CRASS RECORDS 621984, FEEDING OF 5000 VINYL/EX, COVER-FOLD-OUT/NM FRANCE 180gram

$

38

Crass – The Feeding Of The 5000 (The Second Sitting)

Made in France, Vinyl, 12", 45 RPM, Repress, 180 grams 

Label, Crass Records ?– 621984

Album originally released in 1978, this version is a re-issue with exact release year unknown. I purchased this record new in 1999, so the pressing is most likely from just before then.

RECORD CONDITION / VG OR EX /// visually looks NM, listen-tested and has a tiny bit of surface noise here and there, mostly during the quiet sections, so we're grading down a bit, a lot of record plays between NM and MINT.

JACKET CONDITION / NM, folds out into large poster, please see photos.

Includes plain-record-sleeve.

TRACK LISTING:

Side 1

1. "Asylum" - 2:06

2. "Do They Owe Us a Living?" - 1:24

3. "End Result" - 2:04

4. "They’ve Got a Bomb" - 3:48

5. "Punk is Dead" - 1:48

6. "Reject of Society" - 1:08

7. "General Bacardi" - 0:59

8. "Banned from the Roxy" - 2:14

9. "G’s Song" – 0:36

Side 2

1. "Fight War, Not Wars" - 0:42

2. "Women" - 1:15

3. "Securicor" - 2:28

4. "Sucks" - 1:38

5. "You Pay" - 1:44

6. "Angels" - 2:08

7. "What a Shame" - 1:11

8. "So What" - 3:05

9. "Well?...Do They?" - 1:32

Companies, etc.

• Recorded At – Southern Studios

• Pressed By – MPO

Credits

• Artwork – G*

• Bass – Pete Wright

• Drums, Noises [Radio] – Penny Rimbaud

• Engineer – John Loder

• Lead Guitar, Backing Vocals – Phil Free (2)

• Lead Vocals – Steve Ignorant

• Rhythm Guitar, Backing Vocals – N.A. Palmer

• Written-By, Producer – Crass

Notes

"MADE IN FRANCE" appears in the lower right corner of the back sleeve poster jacket and on B Side label.

No writings on the right margin of the front sleeve poster jacket. 

All material C P A crass 1978. 
Recorded live at Southern Studios, London 29/10/78.

Crass was an English collective and punk rock band formed in 1977 which promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights and environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films.

Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros.

The band was critical of punk subculture and youth culture in general. Crass promoted an anarchism which became more common in the punk-music scene. They are considered art punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation.

The band was based around Dial House, an open-house community near Epping, Essex, and formed when Dial House founder Penny Rimbaud began jamming with Steve Ignorant (who was staying in the house at the time). Ignorant was inspired to form a band after seeing The Clash perform at Colston Hall in Bristol, whilst Rimbaud, a veteran of avant garde performance art groups such as EXIT and Ceres Confusion, was working on his book Reality Asylum. They produced "So What?" and "Do They Owe Us A Living?" as a drum-and-vocal duo. They briefly called themselves Stormtrooper before choosing Crass in reference to a line in the David Bowie song "Ziggy Stardust" ("The kids was just crass").

From their early days of spraying stencilled anti-war, anarchist, feminist and anti-consumerist graffiti messages in the London Underground and on billboards, Crass was involved in politically-motivated direct action and musical activities. On 18 December 1982, the band helped co-ordinate a 24-hour squat in the empty west London Zig Zag club to prove "that the underground punk scene could handle itself responsibly when it had to and that music really could be enjoyed free of the restraints imposed upon it by corporate industry". About 500 people attended; the bands playing (in running order) were Faction, D and V, Omega Tribe, Lack of Knowledge, Sleeping Dogs, the Apostles, Amebix, Null & Void, Soldiers of Fortune, the Mob, Polemic Attack, Poison Girls, Conflict, Flux of Pink Indians, Crass and DIRT.

In 1983 and 1984, Crass were part of the Stop the City actions co-ordinated by London Greenpeace which foreshadowed the anti-globalisation rallies of the early 21st century. Support for these activities was provided in the lyrics and sleeve notes of the band's last single, "You're Already Dead", expressing doubts about their commitment to non-violence. It was also a reflection of disagreements within the group, as explained by Rimbaud; "Half the band supported the pacifist line and half supported direct and if necessary violent action. It was a confusing time for us, and I think a lot of our records show that, inadvertently". This led to introspection within the band, with some members becoming embittered and losing sight of their essentially-positive stance. Reflecting this debate, the next release under the Crass name was Acts of Love: classical-music settings of 50 poems by Penny Rimbaud, described as "songs to my other self" and intended to celebrate "the profound sense of unity, peace and love that exists within that other self".

Another Crass hoax was known as the "Thatchergate tapes", a recording of an apparently accidentally-overheard telephone conversation (due to crossed lines). The tape was constructed by Crass from edited recordings of Margaret Thatcher and Ronald Reagan. On the 'rather clumsily' forged tape, they appear to discuss the sinking of the HMS Sheffield during the Falklands War and agree that Europe would be a target for nuclear weapons in a conflict between the United States and the Soviet Union.

Copies were leaked to the press via a Dutch news agency during the 1983 general election campaign. The U.S. State Department and British Government believed the tape to be propaganda produced by the KGB (as reported by the San Francisco Chronicle and The Sunday Times). Although the tape was produced anonymously, The Observer linked the tape with the band. Previously classified government documents made public in January 2014 under the UK's 'Thirty Year Rule' reveal that the prime minister was personally aware of the tape and had discussed it with her cabinet.

Crass had become a thorn in the side of Margaret Thatcher's government after the Falklands War. Questions about the band in Parliament and an attempted prosecution by Conservative Party MP Timothy Eggar under the UK's Obscene Publications Act for their single, "How Does It Feel...", made them question their purpose:

We found ourselves in a strange and frightening arena. We had wanted to make our views public, had wanted to share them with like minded people, but now those views were being analysed by those dark shadows who inhabited the corridors of power (…) We had gained a form of political power, found a voice, were being treated with a slightly awed respect, but was that really what we wanted? Was that what we had set out to achieve all those years ago?

On 7 July 1984 the band played a benefit gig at Aberdare, Wales for striking miners, and on the return trip guitarist N. A. Palmer announced that he intended to leave the group. This confirmed Crass's previous intention to quit in 1984, and the band split up.

Members

Steve Ignorant (vocals)

Eve Libertine (vocals)

Joy De Vivre (vocals)

N. A. Palmer (guitar)

Phil Free (guitar)

Pete Wright (bass, vocals)

Penny Rimbaud (drums, vocals)

Gee Vaucher (artwork, piano, radio)

Mick Duffield (films)

John Loder, sound engineer and founder of Southern Studios, is sometimes considered the "ninth member" of Crass.

Steve Herman (guitar; left shortly after their first performance)

The Feeding of the 5000 is the first album by the anarcho-punk band Crass. The album was recorded on October 29th, 1978, by John Loder at Southern Studios and was released the same year. It was considered revolutionary in its time due to what was considered an extreme sound, frequently profane lyrical content and the anarchist political ideals in the lyrics. The album also saw the introduction of Crass's policy of ensuring cheap prices for their records. This album is considered one of the first punk albums to expound serious anarchist philosophies.

The record was 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 record 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". This incident also prompted Crass to set up their own record label in order to retain full editorial control over their material, and "Reality Asylum" was issued shortly afterwards in a re-recorded and extended form as a 7" single. A later repress of The Feeding of The 5000 (subtitled The Second Sitting) released on Crass records in 1980 restored the missing track.

Crass helped reinitiate the influence of the Campaign for Nuclear Disarmament and the wider peace campaign in the UK with the songs like "They've Got a Bomb", "Fight War Not Wars" and the adoption of the CND Symbol at their live concerts.

"They've got a Bomb" also has 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 a 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 5,000 people. According to the band's drummer and spokesperson, Penny Rimbaud, "We named the album The Feeding of The Five Thousand because 5,000 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".

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Guidelines for record grading / condition of used records (based on Goldmine Grading for Records)

MINT (M): Perfect! This record looks like it has just left the manufacturer, with NO flaws what so ever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers or writing address labels. COVER: No writing, no tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.

NEAR MINT or (NM), (M-): RECORD: Record appears virtually flawless. A very minor scuff and very little else appears on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. COVER: The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is as close to perfect as can be.

(VG++), EXCELLENT or (EX): RECORD: Will have minor scuffs which are only slightly visible. There may be more than a few scuffs and NO scratches. COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits, writing on the cover or taped repairs.

VERY GOOD PLUS or (VG+): RECORD: A VG+ record shows some wear and surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. Visible flaws don't cause too much surface noise. COVER: A virtually clean cover, but may have small writing on it. The artwork looks clean with slightly more aging. Flat white paper will be somewhat yellow, but no large stains or mildew from water damage. Some minor wear to the seams or spine, but no significant tears or holes popping through. The corners will be slightly dog eared, but no crackly bends, defacing the artwork.

VERY GOOD or (VG): RECORD: A record that is good enough. They are not really going to look very good, but will PLAY very good. There will almost always be some surface noise when they are played. The Dynamics should still be excellent, overpowering the surface noise. A VG record will look like it has been played, but still have some luster. COVER: VG covers will look worn, used. There may be some seam splitting . There will be some ring wear, where the ink has begun to wear off, giving the cover a look of snow falling. There may be some writing on the cover (still, no Large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke), but should be decent.