Chalk this one up to “when the hell did I buy this” album. 1958’s compilation of The Four Lads’ Greatest Hits is a Columbia Records release (CL 1235) and features this Canadian crew’s biggest, million-selling singles. From Moments to Remember, to Istanbul, The Four Lads’ Greatest Hits covers all the famous pop-tune bases, in one neatly packaged, 12-track record. The Four Lads were prominent mainly from the 50s through to the 70s, but are still active today, some 65 years after their initial inception (they played in Palm Springs back in late March). If you’re looking for the best of the best from this easy listening vocal troupe, look no further than The Four Lads’ Greatest Hits.
My first Suuns records annnnnd, I’m a little excited about it. She also doubles as the first record I purchased after discovering a new sound off Shazam, so there’s that. Resistance was the track that grabbed my ear (you should really check it out), but the album is solid straight through. I’m curious to see what Pitchfork gave it (“it” being 2016’s Hold/Still, the band’s fourth album)… and they gave it a zero, because they haven’t reviewed it yet (sigh). Well, (raises glass in hopeful anticipation) here’s hoping they get around to it in a timely fashion, and that they dig it as much as I do.
So this guy hosted a dinner party that ran a little late and now has no photo with which to post about… so, after digging through the abandoned photo library, here is a photo from Saturday’s 1993 session in which I enjoyed the Canadian cries of Propagandhi’s How to Clean Everything at top volume while my flag-sniffing neighbors pawed at my front door. Remember the things that matter, kids.
With the incessant noise from the rotating blades of a nearby helicopter, passing, then again, dipping, diving, and vacationing overhead for the past hour and a half, one can’t help but dig through local news outlets in needed search for the informational cure. With no worthy news to be shared, the mystery still remains, but with decent, drowning-out, attempt-to-ignore-the-violent-disruption-overhead-music desperately needed, one turns to the Canadian psychedelic rock, jazz-infused outfit, Lighthouse, and their 1971 album, One Fine Morning. Here’s hoping the blades of mystery solve themselves sooner, rather than later (and that nobody nearby is seriously, or otherwise, in risk of danger).
Released in January of ’73, this, featured copy of Artificial Paradise, The Guess Who’s 10th studio album, is, unfortunately, missing the cool, direct-mail-mimicking paper sleeve. I only just found out about this jacket’s existence by researching the album for this very post. Apparently, this tongue-in-cheek approach didn’t help sales for the Canadian pop-rock band, and this album, complete with exterior sleeve, was a frequent find throughout brick and mortars will into the 1980s (remember, it was released in 1973).
As for the music, if you ask me, one can’t go wrong with any The Guess Who, but that’s just, like, my humble opinion, man.
The Sainte Catherines, arguably Quebec’s finest punk-rock sextet, released only 220 copies on yellow vinyl of this, their fourth LP, Dancing for Decadence. Their first (and only) release on Fat Wreck Chords, Dancing for Decadence dropped back in aught six, and is one of maybe a handful (a giant’s handful) of records that I’ve yet to listen to… but she sure is a beaut!
Percy Faith is, in fact, NOT a dirty-nosed socialite unwilling to show her teeth when faking a smile, but instead, a master of mood music essentials. A Canadian who reigned throughout the 50s and 60s, Mr. Faith recorded into the mid-70s until his untimely death of cancer in 1976. This, a Taiwanese bootleg record on Taiwanese colored vinyl, serves as a subtle homage to a favored orchestral composer.
Comfort answers to no fashion Queen, and raunchy, sex-minded, worked-tongue-wiping, paid-lap-dance-dirty, baby-makin’ pelvic beats answer to no, conventional, receptive ear. Thunderheist, the Toronto based, globally minded, five-year international outbreak, very much like the cheese, stands alone. None match their sex = sex + more sex-resolved, blood-churning, infectious rhythms, and none do it so devilishly glamorous.
Words… that these are, do absolutely no justice to the concrete weight that, Grahmzilla and Isis effortlessly exhale with every gasping, rhythmic beat present in every one of these five, remixed (save for one) tempting trax.
If it ain’t dirty, it ain’t Thunderheist.
Editor’s note: For this, my 450th post, I’d like to thank global warming, overly-sensitive neighbors, and hangover victims, but seriously, I’ll thank the unspoken will that fuels so many able, and socially alienated victims… affordable whisky. Dust it off, dear frequenters of PG nonsense… dust it off and jerk it.
John Lennon is known for many things, and cloning himself and inhabiting two geographical locations at the same time is certainly one of them. Take for example the 1969 release by The Plastic Ono Band, Live Peace in Toronto 1969. Apart from being the first live album recorded by any member of the Beatles, solo or together, Live Peace in Toronto 1969 brought together the monumental talents of John Lennon, Yoko Ono, and Eric Clapton (Eric Clapton performs by courtesy of Atlantic Records).
Ok, all that is well and good… but what about this cloning nonsense you speak of? Take a look at the label. It’s an album of material that was recorded live in Toronto, Ontario, BUT, it was, apparently, also an album that was recorded in England.
Think about that for a moment. Performed in Canada… recorded in England.
Why didn’t they just record it in Canada? A fair and reasonable question. I’ll tell you why. It’s because John Lennon cloned himself and was performing live with Yoko and Mr. Slowhand while simultaneously sitting behind the boards at Apple Corps Ltd back in London. Quite an astounding feat, even for John Lennon, but anything is possible if you Imagine. See what I did there?
Sprouting from a household of three (my parents being the other two), we assumed the old “divide and conquer” strategy and cleaned the entire, two-story house. Now, as an adult shaped boy-child, Saturdays are STILL synonymous with cleaning. So, as my beautiful counterpart and I clean our pad, I suggest Propagandhi’s 1993 major label debut (if you consider Fat Wreck Chords a major label), How to Clean Everything.
It’s political pop punk from Canada, and it’s proven to make you clean faster. It’s also available on transparent gold vinyl, as you can clearly see (see what I did there?).