The Pop Group - Y 1979

Warning: This band's name is loaded with irony; there is little if anything "pop" about them. So, if you happen across any of their albums and think you're getting something that sounds like a cross between the Raspberries and the Beatles, don't say you weren't warned. Emerging in the late-'70s post-punk era, this militant gang of leftist radical politicos from Bristol, England, specialized in a funk-driven cacophony of sound that was abrasive, strident, and ultimately very exciting. Railing against Margaret Thatcher's Tory government, the state of pop music, racism, sexism, etc., the Pop Group were not the easiest band of the early post-punk era to listen to, but those who made the effort were in for an interesting melange of primitive rhythms and avant-garde guitar racket. Led by the squalling "vocals" of Mark Stewart (which were little more than chanted political slogans), the Pop Group were unabashedly and stridently radical to the point of being hectoring. But, unlike others of their ilk, the music was so challenging, joyfully noisy, and downright weird that it was easy to cut them a little slack, even when their finger-pointing and ranting became a bit much. Never intending to make a serious run at the pop charts, the Pop Group imploded after three albums, the third being a collection of outtakes and assorted ephemera. They did, however, contribute some talented people to other bands: most notably Gareth Sager, who formed the wild and woolly Rip Rig & Panic (named after a Rahsaan Roland Kirk LP), which also featured the lead vocals of a then-teenage Neneh Cherry; and the aforementioned Stewart, who went on to flourish in Adrian Sherwood's On-U stable of artists, recording with the Maffia and Tackhead. Despite its raw, inherent anti-commerciality, the Pop Group's dissonant agit-prop rock did influence a contemporary generation of political bands like Fugazi, Fun-da-Mental, and Rage Against the Machine.
Abrasive, but interesting, the Pop Group's debut is perhaps the most succinct summation of their angry and defiant approach to rock & roll. Although at times resembling the discordant funk of fellow post-punk radicals Gang of Four, the Pop Group leave rhythm behind almost as quickly as they find it, and the result is a clattering din of sound resembling an aural collage. The longish, guitar-driven track "We Are Time" is the strongest cut, establishing a solid groove that won't let go. AMG.

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