Alright, let’s dive into 33 RPM by The Government—a wild ride of punky synth-pop vibes straight outta Canada in '79. This album is like that weird cousin at family gatherings who shows up wearing neon spandex and somehow steals the show. It’s got grit, groove, and enough edge to keep you hooked.
First off, the genres here are all over the place—Electronic, Rock, Punk, Synth-pop, New Wave—it’s like they couldn’t decide what box to fit in, so they just smashed a few together. And honestly? That works for them. You can tell Robert Stewart (bass, vocals, synths—you know, basically the whole package) had some serious creative control because this thing oozes personality.
Now, onto the tracks. Two songs really stuck with me: “Zippers Of Fire” and “Flat Tire.” Let’s break it down.
“Zippers Of Fire” hits hard right outta the gate. The bassline slaps—you feel it in your chest—and then those synths come swooping in like a spaceship landing in your backyard. There’s something about the way Robert’s voice cuts through the mix; it’s raw but still catchy as hell. Like, I found myself humming it while brushing my teeth last night. Weird, right? But that’s what makes it memorable. Oh, and props to Andrew James Paterson on guitar—he adds these sharp little riffs that give the track extra bite.
Then there’s “Flat Tire,” which feels like cruising down a dark highway late at night. Edward Boyd’s drumming nails this driving rhythm, steady and relentless, while the percussion sneaks in just enough texture to keep things interesting. It’s kinda moody but also fun? Like, if Joy Division decided to hang out with Devo for an afternoon jam session, this might be the result. The chorus sticks in your head too—it’s one of those earworms you don’t mind having around.
The production deserves a shoutout too. Chris Holland did a bang-up job keeping everything tight without losing the band’s chaotic energy. Douglas Clement made sure the recording was clean, even when the music wasn’t. And hey, whoever designed that sleeve (C. Holland again?) nailed the vibe—simple, bold, and just artsy enough to catch your eye.
What gets me thinking, though, is how underrated this album probably is. Released in ’79 under The Modern World Incorporated, it came out during such a pivotal time for music. Punk was exploding, new wave was finding its feet, and synth-pop was starting to peek its head out. Yet 33 RPM doesn’t get mentioned alongside the big names from that era. Maybe it flew under the radar because it didn’t fit neatly into any one scene—or maybe people just weren’t ready for it yet.
Anyway, here’s the kicker: listening to this now feels almost… prophetic? Like, hearing the seeds of stuff bands would do decades later. Or maybe I’m reading too much into it. Either way, if you stumble across 33 RPM, give it a spin. It’s messy, unapologetic, and totally worth your time. Plus, where else are you gonna find a song called “Zippers Of Fire”?
