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Originally released as the final album under the name Crass, Ten Notes On A Summer’s Day & The Swan Song were recorded at Southern Studios in the winter of 1984 and summer 1985.
"Just as throughout our seven years’ existence as a punk band we had made concerted efforts to avoid specific political pigeonholing (‘left wing, right wing, you can stuff the lot’), so, musically, we attempted to push the barriers, always avoiding the obvious. In one respect alone we were absolutely consistent; our inconsistency. If the essentially rowdy Feeding of the Five Thousand and Stations Of The Crass had established us as the thinking man’s bovver band, so Penis Envy broke the mould as an almost lyrical, yet still very angry piece of rock ’n’roll feminism. And just as at the very time that the BBC thought us safe enough to be given airplay, so we ploughed in with Christ, The Album, an uncompromisingly avant-garde noise album which in its own way went a long way in redefining rock’n’roll’s limited parameters. Then, in much the same way as our fifth album, Yes Sir, I Will, owed more to free jazz than to rock, so Ten Notes On A Summer’s Day nudged itself towards modern European atonality, and us completely out of the rock’n’roll arena (as testified to by dramatically reduced record sales). In this sense, Ten Notes On A Summer’s Day truly was a swan song."
- Penny Rimbaud
1. Ten Notes On A Summer's Day
Total Running Time: 20:03
"With art showcasing steam or fog outside a building rather than the protest art familiar from other efforts, 10 Notes shows Crass in the end avoiding being painted into a punk rock corner." - Allmusic (Ned Ragett)
"Yeah, this is still relevant. Highly so if you ask me. Removed from its punk lineage, it's a fascinating and discordant jazz middle finger. But standing with Crass' legacy, it's a great way of proving that punk is about more than studs on a jacket and the color of your mohawk." - Tight To The Nail
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