[engl] Best Before 1984 is a compilation of Crass' singles and other tracks, released in 1986, including lyrics and a booklet ("...In Which Crass Voluntarily 'Blow Their Own'") which details the history of the band in their own words.The record brings together together controversial tracks like 'Reality Asylum' (in an alternate, extended version to the original album edition), 'Sheep Farming In The Falklands' and offering up both the 7" release of 'Do They Owe Us A Living?' and its last ever performance at the band's last ever gig in 1984 at a Miners' benefit concert in Wales. The album was named in reference to the notion that 1984 was the band's "sell by date", the year that they had often publicly stated that they would split up. Indeed, the band ceased gigging and recording in that year. This vinyl re-pressing features the original artwork and printed insert. The two black records are contained within black inner-bags.

[engl] Stations of the Crass is the second album by Crass, released in 1979. The record, originally released as a double 12", includes live tracks from a gig recorded at the Pied Bull pub in Islington, London, on August 7, 1979. The first three sides contain the studio tracks and play at 45 rpm, while the final side comprises the live material and plays at 33 rpm. The album's title is not only a pun on the Catholic rite of the Stations of the Cross (such jibes against the religious establishment were typical of Crass), but is also a reference to the graffiti campaign that the band had been conducting around London's underground railway system, the cover artwork depicting a wall at Bond Street tube station that had allegedly been 'decorated' by them. Although the album met mixed critical reception at first, it managed to sell at least 20,000 copies within two weeks.

[engl] Ten Notes on a Summer's Day was Crass's final album under the Crass name. It was released in 1986 and consists of a vocal and instrumental version of the same tracks in an avant-garde musical style. Recorded at Southern Studios in the Winter of 1984 / Summer 1985. Penny Rimbaud says in the liner notes: "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 swansong." The vinyl edition comes in a single sleeve with printed inner - bag/ insert.