VINYL FORMAT. "Wound up to an even more vicious fury of rage and sorrow due to the Falklands War, Crass completely exploded on the awesome Yes Sir I Will, its bitter title taken from an encounter between a gruesomely wounded veteran of that conflict and Prince Charles. The most concise sonic assaults against the war and the role of Margaret Thatcher's government - 'Sheep Farming in the Falklands' and 'Gotcha!' - aren't included among the seven untitled tracks here, instead appearing as separate singl   [ read more ]

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Serving as the final Crass album ever, Best Before collects the band's many singles and some rarities into a convenient collection. It covers everything from its first single, "Do They Owe Us a Living?," to a version of that song that concluded the group's final show ever at a benefit for Welsh miners in 1984, with a series of shockingly good high points in between. Generally avoiding the inclusion of their single tracks on albums so as to avoid ripping off the fans, as well as allowing for more im   [ read more ]

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Wound up to an even more vicious fury of rage and sorrow due to the Falklands War, Crass completely exploded on the awesome Yes Sir I Will, its bitter title taken from an encounter between a gruesomely wounded veteran of that conflict and Prince Charles. The most concise sonic assaults against the war and the role of Margaret Thatcher's government -- "Sheep Farming in the Falklands" and "Gotcha!" -- aren't included among the seven untitled tracks here, instead appearing as separate singles   [ read more ]

CD $11.38

Released with unplanned irony as the Falklands War raged -- an event that would provide grist for the band's eventual masterwork, Yes Sir I Will -- Christ, another two-album half-studio/half-live set like Stations of the Crass, once again aims to take no prisoners. Ratcheting up the continued "leave no stone unturned" lyrical approach that characterized the group from the start, Crass again sounds like the group's about to explode in eight million directions. Ignorant takes over the lead voca   [ read more ]

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Libertine takes the lead vocals throughout Crass' third album (the one exception being De Vivre's turn on the unnerving portrayal of hospitals and waiting for death, "Health Surface"). A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, "Bata Motel," as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling   [ read more ]

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"They said that we were trash/Well the name is Crass, not Clash." So goes the opening of the coruscating "White Punks on Hope," and with Stations Crass takes things to an even more vicious level than on Feeding. The opening yelps and screams from Ignorant on "Mother Earth" over a slow-building burn show that there was already much more to Crass than simple crash and bash punk, and with the rest of the album the collective moves between full-on assault and an ever increasing agit-s   [ read more ]

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Perhaps the most uncompromising early British punk record. This is far more interesting for its form than its content: super-brief, incoherent rants over pummeling drums and incomprehensible vocals were made into a hardcore clichT by the early '80s, but were impossibly radical and noisy in 1978. If you're at all left-of-center, you can find a good deal to sympathize with in the lyrics here, which address class warfare, social hypocrisy, organized religion, and punk rock itself with serious venom. I   [ read more ]

CD $10.43