Crass Records BOLLOX 2U2
“Christ – The Album” was recorded and mixed at Southern Studios, London, between July 1981 and February 1982. The live recording was made on a 4 track machine on the 9th June 1981 at the 100Club, London by Real Time Music. The box was embossed with a small Crass logo (2.25 cm) and in addition to the two records it contained a 30 x 58 cm poster painted by Gee (G. Sus) and the 26 page leaflet: “A Series of Shock Slogans and Mindless Token Tantrums”. Some copies contained the flexi disk ‘Sheep Farming In The Falklands’, and was released 19th August 1982
Christ – The Album is Crass’ fourth album, released in 1982. It was released as a boxed set double vinyl LP package, including one disk of new studio material and another, entitled Well Forked.. but not dead, featuring a live recording of their June 1981 gig at the 100 Club in London along with other studio tracks, demos and tape fragments.
The album also included a book, A Series Of Shock Slogans and Mindless Token Tantrums (which featured Penny Rimbaud’s essay The Last of the Hippies , telling the story of the suspicious death of his friend Wally Hope) and a large size poster painted by Gee Vaucher.
The album took over a year to record, produce and mix, during which time the Falklands War had taken place. This caused Crass to fundamentally question their approach to making records, for as a group whose very reason for existing was to comment upon political issues, they felt they had been overtaken and made to appear redundant by real world events.
Subsequent releases, including the singles “How does it Feel to Be the Mother of A Thousand Dead” and “Sheep Farming in the Falklands” and the album Yes Sir, I Will saw the band strip their sound ‘back to basics’ and were issued as ‘tactical responses’ to political situations.
Re-releases of the album bear the line “With love to Steve Herman who died on the 4th of February 1989” on the back cover. Steve Herman was Crass’ guitar player during their first few months. wikipedia.
From George Berger ‘1982 saw the release of the Crass’ piece-de-resistance record, Christ – The Album, an ambitious double set, presented in a beautiful, all-black box. It comprised two 12′′ albums, an enormous – and wonderful – collage poster featuring Margaret Thatcher laying a turd, and an album sized 28-page pamphlet entitled A Series Of Shock Slogans And Mindless Token Tantrums. Of the two albums, the first was ‘the new album’ – all new songs that had clearly taken a lot of time to record in the studio.The addition of keyboards from (erstwhile Hot Chocolate man) Paul Ellis gave some tracks an almost orchestral feel, though the return of Steve Ignorant on vocals after his absence on Penis Envy meant a return to a punkier sound as well.
The second disc was more ambitious still. Ostensibly a live album fea- turing tracks from the previous year’s 100 Club gig, it featured all manner of cut ups and collages with Zen poems, random noises and the aural paraphenalia of everyday life. It was clearly more of a John Cage influenced avant-garde record than anything to do with punk; you cer- tainly wouldn’t have got this from an Exploited live album’.
On its release, Christ The Album felt in many ways like it was the bands final offering. The Token Tantrums booklet thanked all the bands that Crass had played with over the years and the Last Of The Hippies section read like it was looking back after the fact. Penny Rimbaud:“I think we were aware that within the framework we were working, we couldn’t have gone much further. It’s not impos- sible that had the Falklands War not started, that it would have been our final album. Artistically, that’s where I would have liked to have bowed out. If it hadn’t been for the Falklands, we wouldn’t have known what to do, because we’d said it all. And I don’t think the band – any of us – were about to start repeating ourselves.”
Other versions of the LP are 1982 Box with made in France down the spine. 2003 reissue gatefold sleeve, 180 gram vinyl housed in wide-spine sleeve. Includes poster and booklet named ‘Series of Shock Slogans and Mindless Token Tantrums’. Ofter has a sticker top left.