to-day form the great bulk of the population together with large numbers of persons of mixed descent having the spicy complexions drive from fusions of Spanish, French, English, Scottish, Dutch, African, Indian, Portuguese, Chinese and may others who settled there and completely mixed themselves into one solid society. The Calypso is the common denominator of all these cultures.

The pulsating rhythm of the African “tom-tom” blends with the tempo of the Spanish “quarto” and is polished off by the lilting sing-song of the French accent. The old-time Calypsonians or “chant-wells” (note the combination of French and English) used to sing in Patois or broken French. English is now commonly used for Calypso, but with the original exciting accent and intonation. It is written in four-four time, yet very subtly the singer can get in a good many words and syllables to a bar — or very few when he chooses.

Some say, a long time ago slaves on the plantations were not allowed to gossip — so the chanted to the same rhythm as their tom-toms as hey worked. these chants became cities as hey added strange words not understandable by their masters, telling of what was going on, and, in fact gossiping about their masters and the village. When “dancing the cocoa” or cutting the sugar cane or celebrating after work, these ditties became their folk songs. the leader was the “chant-well” later known as the Calypsonian.

The Carnival in Trinidad , celebrated on the two days preceding Ash Wednesday, is a relic of the old Spanish customs. At that time there is universal frolicking, singing and dancing in the streets. All sing the Calypso. The custom has greatly fostered the art of the Calypso. Trinidad’s Carnival and her very cosmopolitan background made her the home of the Calypso. From there it spread to all the other islands — to Jamaica, Barbados, Grenada, etc. And now the world is getting to know of this sweet tantalising, minstrel music.

Summarising?

There are of course gaping holes in the tracery of the slightly amateurish musicology you see reflected in the sleeve notes, and yet some rather good early insights into the links shown in and around the Caribbean and it’s musical trade routes. For me the last set of notes on the purely U.K. only release on London International shows a mildly patronising attitude, awash with the kind of romantic notions that refused to engage with the pain of slavery, African servitude and the serfdom of other indentured ethnicities on the island. It also looks at the music therein from the angle of Calypso, and almost completely ignores the very Jamaican nature of the release, the differences between Mento and Calypso or the individuality of Jamaica.

In short all of the sleeve notes are much better than I would expect from what can be a rather blinkered and one dimensioned western approach to any and all cultural pursuits of non European ethnicity in a then 1950s world.

All the issues talk of the cultural influence of speech patterns, Patois, city hubbub and in mentioning the “chant-well” the notes are harking to the West African Griot praise singing and the very culture that helped give rise to Calypso in particular.

I’m also personally intrigued to find or see and more importantly hear a bambolin!
To my knowledge even with a large Mento collection at my listening disposal, I never have.

©MIKE MURPHY Feb 2019

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JUMPING THE SHUFFLE BLUES – Jamaican Sound System Classics 1946 – 1960


This 3CD collects well over three hours of bona fide sound system classics that were instrumental in shaping Jamaican music as we know it today. Quite who played what first is, like the mystery of the island’s first sound, lost in the mists of time, and in truth,who cares… ‘when music is this nice you gotta play it twice!’

Every tune on the release is known to have been played on a Jamaican Sound System at one time!

Yes every tune on the triple cd release is known to have been played on a Jamaican Sound at some point, and this issue doesn’t just comprise the known massive hits of the time, like Wynonie Harris’ – Bloodshot Eyes, but includes many tunes that took years to track down, tunes that weren’t attributed to their original artistes until people more knowledgable than I discovered them. Some tunes that until this release were more widely known by their sound system nicknames, the self penned titles found on labels where the original titles had been scratched out to prevent other rival Sounds finding out what the hell you were spinning.

Released on the 20th of June.

I recently spent a number of hours in the company of Mr Phil Etgart, one of the World’s most respected collectors of Jamaican music, who compiled and researched for this release, penning the excellent and extensive sleevenotes. You can here the interview I conducted with him at his home in Southern England on the Bigmikeydread Reggae Radio Podcast. This post though is intended to whet your appetite and to alert you to the release of this fine collection.

Essential listening.

This fantastic release charts the Shuffle Blues tunes from the USA that profoundly influenced Jamaican music in the early days of it’s creation and as such is essential listening for any lover, not only of just plain old good music, but in this case records that were without doubt played in Jamaica, by Jamaicans before the island even had it’s first record pressing facility!

The tunes included on the release are as follows:

LOUIS JORDAN    SALT PORK, WEST VIRGINIA
LOUIS JORDAN    REET PETITE AND GONE
JACK McVEA    TWO TIMIN’ BABY
FELIX GROSS    WHAT’S YOUR STYLE, BABY
GENE COY    KILLER DILLER
GENE PHILLIPS    ROCK BOTTOM
JOE LIGGINS    DRIPPERS’ BOOGIE (PART1)
GENE AMMONS    JUGHEAD RAMBLE
KING PERRY    GOIN’ TO CALIFORNIA BLUES
TODD RHODES    PAGE BOY SHUFFLE
CALVIN BOZE    SAFRONIA B
EDDIE CHAMBLEE    EVERY SHUT EYE AIN’T SLEEP
GRIFFIN BROTHERS, THE    RIFFIN’ WITH GRIFFIN
HAROLD LAND ALL STARS, THE    SAN DIEGO BOUNCE
JEWEL KING    3 X 7 = 21
JOE LIGGINS    LITTLE JOE’S BOOGIE
TEDDY BRANNON    MIXIN’ WITH DIXON
T-BONE WALKER    HUSTLE IS ON, THE
ARCHIBALD    STACK-A-LEE (PARTS 1&2)
RAY-O-VACS, THE    MY BABY’S GONE
CHARLIE GONZALEZ    I’M FREE
GRIFFIN BOTHERS, THE (FEATURING MARGIE DAY)    STUBBORN AS A MULE
JACKIE BRENTSON    INDEPENDANT WOMAN
JAMES WAYNE    TEND TO YOUR BUSINESS
JIMMY McCRACKLIN    LOOKING FOR A WOMAN
MARGIE DAY & THE GRIFFIN BROTHERS    BONAPARTE’S RETREAT
WILLIS JACKSON    LATER FOR THE ‘GATOR
WYNONIE HARRIS    BLOODSHOT EYES
ROY BROWN    TRAIN TIME BLUES
ZUZU BOLLIN    WHY DON’T YOU EAT WHERE YOU SLEPT LAST NIGHT
LESTER WILLIAMS    I CAN’T LOSE WITH THE STUFF I USE
BIG JAY McNEELY    BIG JAY SHUFFLE
LOWELL FULSON    GUITAR BOOGIE
ROSCO GORDON    NO MORE DOGGIN’
LITTLE WILLIE LITTLEFIELD    KC LOVIN’ (AKA KANSAS CITY)
LLOYD PRICE    LAWDY MISS CLAWDY
SHIRLEY & LEE    I’M GONE
L’IL SON JACKSON    GET HIGH EVERYBODY
JIMMIE LEE    BLUE AND LONESOME
LYNN HOPE    HOPE, SKIP AND JUMP
PAUL BASCOMB    MUMBLES
ROSCO GORDON    TOO MANY WOMEN
LESTER WILLIAMS    BRAND NEW BABY
DAVE BARTHOLOMEW    COUNTRY GAL
HAL PAIGE    DRIVE IT HOME
AMOS MILBURN    ONE SCOTCH, ONE BOURBON, ONE BEER
SMILEY LEWIS    LITTLE FERNANDEZ
MELVIN DANIELS    NO MORE CRYING ON MY PILLOW
SONNY KNIGHT    BUT OFFICER
JIMMY LIGGINS    DRUNK
FLOYD DIXON    HEY BARTENDER
BB KING    YOU UPSET ME BABY
MIKE GORDON0    WHY DON’T YOU DO RIGHT
EARL CURRY    ONE WHOLE YEAR BABY
EDDIE CHAMBLEE    LA! LA! LA! LADY
CHAMPION JACK DUPREE    DRUNK AGAIN
JIMMY McCRACKLIN    BLUES BLASTERS’ BOOGIE
BILL DOGGETT    QUAKER CITY
SMILEY LEWIS    REAL GONE LOVER
CHARMS, THE    LING, TING, TONG
GENE & EUNICE    KO KO MO
BOP-A-LOOS, THE    SOUTH PARK MAMBO
JOHNNY ACE    PLEDGING MY LOVE
OSCAR McLOLLIE    CONVICTED
LLOYD LAMBERT    HEAVY SUGAR
T-BONE WALKER    T-BONE SHUFFLE
SHIRLEY & LEE    FEEL SO GOOD
BARBIE GAYE    MY BOY LOLLYPOP
CLARENCE ‘FROG MAN’ HENRY    AIN’T GOT NO HOME
SMILEY LEWIS     SOMEDAY (YOU’LL WANT ME)
SONNY KNIGHT    CONFIDENTIAL
ROY WRIGHT    YOU PROMISED
BIG MAYBELLE    I DON’T WANT TO CRY
DONNIE ELBERT    HAVE I SINNED
LARRY WILLIAMS    HIGH SCHOOL DANCE
FATS DOMINO    I’M IN THE MOOD FOR LOVE
DOC BAGBY    DUMPLIN’S
ETTA JAMES    PICK UP, THE
DAVE BARTHOLOMEW    SHUFFLIN’ FOX, THE
BOBBY DAY    OVER AND OVER
DOC BAGBY    YOU’RE SO DELIGHTFUL
LLOYD TROTMAN    TROTTIN’ IN
BIG JAY McNEELY    THERE IS SOMETHING ON YOUR MIND
JOHNNY ADAMS    I WON’T CRY
DONNE ELBERT    WILL YOU EVER BE MINE

… in fact over 80 tracks chart sound system classics on this three cd set.

Go buy your copy for under a Tenner Now!

Message Music – Augustus Pablo – Pressure Sounds


Message Music
Augustus Pablo

Why oh why is the track listing in this order, a weak track and the dub as tracks one and two don’t help this get off to a very good start, and then….. Pablo entering the digikal age…. nice, but not earth shaking overall.

There are some tuf tuff tunes here, none of which I’d ever heard and more than a handful got me rocking to and fro in the shed from which I listen and write, it’s stricly a taste thing though, not a quality thing, so I urge you to check out some sound samples and consider a trip to your friendly online Reggae vendor (Hell all the high street ones are all but gone!). Strictly speaking it’s ‘a make your own mind up deal’, personally it’s a hit and sometimes miss affair, but don’t let me put you off… hell what do I know, beauty is in the eye of the beholder, unless you’re Jordan of course and then beauty is a long forgotten memory doused by a tidal wave of silicon and the faint whiff of desperation….

Due release on 11/7/2011

Here follow the notes from Pressure Sounds for the release thussly sent as promo to the house of Bigmikeydread Reggae Radio and herwithineth shared with thee…. make up your own mind, but I’m listening to it now and if you loikes yer dub, then this one be for you…

In the 70s Augustus Pablo seemed to appear, like a vision from another world. His music was ethereal, evocative, and unique. There has not really been anyone like him, before or since. His music was deeply meditative, conjuring up all sorts of mystical and exotic images, but imbued with the dignity inherent in his Rastafarian faith. He now stands recognized as Jamaican music’s best-known lead instrumentalist.

By the mid 1980s Pablo had become a lot more ‘visible’, a lot less fashionable and a little of his ‘mystique’ had rubbed off. In the 1970s his own music sold in vast quantities for reggae product and he became a mainstay as an instrumentalist session player on many Jamaican recordings. In tandem with this session work he built a unique catalogue of music for a variety of his own labels such as Rockers, Rockers International, Message and Yard. ‘Message Music’ deals with Pablo’s instrumentals and dubs from around the mid-80s to the 90s as we think it is time to present a re-examination of this slightly overlooked period of his musical output.

As a creator of instrumental music he was often at odds with the spirit of the times, which was for the most part dominated by the sound and agenda of the Jamaican dancehall. That scene did not really suit ethereal instrumentals. Pablo, ever the individual, kept his own productions alive by producing roots vocalists and getting to grips with the new sounds at his disposal. He still played melodica when he felt the inspiration and on tracks such as ‘Missing Link’ and ‘Credential’ are superb ‘digital’ instrumentals. His dubs and and versions where stripped down mixes of his work with vocalists such as Yami Bolo, Junior Delgado and Willie Williams.

Dubs on this set such as ‘Revolution Dub’ the version of Delgado’s song ‘Forward Revolution’ deliver all the sonic force of Pablo’s classic 70s output. The Willie Williams song ‘Credential’ has one of Pablo’s great late period melodica instrumentals on the same rhythm. ‘Credential Instrumental’ is full of feeling and laid back blowing in that classic Pablo style so associated with his best music. Other dubs such as ‘A Java’ and ‘Butter Pon Dem Mouth’ are both re-workings of Pablo’s classic ‘Java’ instrumental. Digital in the best sense of the word. Both versions now back in demand with a younger audience possibly to young to remember the original!!

In essence this album is about an artist coming to terms with the digital or electronic age and still managing to maintain the main ingredient of what his music was all about. With the passing of time it’s time to recheck Pablo’s digital output and learn how he kept alive the inherent ‘message’ in his music. His musical spirit was second to none. A mighty artist and one of the few genuinely original instrumentalists to have emerged since the last golden age of jazz; he kept his musical legacy intact without resorting to gimmicks or becoming lost in what was undoubtedly a difficult time for him as an artist.

We have some rare Pablo photographs from David Corio as well as photographs from the Rockers International archive. Sleevenotes by Pete Holdsworth with 16 tracks spread over a superbly packaged cd or a double vinyl make this an essential album. There will also be 3 beautifully presented 45s taken from the album all especially re-mastered in custom made sleeves. The b sides from the 45s will not be on the album.

Classic music from one of the true greats of Jamaican Instrumental music.

No one who ever met this humble yet diffident character could ever doubt he was the ‘real thing’. He passed in May of 1999 but his music lives on.

TUNES ARE

A Java Instrumental (Version) – Augustus Pablo
Butter Pon Dem Mouth Version – Augustus Pablo
Ammagiddeon Dub – Augustus Pablo
Missing Link – Augustus Pablo
Missing Link Dub – Augustus Pablo
Credential Instrumental – Augustus Pablo
Culture Rule Dub – Rockers International Band
War Dub – Pablo All Stars
Run Come Yah Version – Augustus Pablo
Kidd Lane Specially – Augustus Pablo & Benbow
Anzania – Blacka Black – Augustus Pablo
Blacka Black Dub – Pablo All Stars
Revolution Dub – Pablo All Stars
Seven Winds From Zion – Augustus Pablo Isis
Addis Rock Dub – Rockers All Stars
Poor Mans Cry Dub – Rockers All Stars

I want Record Shelving, something for my Lps and singles!


Ikea Expedit?

NOTE Ikea Expedit NOW UNAVAILABLE, AN EQUIVALENT WE ARE TOLD IS KALLAX – General opinion is that this new range will cope with records too. but i would personally excercise some caution.

I recently moved and needed to find storage for Lps, 12″ 10″ and 7″ singles that had been up in the Attic way too long.

I posted on a few forums and did some research, settling on the Ikea Expedit range as a possible answer to my storage woes; then I had my interest in the range confirmed by a number of people who like me are music obsessives. They too had either thought of purchasing or already had bought this shelving from Ikea for their collections.

Reasons to be cheerful?

Here are some reasons why this might work for you; 15″x15″ cubes (perfect for 12″ records), a 4×4 or 5×5 cube option, delivery of the flat packs by Ikea, a pretty easy build, which you could try on your own, but is better with two and a good look and finish.

Each cube is rated to take approximately 75Lps, though actually you could fit more in each 15″x15″ ‘hole’. Friends tell me that they have completely filled their shelves and the units have stayed solid over time, so you could, and I emphasise ‘could’ consider loading them up if your collection demands.

Putting them together is, pretty easy. At least I, and I’m not some drill toting DIY’er found it so.

They fix to the wall to prevent death and disaster and once they are, are very solid. Until that moment they like trying to to turn themselves into a parralellogram, so wall fixing is essential. Though they include what ammounts to a disclaimer in their instructions, they DO include brackets with your shelves’ ‘kit’.

They are not expensive and if you take the time to work out what they would cost you purely in materials let alone the time in design and construction, you’ll want to go for the buy it now option. Your wallet will probably agree as yet again Ikea sell lower than you could imagine and to boot they have a very nice finish quality for the money you’ll be paying.

Reasons to be tearful?

The delivery charge in the UK at £35 is a tad high I feel, considering the probablility that as large a corporation as Ikea most certainly is, they’d have other deliveries pretty close by and could ‘share’ those costs around a bit better.

When constructing mine, there were some minor defects. A small part of the lamination on a shelf had been dented and pushed up, most likely in manufacture; if I’d been really smart I could have hidden this by flipping the shelf and placing it the other way round, thus placing the ‘dent’ underneath and at the back of the shelf, unfortunately I didn’t. Doh!

Biggest Worry – Also and much more importantly, on one of the load bearing side panels some of the holes (3-4) prepared to receive the pegs from the shelving levels were not drilled properly and so the pegs move around within the holes designed to receive them; this means that they will not function properly in their load bearing capacity and if you are only shelving heavy vinyl records, this is most definately a concern.