Category Archives: Crass

10 Notes On A Summer’s Day

Crass Records – Cat. No. 6

  • A) 10 Notes On A Summer’s Day (Vocal Mix)
  • B) 10 Notes On A Summer’s Day (Instrumental Mix)

From The story of Crass, As a swansong, Crass recorded the oddity 10 Notes On A Summers Day. The sleeve announced the band’s demise:“10 Notes represents Crass’s last formal recording.We shall continue to make statements both individu- ally and as a group, yet no longer feel obliged to be limited by the inward looking format of the ‘band’.”

10 Notes was written, appropriately enough, in the summer of 1984, while Penny Rimbaud was at Summerhill School, ‘working’ as the pool attendant. “It was written as a poem,” he says. “It describes where we’d ended up after all those years of frenzy and madness.You’ve put every- thing you’ve got into something, you’ve shouted and screamed; and then you suddenly find yourself on your own sitting under an oak tree, and you think, ‘Fucking hell, what was that about?’”

10 Notes was bereft of chainsaw guitars, shouting and swearing, again closer to Penny Rimbaud’s free jazz roots than anything remotely to do with punk rock.“I went in and said we’re going to do it completely the wrong way round.The drum track was put on last.The first track put down was the piano track, which I played. I can’t play piano but I just went in and played about 20 minutes worth of piano.The whole thing was based around that.”



CRASS christ the album 

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 [1], 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.

The booklet ‘A series of shock slogans and mindless token tantrums’

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.”

Sounds Review

Punk Lives review

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.

CRASS nagasaki nightmare 

Crass Records 421984/5

Released 15th Feb 1981, from, the Crass Story :- The next single release was ‘Nagasaki Nightmare’/‘Big A Little A’, which was delivered in the traditional wraparound sleeve, covered in information carefully collated about the peace and war movements.

‘Nagasaki Nightmare’ featured Eve and Joy on vocals, mixing punk with cod-oriental sounds, again building on their avant garde twist to punk.The B-side (inasmuch as the concept applied) ‘Big A Little A’ was the most anthemic song they’d ever written. Dangerously close to rock- ’n’roll, it began with children singing the playground song of the title before crashing guitars announced Steve Ignorant:                                                                                                                                              “Big A Little A Bouncing B, the system might have got you but it won’t get me.” Half way through the song the power chords suddenly stop and we’re faced with Crass almost getting funky. Unlikely as it sounds, the whole thing works a treat, Crass proving they were still growing and reaching out to an ever-increasing audience without the slightest dilution of their ideas.Neither track appeared on an album. The single reached the #1 spot on the U.K. indie singles chart. There were three pressings of the single in 1981.


Main Sleeve Poster

This drawing was part of the inside sleeve, painting and collage 30cm x 21cm  done by Gee Vaucher.

The first pressing came with a black and white ‘Anti-War’ sew on patch which Crass printed at Dial House

Another version of the patch


Hand screen printed book produced by Crass for Small Wonder Records

“Pete from Small Wonder asked for a press release to accompany our record, The Feeding Of The Five Thousand, we’re not interested in colour of hair or ages, or how many teeth we’ve lost, or how many strings there are on a guitar, or why this, or why that.This release gives some impression of where and how we work”

Printed by Crass at Exitsencil Press, Essex. December 1978

get the PDF here


1978 UK Crass: “The Feeding Of The Five Thousand” 12″ WEENY 2
The Feeding of the 5000 is the first album by Crass, released in 1978 . Crass never gained a large mainstream audience, but their virulently anti-establishment lyrics and anarchist politics brought the band a committed following upon the record’s release.
The record came to be made when Pete Stennett, owner of Small Wonder Records, heard a demo that the band had recorded. Impressed by all of the material, he decided that rather than release a conventional single by the band, he would put all of their set onto an 18 track 12″ EP.
However problems were encountered when workers at the Irish pressing plant contracted to manufacture the disc refused to handle it due to the allegedly blasphemous content of the track “Reality Asylum” (referred to as “Asylum” on the record sleeve). The record was eventually released with this track removed and replaced by two minutes of silence, retitled “The Sound Of Free Speech”.

Penny wrote in Shibboleth, In the summer of 1978 having been picked up by Small Wonder a quirky and vehemently independent record label, we recorded our first album “The Feeding of the Five tHousand”, so called because five thousand was the minimum number we could get pressed, and some four thousand nine hundred more than we thought we’d sell. Taking one day to record, and a further day to mix, we committed to disc our entire repertoire of songs. The first track on the album, ‘Reality Asylum’, was a spoken piece, performed by Eve, who by then had adopted the surname Libertine. Taken from my book ‘Christ Reality Asylum’, the track was a passionate attack on the establishment Christianity, and as Marion Boyars had warned, led us into immediate complications. No pressing plant could be found to press the record, and no printer would agree to print the cover. Backing down, we decided to leave it out, replacing it with a minute’s silence under the title of ‘The Sound of Free Speech’

The Feeding of the 5000 second sitting Crass Records 621984
A later repress of The Feeding Of The 5000 (subtitled The Second Sitting) released on Crass records in 1981 restored the missing track of Reality Asylum
The song “They’ve Got A Bomb” also features a period of silence within it, inspired by John Cage’s “4’33″”. The band have acknowledged the influence of Cage, and said that the idea of the space in the song, when performed live, was to suddenly stop the energy, dancing and noise and allow the audience to momentarily ‘confront themselves’ and consider the reality of nuclear war.
“The feeding of the five thousand” is well-known phrase in Christian tradition, being the name of a Biblical miracle in which a small amount of food is said to have fed 5000 people. According to drummer and spokesperson Penny Rimbaud: “We named the album ‘The Feeding Of The Five Thousand’ because 5000 was the minimum number that we could get pressed and some 4900 more than we thought we’d sell. Feeding is now only a few hundred short of going golden, though I don’t suppose we’ll hear too much about that in the music press”
But I will go into the Crass release of the 5000 in more detail later. For those who bought the 12″ without Asylum could write to the band,  “With the first 5,000 pressings we decided to forward cassette copies to people requesting them.”

A quick quote about the art work  found on streetbonersandtvcarnag The cover of “The Feeding of the 5,000.” Though Gee often does collages, the paintings that look like this are painstakingly done with a tiny brush and a solitary tube of black gouache. She used that same tube for all the Crass art, just diluting it to varying degrees to get lighter and lighter colors.

NME review January 2oth 1979

cutting found at

Feeding Revew from the NME

Crass Stencil Flyer with the small wonder address


The Crass Logo was designed by Dave King for Pennys Christ’s Reality Asylum book,
The folling extract is from George Bergers book the story of Crass
When Pen had finished the book, he asked Dave King to design “a little frontis piece. I’d printed them up on this rough grey paper and it had a militaristic, communistic feel about it. I thought it’d be nice to have a little insignia on it.”
So Dave set to work on a design incorporating the subject matter of the book – family, state, church – all the power structures. As Rimbaud remembers, he started with the Greek symbol, The Star of Life, which features a snaked climbing a pole in the middle of a six pointed star and can be seen today on many British ambulances as a symbol of health. Having gone through a number of different designs, he came up with what would become known worldwide as the Crass symbol.A striking black and white mish-mash of ancient and modern symbols, it could mean most things to most people: try and you might see within it the Christian cross, the Union Jack, the Swastika and two snakes devouring each others’ tails. It looks for all its worth like the sort of symbol you might find in an Egyptian pyramid or an ancient book of spells.
“We were one of the first outside the big boys like Ford, to use a cor- porate logo so effectively,” notes Penny Rimbaud.
Dave King remembers: “He said he wanted something that would crystallize the title. It started out as a Christian Cross with a snake. But a medical symbol? I didn’t think so much of that symbol . . . all these symbols are in the air, they’re archetypes. . .”
King, unlike Rimbaud, remembers the first sketch as a cross with a snake zig-zagging across it. Between the two of them, it mutated and developed through several prototypes into the symbol that decorates the cover of this book, most of their records and many a punk rock jacket
Given the Christian cross on the Crass symbol, there have been sug- gestions that the snake represents the devil. But Dave King is ambiguous to the idea:“It was a reflection of Pen’s anger at what he felt were these destructive aspects of Christianity. So in that sense the snake was just against . . . it wasn’t really Adam & Eve’s serpent, it was just something in counterpoint.
“There was a book at Dial House of Japanese family crests, and the majority of them were designed in a circle – it’s something that repre- sents the clan and that appears below the neck at the top of a kimono. So the serpent and the cross were conformed into a circle, it just seemed to come to form that way, there were two heads.The third thing that completed the design was the idea that it could be a stencil.The idea of a stencil had been something in the air for a while. It almost pre-dated the idea of a graffiti campaign.There was a guy called Robert Indiana (aka Robert Clark) who did these paintings: he used stencil lettering and a lot of his paintings were circular. He did this image of the word ‘love’ with the letters ‘lo’ above ‘ve’; his work was an influence.Then there was a book that everyone was interested in called Herbert Stencil, he was called a quick change artist. So, for a while I was Herbert Stencil at art school. I’ve always been interested in trying to reduce something to its essentials.To make it as solid as possible – you can’t really break it. It has an irreducible quality to it – the solidity helps create that sense of reson- ance. I had a pretty good idea it was a strong piece.
“Also, because the pamphlet that Penny was making was being mimeographed on an early Xerox, and he wanted to do a certain amount of copies. At that time, there was no money or access to print- ing, so it was like what’s the simplest, easiest way – apart from potato cut! – to reproduce, and a stencil was perfect for that.The other thing was the Union Jack. I remember being in junior school and they taught us how to draw the Union Jack, which is notoriously difficult to draw because of the way the crosses of the three kingdoms overlap, there’s an asymmetry to it. I wasn’t consciously thinking of the swastika though. The biggest single influence was the Japanese family crests.”
Steve Ignorant saw the symbol for the first time when it was suggested it would be taken up by Crass.“I thought it looked good – really smart. The only aspect I didn’t like was that there was something about it that looked like a swastika.” Steve recalls a more recent incident that illus- trates the ambiguity of the symbol:“I was standing at the bar and I was wearing my green bomber jacket. I had a little enamel Crass symbol and a barn owl just on top of that.There was a black guy standing at the bar and he kept looking over . . . of course, from a distance it looked like a German Gestapo symbol – you had this barn owl that looked a bit like an eagle and then the Crass symbol which looked a bit like a swastika – I soon took that off.”
Little could Dave King have known that the sign he designed for a home-published pamphlet with a print run of 100 would still be all around today. It is worn as a tattoo by punks, layabouts and young soul rebels everywhere.“I still see the symbol today in California, on a jacket or a tattoo,” says Dave. “I’m tempted to go up to them and say ‘do you know that I designed that?’ It’d be like,‘piss off granddad!’They would- n’t believe me anyway!”
And this was from the crass web site
The logo represented an amalgamation of several “icons of authority” including the Christian Cross, the swastika and the Union Flag combined with a two headed snake consuming itself (to symbolise the idea that power will eventually destroy itself). Using such deliberately mixed messages was also part of Crass’ strategy of presenting themselves as a “barrage of contradictions”, which also included using loud, aggressive music to promote a pacifist message, and was in part a reference to their own Dadaist and performance art backgrounds.


Crass a history, what do I mean about History? Crass the band, the propagandists the record label or the inspiration for so many? Well all of these things and much more. Crass after over 25 years since their demise still polarize many and still inspire new alike.
Like all things about Crass it was about the individual, and why I’m doing this blog is because of what Crass meant and still means to me. After owning a copy of Feeding of the 5000 on Small wonder,I first saw Crass in Birmingham in May 1979 when I was 14, I had seen other bands Buzzcocks Joy Division Sham 69 UK Subs etc… from early 78 but the buzz around Crass for this gig was great, they were no compromise, serious and up for it. I was blown away by the gig. Scratching guitars, bouncing bass and military drumming and this wall of lyrics thats hot you like a bullet, that was it I was a total crass fan. Not Long after I traveled down to see them in London, bunking the train down, Getting to the venue stupidly early hanging around for people to turn up, was shocked to see the band unloading their kit into the hall Trying not to look them in the eye but watching everything they did Steve ups and says hi was I there for the gig, yes down from birmingham no ticket, no problem says Steve and leads me into the hall, It seems like days before they finally came on stage and I witnessed another amazing gig, not so much the music which I loved anyway but the spectacle of the whole event, from the banners to the flyers handed out at the gig, it made you feel part of something not just a spectator, then the long walk back to euston and kipping on the floor till the first train back in the morning.  About a week later at the invite of Steve I went down to stay at Dial house with my mate Steve, traveling out to  epping we met up with two punks from Italy, “Do you Know Crass?” yes “Do you know where they live?” follow us we said. Staying for a weekend in a tent in the garden we were made to feel totally at home, It was the first time any adults had treated me with any kind of respect and was treated as some stupid kid, they wanted to know what it was like were I came from what I thought about the world around me and were genuinely interested in what I had to say. On going home I started a band and a fanzine and organized gigs, crass gave me the drive and the confidence to get things started in my own life.
I went down to see Crass again at the infamous Conway Hall gig, the on where Red Action and some SWP members piled into fascists who had turned up at the gig, The gig had started OK, I remember a band from Holland who had stars on the shirts and sang about Mao, then I remember some scuffles with Skins seig heiling and a few punks trying to defend themselves when Red Action showed up and it all went off.
This was the first time I had any kind of disagreement with Crass, they put out flyers about red fascists and were saying that red action were as band as the British Movement Skins who were beating up young punks, on seeing them again at Digbeth Civic hall I was chatting to them about Conway Hall and defending Red Action having a go at the Fascists, I could tell they were torn by the events that happened, and some I know like Steve were uneasy dealing with crowds of Nazis that were turning up, even though they were engaging them in debate. So I know I was not a pasifist when it came to dealing with Nazis, but still admired Crass’s stance even though I didn’t agree with it.
I saw Crass several more times up until they call it a day, mainly in Birmingham, Nottingham or London and I never ceased to get inspiration from what they were doing even though my own political activity was more class based than theirs.
So over the next 20 years I saw Steve do his puppet show, Saw Penn give a talk about Punk in Newcastle and went to gees art opening. As for the bands out put, I bought the CD issues which I was pretty disappointed with, and I updated my Crass vinyl when the 2003 reissues came out and thats where I thought it would end. I had read and heard different things about how communication had broken down with the members of the band and basically there were two factions, those who wanted to keep the output going and those who wanted it to die. I’ll add my 10p worth here, as you can tell Crass were a huge influence on my life, and changed the attitudes to many of my friends when we were growing up. To let the catalogue die would deprive new generations of having access to ideas that we are rapidly losing year on year, community, Identity and freedom, all that are being eroded by politicians and the state in the name of the war on terror. Well back to Crass represses, after reading George Berger’s The story of Crass I was left convinced that the band would never re-release any of there back catalog and seeing a posting by Steve on his Facebook site and the Crass forum to southern records it seemed the band had hit gridlock, then out of the blue comes the re-issue remastered of feeding of the 5000 in a beautiful box with demos and others forgotten gems, and a scaled down repro of the feeding of the 5000 crass records issue. On listening the disc it was like listening to it for the first time back in 1979 and stirred the same emotions it did back then, so thats why I’ve done this blog, Crass has once again got me up off my arse and doing things, an individuals tale.
SInce the release of the new CD, I have heard rumblings about the possibilities of a court case brought by those in the band who want the back catalogue to die, Well I hope they read this and see what they did inspire and can inspire again, that even if they thought not everything they were doing they were really into, doesn’t mean that they didn’t help people organize or empower themselves, which is what Crass did and still do today.
I’m not a nostalgic person I don’t listen to much old music but I play Crass once in a while and still find them extraordinary, they were a breath of fresh air to music and politics, even though they were serious about what they did I always found them funny and mischievous, which is something most people wouldn’t acquaint with them and something which has sadly been over looked by latter-day commentators.
Well thats it, thats why I’m doing the blog, I’m gonna post items about the band the label and other bands on crass, their concerts and releases, please comment and add your experiences, Please send items or scans of fanzines press anything really.
The images I post here will be the copyright of the original owner, I will tag the person if I know who it is.

A good piece about crass records is from the Southern Site

was set up in 1979 primarily to enable us to release our second album Stations of the CrassFeeding of the Five Thousand, released on Small Wonder Records, had sold around five thousand copies at that time, so we had budgeted Stations accordingly. Within two weeks of its release we had sold over twenty thousand copies, and suddenly we had “loads-a-money”. The “do-it-yourself” punk ethic had made lots of promises, but as the new punk “stars” increasingly drifted away from that ethic and across the Atlantic, we vowed to fulfill at least a part of that promise. The new-found wealth of Crass Records was to be the vehicle.

From the start we had decided to market our products as cheaply as possible. This was a policy that was reflected in everything that we did, from our low cost gigs with Poison Girls, our strict vetoing of commercial exploitation of the band by badge and T-shirt manufacturers, to our often ludicrously underpriced records. No one really made much money over the years that Crass Records was in full swing. Most of the releases by other bands just about paid for themselves, and gave the bands a small royalty. But profit was never the intention. The aim was to give bands who otherwise might never have had the chance to record their songs the opportunity of public exposure, and the experience to perhaps set up their own labels (as was the case with Flux of Pink Indians,ConflictRudimentary Peni, etc. etc.)

Most of the bands on the label consisted of people who we met “on the road”. In the case of Zounds and The Mob this literally was the case; their tour bus broke down a few miles from our house and we met not as fellow musicians, but as pseudo-mechanics! Other bands would approach us at gigs; our first encounter with Flux of Pink Indians was after they had heckled us throughout our set for being Nazis! Before we set up our own label we had been playing regularly with Poison Girls, who already had their own label (Xntrix), and through them we me Honey Bane, with whom we made our first release.

It was very rarely that we made a record as a result of demos sent to us, but we did use many of them on our Bullshit Detectorseries. There were exceptions however. Andy T. was one of them. I recall thinking that anyone with that amount of controlled insanity must be worth recording; he was.

Sometimes people got in touch with us out of the blue. Captain Sensible simply rang us up one day and said, “How about it?”
“Why not?” we replied, and a lasting friendship was forged.

Crass Records was not a commercial venture, it was an ideological showcase. All of the bands who contributed their work to it did so because for them the message was more important than the medium. From the unique relationship that we had with Poison Girls (in which their poignant brand of feminism tempered our more aggressive stance), to the uncompromising avantgardism of Annie Anxiety; from the raucous street cries of Conflict to the surreal internalizations of The Cravats; from the revolutionary Belfast anarchists of Hit Parade, to the healing sounds of Jane Gregory, it is a privilege to have worked with such diverse talents.

Penny Rimbaud. 1992.
(updated 27 Oct. 1994)

Crass Records Discography


  • 621984 Crass – The Feeding Of The 5000 LP
  • 521984 Crass – Stations Of The Crass LP
  • 421984/2 Poison Girls – Chappaquidick Bridge LP
  • 421984/4 V/A – Bullshit Detector LP
  • 421984/9 Poison Girls – Hex LP
  • 321984/1 Crass – Penis Envy LP
  • Bollox2u2 Crass – Christ: The Album LP
  • 221984/3 V/A – Bullshit Detector Vol 2 LP
  • 221984/7 Dirt – Never Mind Dirt, Here’s The Bollocks LP
  • 121984/2 Crass – Yes Sir, I Will LP
  • 1984/1 Kukl – The Eye LP
  • 1984/207370 Hit Parade – Plastic Culture LP
  • 1984/3 V/A – Bullshit Detector Vol 3 LP
  • 1984/4 Penny Rimbaud – Acts Of Love LP
  • CATNO 1 D & V – D & V LP
  • CATNO 2 Jane Gregory – After A Dream LP
  • CATNO 4 Kukl – Holidays In Europe LP
  • CATNO 5 Crass – Best Before LP
  • CATNO 7 Hit Parade – Nick Knack Paddy Whack LP
  • CATNO 8 Crass – A Sides Part One, 1979-1982 CD & Cassette
  • CATNO 9 Crass – A Sides Part Two, 1982-1984 CD & Cassette
  • CATNO 10C Crass – Christ’s Reality Asylum Audio Cassette


  • CRASS1 Crass – Reality Asylum / Shaved Women 7″
  • 521984/1 Honey Bane – You Can Be You / Girl On The Run / Porno Grows / Boring Conversation 7″
  • 421984/1 Crass / Poison Girls – Bloody Revolutions / Persons Unknown 7″
  • 421984/3 Zounds – Can’t Cheat Karma / War / Subvert.Subvert.Subvert.Subvert. 7″
  • 421984/5 Crass – Nagasaki Nightmare / Big A Little A 7″
  • 421984/6 Crass – Rival Tribal Rebel Revel 7″ (Flexi-disc free with “Toxic Grafity” fanzine)
  • 421984/7 Poison Girls – Statement 7″ Flexi-disc
  • 421984/8 Poison Girls – All Systems Go / Dirty Work / Promenade Immortelle 7″
  • 321984/1F Crass – Our Wedding 7″ (Flexi-disc got with a coupon from “Loving” magazine)
  • 321984/2 Flux Of Pink Indians – Neu Smell 7″
  • 321984/3 Annie Anxiety – Barbed Wire Halo 7″
  • 321984/4 Snipers – Three Peace Suite 7″
  • 321984/5 Captain Sensible – This Is Your Captain Speaking 7″
  • 321984/6 Dirt – Object Refuse Reject Abuse 7″
  • 321984/7 Mob – No Doves Fly Here 7″
  • CT1 Crass – Merry Crassmass 7″
  • 221984/1 Conflict – The House That Man Built 7″
  • 221984/2 Rudimentary Peni – Farce 7″
  • 221984/4 Cravats – Rub Me Out 7″
  • 221984/5 T, Andy – Weary Of The Flesh 7″
  • No number Crass – Sheep Farming In The Falklands 7″ (Initially released as flexi, later as 121984/3)
  • 221984/6 Crass – How Does It Feel? / The Immortal Death / Don’t Tell Me You Care 7″
  • 221984/8 Alternative – In Nomine Patri 7″
  • 221984/9 Anthrax – Capitalism Is Cannibalism 7″
  • 221984/10 Omega Tribe – Angry Songs 7″
  • 221984/11 Sleeping Dogs – Beware Sleeping Dogs 7″
  • 221984/12 Hit Parade – Bad News 7″
  • 121984/1 D & V – The Nearest Door 7″
  • 121984/3 Crass – Sheep Farming In The Falklands 7″ (Formerly flexi-disc only)
  • 121984/4 Crass – Whodunnit? 7″
  • 121984/5 MDC – Multi-Death Corporations 7″
  • 121984/6 Lack Of Knowledge Grey 7″
  • 1984 Crass – You’re Already Dead 7″
  • CATNO 3 Lucky 7 – Take Your Elbows Off The Table (Choral Mix) / Take Your Elbows Off The Table (Orchestral Mix) 7″ (Actually Steve Ignorant – unreleased, test pressings only)
  • CATNO 6 Crass – 10 Notes On A Summer’s Day 12″