Plastic Culture
Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; āMulti-Death Corporationsā by MDC and āPlastic Cultureā by Hit Parade.Ā
Hit Parade was a one-man anarchist band, the brainchild of Dave Hyndman (aka P. Checkoff and Rik Oāche) a member of the Anarchist Collective in Belfast. Being a left-wing socialist, Checkoffās songs were highly political by nature and concentrated on life in Northern Ireland. Subject matter ranged from the evils of television to H Blocks; the RUC to housing problems, and of course unemployment.Ā
Penny continues; āHit Parade was one troubled manās attempt to deal with and describe the ātroublesā that surrounded him in Belfast where he lived with family, friends and comrades. In the seventies and eighties, divided Ireland was never far from the distortions of the UKās daily headlines, all of which toeing the predictable Protestant party line. Meanwhile, Hit Parade had to suffer the daily indignities of military oppression and religious bigotry. Shouting out from a wilderness of human stupidity, Hit Parade looked to put the record straight from the trenches; one manās voice touching the multitude. Listen and learn. Itās still going on and on and onā¦āĀ
Penny finally notes that āOur (Crassā) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasnāt a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference ā rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.āĀ
In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crassā classic line, āThere is no authority but yourselfā, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ā2 By 2 And Back Againā seems to nail it ā āget out of your own way, weāre all in this togetherā.Ā
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Plastic Culture
Plastic Culture
Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; āMulti-Death Corporationsā by MDC and āPlastic Cultureā by Hit Parade.Ā
Hit Parade was a one-man anarchist band, the brainchild of Dave Hyndman (aka P. Checkoff and Rik Oāche) a member of the Anarchist Collective in Belfast. Being a left-wing socialist, Checkoffās songs were highly political by nature and concentrated on life in Northern Ireland. Subject matter ranged from the evils of television to H Blocks; the RUC to housing problems, and of course unemployment.Ā
Penny continues; āHit Parade was one troubled manās attempt to deal with and describe the ātroublesā that surrounded him in Belfast where he lived with family, friends and comrades. In the seventies and eighties, divided Ireland was never far from the distortions of the UKās daily headlines, all of which toeing the predictable Protestant party line. Meanwhile, Hit Parade had to suffer the daily indignities of military oppression and religious bigotry. Shouting out from a wilderness of human stupidity, Hit Parade looked to put the record straight from the trenches; one manās voice touching the multitude. Listen and learn. Itās still going on and on and onā¦āĀ
Penny finally notes that āOur (Crassā) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasnāt a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference ā rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.āĀ
In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crassā classic line, āThere is no authority but yourselfā, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ā2 By 2 And Back Againā seems to nail it ā āget out of your own way, weāre all in this togetherā.Ā
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Description
Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; āMulti-Death Corporationsā by MDC and āPlastic Cultureā by Hit Parade.Ā
Hit Parade was a one-man anarchist band, the brainchild of Dave Hyndman (aka P. Checkoff and Rik Oāche) a member of the Anarchist Collective in Belfast. Being a left-wing socialist, Checkoffās songs were highly political by nature and concentrated on life in Northern Ireland. Subject matter ranged from the evils of television to H Blocks; the RUC to housing problems, and of course unemployment.Ā
Penny continues; āHit Parade was one troubled manās attempt to deal with and describe the ātroublesā that surrounded him in Belfast where he lived with family, friends and comrades. In the seventies and eighties, divided Ireland was never far from the distortions of the UKās daily headlines, all of which toeing the predictable Protestant party line. Meanwhile, Hit Parade had to suffer the daily indignities of military oppression and religious bigotry. Shouting out from a wilderness of human stupidity, Hit Parade looked to put the record straight from the trenches; one manās voice touching the multitude. Listen and learn. Itās still going on and on and onā¦āĀ
Penny finally notes that āOur (Crassā) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasnāt a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference ā rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.āĀ
In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crassā classic line, āThere is no authority but yourselfā, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ā2 By 2 And Back Againā seems to nail it ā āget out of your own way, weāre all in this togetherā.Ā














