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Y (Remastered & Expanded)
 
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Y (Remastered & Expanded)

20 July 2010 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
Song Title
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Popularity  
30
1
3:22
30
2
4:36
30
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3:20
30
4
2:58
30
5
6:29
30
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3:02
30
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3:26
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8
5:36
30
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4:15
30
10
6:41
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11
3:42

Product details

  • Original Release Date: 11 Jan. 1999
  • Release Date: 11 Jan. 1999
  • Label: Rhino
  • Copyright: 2007 Warner Music UK Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 47:27
  • Genres:
  • ASIN: B001F3AHMW
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 18,218 in Albums (See Top 100 in Albums)

Customer Reviews

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Most Helpful Customer Reviews

41 of 44 people found the following review helpful By Jason Parkes #1 HALL OF FAME on 19 April 2007
Format: Audio CD Verified Purchase
It is wonderful to see the Pop Group's classic debut album `Y' finally reissued, since it hasn't been very widely available since the 1990s and even then it was as an expensive import (see the similar `We Are All Prostitutes'). As the sleeve notes demonstrate, the Pop Group were different to a lot of their peers - though they are similarly tagged with other post punk associated acts.

In a recent interview surrounding the reissue of Y, Gareth Sager dismissed bands they're associated with from the era, stating that to him Joy Division and Gang of Four (`Gang of Bore' according to him!) were just rehashes of Idiot-Iggy and Dr Feelgood. Listening to `Y', Gang of Four sound very rock compared - `I Found That Essence Rare' kind of proto-U2 and a bit anthemic. The Pop Group aren't very rock at all, while they had relatives in the Slits (at one point sharing a drummer and both bands having their debuts produced by the legendary Dennis Bovell), the latter had a quirky pop element. The Pop Group pursued a minimalist dub sound, influenced by the blues/sound systems parties they went to and their self trained playing, alongside a more experimental sound as they were citing acts like Cecil Taylor, The Last Poets (who contributed to `For How Much Longer Can We Tolerate Mass Murder?'), 70s-Miles, Ornette Coleman, Beefheart & Can.

`Y' is a punishing, dubby aural assault - though Mark Stewart's lyrics aren't quite as hectoring and polemic as his later work (to be fair he did say that the titles would have made more sense with a question mark on the end, seeming less pious, when interviewed around the `Kiss the Future' compilation).
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1 of 1 people found the following review helpful By Dr. Delvis Memphistopheles TOP 500 REVIEWERVINE VOICE on 17 Feb. 2010
Format: Audio CD
One of the greatest aural dissonant assaults mounted on rhythm and coherence ever undertaken whilst still using the form. Decomposed rock n roll as it was then known, bar chords and bleats, now becoming a post modern masterpiece, composed of a series of sound layers, brought eventually screaming into a coherent frame of cacophony, tension and space.

First purchased in 79, it beamed noise from another level. Whereas the Pistols drew from RNB, the Pop Goup took a jazz mojo and de-constructed the guitar, bass, sax, piano, drums and vocals. Then built it back again brick by brick.

Lyrical cut up streams of consciousness exploring all components of hallucination, whether induced chemically or organically became the lyrical template. The musical score destroyed notions of continuity, verse and chorus. Avant jazz sax , chanting, tribal drumming, James brown guitar and reggae bass brought into eventual coherence by Marks screams and whispers, underscoring the stress of the descent into a collective maelstrom. It was a political record but also more importantly a psychological mirror of an internal chaos.

Dennis Bovell at the sound controls masterminded the production. The effect arose from his imagination as much as the band. The recording studio becomes his other instrument. Dennis's reggae production nous alchemised avant rock, blending his dub skills to create something big and bold. Way beyond the white boy rock musings of late 60's, early 70's. The use of a reggae producer was a vast jump in the dark at the time, marking an era of change.

The late 70's, the big bang; an explosion in the imagination, never really equalled before or since in popular culture. The Pop Group blasted into being in Bristol, introducing Nietzsche with Good and Evil, marking a post everything world, in particular the end of mono theistic Marxism and the arrival of Markism.
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16 of 19 people found the following review helpful By russell clarke TOP 1000 REVIEWERVINE VOICE on 13 April 2007
Format: Audio CD
The Pop Group must have been named with tongue wedged firmly into cheeks as they have about as much to do with Pop as Steve McClaren does with popularity ( no pun intended) Fusing elements of jazz, reggae, dub, funk and punk the band were wired as taut as an assassins garrotte .Coming out of the Bristol post punk scene in 1978 every song on their debut album Y is on the verge of either exploding into shards of white hot shrapnel or imploding into a writhing ball of steam .

Singer Mark Stewart , who also wrote the bands highly politicised lyrics -criticizing Western imperialism and contemporary capitalism -was an inflammatory front man switching from possessed preacher mode into sinister whispering confidante . The guitars are silvery slashes of aluminium , the percussion alternates between little militaristic flourishes and all the over place wig outs. Gareth Sagers saxophone just does it's own thing , seemingly unconnected to the rest of the band in any way.

Produced by reggae stalwart Dennis Bovell Y showcases a band powerfully confident of their music .Though it didn't sell particularly well it received sufficient critical acclaim to persuade "Rough Trade" to sign them up ( Y was released on the definitively indie "Radar " label) They released one more album-the catchily titled "For How Much Longer Do We Tolerate Mass Murder"- before splitting amid acrimony and legal wrangling.
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