Van Morrison: The Best of Van Morrison (1970)

Although initially released in 1970, I have a US pressing from 1973. This was an early attempt by Bang records to milk its Van Morrison cash cow. All of these tracks appear in many other releases, but I picked up a copy anyway. Mine is a little rough, but so it goes.

Van Morrison: His Band And The Street Choir (1970)

"...even if it's inferior to Moondance, it is still better than eighty per cent of the records you've got in your collection." - John Tobler


His Band And The Street Choir was originally released in 1970. I have a Canadian repressing from 1979, which makes sense because that was the year I really started to buy records in earnest. This record is part of an amazing streak. Blowin' Your Mind was OK, but his next eight or ten records were all brilliant. It's amazing that he had that much creative energy and drive. I think his output has been good overall, but the consistency of the first several records is amazing.

Van Morrison: Moondance (1970)

I love this record. It's a less abstract than Astral Weeks, incorporating rhythm and blues, soul, and pop. One would be forgiven for thinking that the record is a greatest hits package. That's how many great songs are on this LP.

Van Morrison: Astral Weeks (1968)

Is this the greatest record ever made? Some would argue that it is. It's really hard to argue otherwise. It's a masterpiece, pure and simple. But, it took me a while to get into it. For one thing, I came to it later, after I was already familiar with the ten records that followed it. I remember being a little disappointment when I heard it, and I am not sure why. Perhaps it was because there wasn't an obviously joyous tune, akin to Moondance or Domino or Wild Night or Jackie Wilson Said or Wavelength or even Cleaning Windows.

I have a Canadian pressing from 1979. The first UK pressing goes for a pretty penny.

The record was not initially successful, but has later achieved accolades.

Astral Weeks' critical standing eventually improved greatly, however, and it has since been viewed as one of rock music's greatest and most important records (a reputation Morrison himself has dismissed). It is sometimes referred to as a song cycle or concept album. Critics laud the album's arrangements and songwriting. Morrison's lyrics are often described as impressionistic, hypnotic, and modernist. It was placed on numerous widely circulated lists of the best albums of all time and had an enduring effect on both listeners and musicians. Forty years after the album's release, Morrison performed all eight of its songs live for the first time during two Hollywood Bowl concerts in November 2008; this performance was later released as a live album. [source]

I have a copy of that live album on CD. There was a vinyl issue, but the price is stupid now. Unless it's repressed, I am out of luck.

Van Morrison: Blowin’ Your Mind! (1967)

George Ivan Morrison, sometimes nicknamed Van the Man, is Ireland's best soul singer and one of my favourite singers of all time. Van's first record contains his most enduring song, Brown Eyed Girl. Others might choose Moondance as his most recognizable tune, and that's fair, I guess. This record also contains T.B. Sheets, a harrowing nine-minute epic that is really the center-piece of the record. But, more on that tune in a later post.

One other thing to note regarding Brown Eyed Girl:

The song's nostalgic lyrics about a former love were considered too suggestive at the time to be played on many radio stations. A radio-edit of the song was released which removed the lyrics "making love in the green grass", replacing them with "laughin' and a-runnin', hey hey" from a previous verse. This edited version appears on some copies of the compilation album The Best of Van Morrison. However the remastered CD seems to have the bowdlerised lyrics in the packaging but the original "racy" lyrics on the disc. Lyrically, it "shows early hints of the idealized pastoral landscapes that would flow through his songs through the decades, a tendency that links him to the Romantic poets, whom Morrison has cited as an influence" according to music journalist Erik Hage. [source]

I have a US pressing from 1973. It sounds fantastic. The album cover sucks. This was not my first Van record. I can't remember which was first. I also have an extensive Van Morrison CD collection. I have met some people who do not like Van Morrison. I just cannot get my head around that. It simply makes no sense.

Thurston Moore & Loren Connors: The Only Way to go is Straight Through (2013)

The Only Way To Go Is Straight Through is a limited edition of 3000 copies, released on RSD 2013, containing:

NYC - The Stone - July 14th, 2012  (21:15)
Brooklyn, NY - Public Assembly - October 17th, 2012 (22:59)

The record company said this: 

While this was not the first time that Thurston Moore and Loren Connors have performed together, a vinyl pressing of their improvised collaborations is unprecedented. A mere three thousand copies of this extraordinary LP will be available worldwide ONLY on Record Store Day (April 20, 2013). The music will not be available in any other format, on any other day, so we think it will be well worth braving the insanely long RSD lines to get your hands on a copy. [source]

The funny thing is that I picked up a copy of this record many many days after RSD and it was on sale. So much for the record company hyperbole. Also, you can buy a copy of Discogs for very little cash.

There's really nothing on Youtube from this LP.

Eddie Money: Life For the Taking (1978)

This LP is not as good as the first.

Eddie Money: Eddie Money (1977)

 

Here's another record from my childhood, which I probably should get rid of. This records has two big hits: Two Tickets to Paradise and Baby Hold On. I should mention that this record sounds amazing. 

The Monks: Suspended Animation (1980)

The opening track on this record - Don't Want No Reds - sounds a bit like ska, though that doesn't hold true for all tracks on the LP. The other thing is that this record is not as funny as the first. While I like this record, I think that the first is better. Some people love this record, but I am ambivalent. Perhaps it has aged poorly.

The Monks: Bad Habits (1979)

The Monks (not to be confused with The Monks) were a UK pop and new wave band. Oddly, three of the four members were originally in The Strawbs. Once upon a time, I owned some records by The Strawbs, but I never listened to them, so I sold them. It was many years later that I became aware of the connection to The Strawbs.

(By the way, since we are in the M section, I should mention that I used to own some Eddie Money records. I know that's weird, but true. In my defence, I will say that I was a young kid).

For some unknown reason, this The Monks were huge in Canada. In fact, the second record from the band didn't even get a domestic UK release, but it was available here on cassette, LP, and compact disc. Bad Habits was so popular in Canada, it was even repressed here. I have the original Canadian pressing.

I listened to this record so much, I got tired of it. Part of the problem was that me dad liked the record too, and he asked me to make a cassette copy so he could listen to it in his car. That meant I heard it far more often than I wanted to.

I've seen this band categorized as both punk and new wave. For me, it fit better in the new wave category, and it complemented a lot of other stuff I was listening to at the time, like Squeeze, for just one example. Also, it seemed to me that this band was a parody of punk, and not really punk at all.

Oh, and yes, I thought that the cover was interesting. 

Monkey Warfare: Original Motion Picture Soundtrack (Various) (2006)

This is a soundtrack to a film, by Reginald Harkema, that I have never seen. According to Discogs, it is a "limited release of 1000 copies, distributed at the 2006 Toronto International Film Festival." My copy, which II found in a box on the side of the road, has no cover, as you can see from the image above. I don't know if any comes had covers. The track listing is rather intriguing:

Comets On Fire – The Black Poodle (edit) 0:55
Sun Ra Arkestra – Nuclear War (edit) 2:58
Ultimate Spinach – (Ballad Of The) Hip Death Goddess (edit) 3:40
Sharon Jones & The Dap-Kings – What if we all Stopped Paying Taxes? 4:27
Weird War– Girls Like That 4:38
Outrageous Cherry – Saturday Afternoon 2:46
The Fugs – Kill for Peace 2:17
Refused – Protest Song '68 3:16
The Make Up – Pow! To the People 2:59
Pink Mountaintops – I [fuck] Mountains 2:42
Leonard Cohen – The Old Revolution

Momus: Tender Pervert (1988)

"Hell hath no fury like an insecure Englishman"

Frankly, I find it extremely difficult to describe the music of Momus on this record, so just read this:

Tender Pervert is the first great Momus album, thanks to a newfound affinity for synth-pop and songcraft, not to mention his sudden discovery of irony. It's hard to say which is more important to the overall effect. The lush, electro-acoustic arrangements provide a platform for Momus' increasing production acumen, and the rambling song-poems of albums past are either condensed into melodic, verse-chorus structures, or held together by focused storytelling (as with the Yukio Mishima-influenced epic "Bishonen"). What's more, the wry humor hinted at on The Poison Boyfriend blossoms into a signature worldview here, complete with a nasty, cold-blooded edge in which Momus takes obvious pleasure. Paradoxically, when he's writing with a bit of ironic distance, Momus seems freed up to discuss more personal matters, perhaps because he's not trying so excruciatingly hard to present himself as thoughtful. A few stories are appropriated, but regardless of the source, they all seem to have more emotional resonance for their author; as such, it's the first time he's really found the humanity of his subjects, instead of simply using them to illustrate ideas. Overseen by a god who gets his kicks watching humanity inflict pain on itself, the characters on Tender Pervert live confusing, duplicitous lives, putting up a front to deal with the world's expectations while carefully hiding their true selves and goals. Yet no matter how dark their desires might get, they're quite often sympathetic, imbued with charm and elegance by Momus' faux-New Romantic backing tracks. And that's to say nothing of the singer's own lyrical wit, which flourishes on "I Was a Maoist Intellectual," "The Homosexual," and "A Complete History of Sexual Jealousy, Parts 17-24" in particular. All in all, Tender Pervert is easily one of Momus' most impressive albums, striking just the right balance between his earlier and later work. [source]

I couldn't possibly add anything to that. I don't think I have ever seen a Momus record in any store since the day I bought this one for $2. There seem to be so few of his records on this side of the ocean. Oh, and I suppose it's apt to mention that he is Scottish, though he currently lives in Japan, at least part time. I really like this record. It seems that he should be better know, but he not, for some reason. The first track, below (I Was a Maoist Intellectual), reminds me of Leonard Cohen.

Mogwai: Rave tapes (2014)

Yeah for Scottish music. I say that because I am part Scottish. Yeah for post-rock, because I love post-rock. Most of my Mogwai collection is on CD. That's sad. About the style, Wikipedia says: "The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects" [source]

I'll just say that I like it very much.

Moev: Dusk and Desire (1985)

Is it MOEV or Moev? Who knows? Although originally released in 1985, the LP was repressed in 1986 and 1988. The 1986 edition, which I have, "features remixed versions of 'Sea-Missile Motel' (from the 7"/12") and 'Took Out the Lace' (from the 7")." [from Discogs].

Wikipedia describes the band as "an electronic music group based in Vancouver, British Columbia..." Allmusic describes them as "synth-pop and darkwave ambience." Discogs says they are synthpop. The Allmusic review of this record is scathing, to say the least. Just read this:

Praise Moev for at least not trying to sound like Depeche Mode on their 1986 LP Dusk and Desire, but damn them for not crafting enough hooks for anybody to care. Too pop to be called industrial, and too industrial to be called pop, Dusk and Desire tries to corral club denizens while remaining faithful to its Cabaret Voltaire roots. It fails at both. Generic, passionless vocals weaken the record, and the bland songwriting doesn't help either. Moev is in love with their keyboards; however, they don't do anything interesting with them. Although the album moves at a quick pace, it's still a chore to listen to. There's no personality in these tracks; they're faceless. Book of Love springs to mind whenever Michella Arrichiello sings, and that's about as memorable as Dusk and Desire gets. [source]

The reviewer concludes by awarding this record 1.5 stars. Ouch. I agree that the band produced better stuff later, but 1.5 stars is too few stars.

Modern English: Ricochet Days (1984)

I tend to think that Modern English were a one-hit wonder. I mean, apart from I Melt With You, what else is there? They even re-recorded that tune, for no apparent reason and with questionable results. The band's first record received this review:

Trouser Press panned the album, calling it "a load of monotonous droning and shouting by a precious art band oppressively weighed down by its self-conscious 4AD pretensions." [source]

Wow. And, how about this review of the second record:

Record reviewer Nick Burton gave After the Snow a mixed review, saying that the album's eccentric mix of genres and styles lacks direction but is interesting nonetheless. He warned readers that the hit "I Melt with You" is completely unrepresentative of the album, and concluded that "If nothing else, After the Snow provides some offbeat, if not unintentionally amusing, listening." [source]

For the third record - Rocochet Days - Alllmusic says this: "Ricochet Days begins Modern English's slow decline toward the status of just another synth band." [source]

But, I will say that Hands Across the Sea is a very good song. By the way, the 7" EP (which is missing from my copy) was a label sampler, with cuts from The Cocteau Twins, Gene Loves Jezebel, The Icicle Works, and Death Cult.

Mitchell and Manley: Norcal Values (2011)

I my view, anything released by Thrill Jockey is worth having in your collection. I fee the same way about Constellation and Kranky. The LP is a collaboration between Phil Manley (of Trans Am) and Isaiah Mitchell (or Earthless). The record was released in a limited edition of only 1000 copies for Record Stare Day 2011. I picked it up later in sale bin. It contains only two long tracks:

San Francisco Values (16:42)
Sausalito Values (18:44)

The record label says this: 

Floating down the Yuba River, hang gliding off the cliffs at Fort Funston, a day at Ocean Beach with the dog, a leisurely stroll in Golden Gate Park, a fat bag of Trainwreck; these are among the many images that come to mind when listening to Mitchell and Manley’s Norcal Values.

Inspired by his spiritual advisor, Bettina Richards, Phil Manley recruited the shredding stylings of Earthless’ Isaiah Mitchell to collaborate on a record comprised almost exclusively of a single continuous guitar solo. The recording was made live with no overdubs - completely improvised. This recording exhibits inspiration so pure that it could only come from within. Drawing from the classical Indian music tradition as well as from modern new age music, Norcal Values is the sonic equivalent of fine Californian cuisine. We invite you to dine upon its bountiful aural splendor. Bon appetite!

That's a evocative description.

Kim Mitchell: I Am A Wild Party (Live) (1990)

There are only two pressings of this LP, and both are from Canada. One is the club edition, from Columbia House. I heard that the Columbia House Record club was coming back, but maybe that was fake news. I have the original non-club pressing in superb condition. This might be the most expensive KM record, but, even then, you could probably find it for $20 or less.

I Am a Wild Party (Live) is a live album from Canadian singer and guitarist Kim Mitchell. The album was released in 1990 and is certified platinum in Canada. It contains six live tracks; five of which were performed at The Oshawa Civic Auditorium in Oshawa, Ontario, and "Go For Soda" performed at The Kee, in Bala, Ontario. The album also contains two new studio tracks titled "I Am A Wild Party" and "Deep Dive". [source]

The record offers live version of Kim's better-known songs, but he also drops in Battlescar, from his Max Webster days. The title track, in my ever so humble opinion, is a bit weak.

Kim Mitchell: Rockland (1989)

Pye Dubois, once again, wrote the lyrics for this record. I think the most popular tune is probably Rocklandwonderland or maybe it's Rock 'n' Roll Duty.

Kim Mitchell: Shakin' Like A Human Being (1986)

Shakin' Like A Human Being contains Mitchell's other huge hit, Patio Lanterns. I'll say it: I do not like that song. I also do not like Alana Loves Me. It seemed that Mitchell went farther down the commercial rabbit hole. I appreciate that he was probably making more money and I assume that he liked the increased fame. I was not really into it. In fact, I think I picked up most of these Mitchell records after the fact and for very little money.

Kim Mitchell: Akimbo Alogo (1984)

Akimbo Alogo was released with a couple of different covers. The original image shows Kim smoking a cigarette, and that had to be censored in some regions. I'm a passionate anti-smoker, but I cannot abide censorship. In that image, Kim is also wearing an OPP hat. I wonder if that was a reference to the Beatles.

Pye Dubois wrote the lyrics to all but one song on this record. This LP has one of Mitchell's biggest hits, Go For a Soda. That tune was used in a Miami Vice episode and it also showed up in an episode of The Trailer Park Boys.

I'd say that this is a pretty good pop record. When I heard it, though, I was reminded of how much I missed Max Webster. My copy has an unsightly gash on the cover :(

Kim Mitchell: Kim Mitchell (1982)

With the demise of Max Webster, one of the most under-appreciated Canadian bands, Kim Mitchell forged ahead with a rather successful solo career. I'll be honest: I much prefer the Max Machine to solo Kim, but he did come up with some good music. His first effort was a very solid mini album with five tracks, released on Anthem Records not long after Max Webster folded. The only connection to Max, as far as I can see, is that Mitchell continued to work with Pye Dubois.

I saw Max Webster in concert once (at my High School) and Kim Mitchell twice, and the latter concert was free. He played some old Max tunes, which I liked.

If you live in Toronto and area, you will probably know that Kim hosted the afternoon show on Q-107 from 2004-2015. I knew that he had a heart attack in 2016, but I have no idea what he has been up to recently.

This record contains five fairly good tracks, though the whole thing seems like a more polished pop outing. The wackiness of Max is gone, and that's a sad thing. 

Joni Mitchell: Hejira (1976)

"Critically, the album was generally well received, and in the years since its release, Hejira has been recognized as one of the high-water marks in Mitchell's career." [source]

However, it did not sell well -- or so I think I have read -- which is odd. Personally, I think this is a very good record.

Joni Mitchell: Miles of Aisles (1974)

This is a live record, with the backing band LA Express. This is a record Joni fans will want, and probably have. That's all I have to say.

Joni Mitchell: Court and Spark (1974)

As a Canadian, I should be a big fan of Joni Mitchell. In truth, I like what I have heard, but I have never felt the need to investigate further. I paid a buck, or so, for this record. I played it not too long ago, probably on a Sunday morning. It's likely her best record and it contains some of her best-known work. Oddly, I have the first US pressing rather than a Canadian pressing.

The Mission: Gods Own Medicine (1986)

The Mission was known as The Mission (UK) in the USA. In Canada, we knew them as The Mission. The band included Wayne Hussey and Craig Adams, who were both once members of The Sisters of Mercy. Now, how hard is it to use an apostrophe? The lack of an apostrophe ruins the album title. Anyway, The Mission were a goth band, but not my favourite goth band. I liked them, but I preferred other goth bands much more. Still, I listened to this record recently, and I still like it.

I have the non-gate-fold UK pressing from 1986. Oddly, this is not a valuable record. Even the first UK pressing is only worth a few bucks. Real goth records, from Bauhaus and Siouxsie have maintained their value.

Minutemen: 3-Way Tie (For Last) (1985)

This is the fourth and last record from Minutemen. D. Boon, the lead singer and guitarist, died on December 22, 1985 in an auto accident. That's sad. This record was released many times in the US on cassette, CD and LP. The only other country in which this record was released was the UK on vinyl. Although Toronto is far closer to the ISA, I have the UK pressing. There are a nube of cover versions on this LP.

Here are some timely lyrics from The Big Stick

This is what I'm singin' about
The race war that America supports
Indians will never die
They'll do just fine if we let them try
And I hold, we're never told that peace is in our hands
If we stop there is time to heal the scars we've caused
To heal the scars we've caused
To heal the scars we've caused

Ministry: Burning Inside (1989)

As far as I can tell, only one version of this maxi-single was ever released, and it's from the USA, which makes sense. I would argue that this is my favourite later Ministry track. It might be number 2 overall, after Over the Shoulder. Of course, now that I just listened to the track, I may have to put it in the number one slot :)

Tracks:

Burning Inside (12" Remix)
Thieves (12" Remix)
Smothered Hope 

From Discogs:
"Smothered Hope" is a rendition of the Skinny Puppy song, recorded live in Chicago, 1988.

Ministry: Twelve Inch Singles, 1981-1984 (1987/2021)

Oddly, this didn't get a vinyl pressing until 2014! The original was released on CD in 1987 (but it had far fewer tracks) and a year later it was released on cassette. They even did a another cassette release in 1994! WTF? Why not press vinyl in 1987? 1987 was really for CDs. The 2014 release was on clear vinyl. My copy is the 2021 limited edition repress on silver vinyl, which I admit I got from Amazon on a Limited Time Deal for an excellent price. Here are all of your early Ministry favourites. 

A1 Everyday Is Halloween
A2 Nature Of Love
A3 All Day
A4 Cold Life
B1 Halloween (Remix)
B2 Nature Of Love (Cruelty Mix)
B3 All Day (Remix)
C1 Cold Life (Dub)
C2 Same Old Madness
C3 Primental
C4 I'm Falling
D1 Nature Of Outtakes
D2 I'm Falling (Alternative Mix)
D3 Overkill
D4 He's Angry
D5 Move (Original Mix)

Ministry: The Mind is a Terrible Thing to Taste (1989)

As with most of Ministry's work, the album's lyrics deal mainly with political corruption ("Thieves"), cultural violence ("So What"), environmental degradation, nuclear war ("Breathe"), drug addiction ("Burning Inside") and insanity ("Cannibal Song"). [source]

I really really love this record. To me, this is the best thing Ministry did, and it might be the best industrial album ever recorded.

Ministry: The Land of Rape and Honey (1988)

From 1958 to October 2015, Tisdale, Saskatchewan's slogan was "The Land of Rape and Honey," a reference to the area's canola crops. Canola oil is derived from rapeseed. I guess years and years of complaints finally convinced the town to dump that slogan. Anyway, Ministry adopted that slogan for this album's name. And what an album this is. They moved headfirst into what I guess could be described as Industrial Metal.

The Wikipedia entry suggests that Al Jourgensen viewed this record as the "first true" Ministry album, though the author provides no citation. The same entry adds this, about the disturbing cover image:

The album cover is an electronically processed image of a burned corpse in the Leipzig-Thekla subcamp of Buchenwald. Jourgensen took a picture of the holocaust from a documentary on television and distorted the image himself. According to Jourgensen, it was originally rejected by the record label but they later changed their mind after Jourgensen presented a head of a roadkilled deer he had found on the road; he cut off the head, put it in his truck, drove from Austin to Los Angeles, went into the Sire Records building, threw the deer on the desk of the head of the art department and said, "here's your new fucking [album] cover. [source]

I absolutely love this record. I can see that it would not be for everyone. I recall putting a track from this record on a mixed tape that I gave to a friend. I think the other tracks were also heavy. He asked me why I had become an angry young man. I just liked the sound and fell of it all. I am, by no means, interested in metal.

Ministry: Twitch (1986)

Twitch was the first full-length Ministry record I ever owned. The record has a much darker and heavier sound than the earlier synth efforts. I really liked the direction the band took with this release and it remains one of my favourite Ministry records.

Bill Rieflin joined the band for this outing. If you are a King Crimson fan, like me, you will also know him from a later incarnation of that band, as well as his work with a number of industrial bands and also R.E.M.

The CD version of this record -- which I also own -- includes the 12" version of Over the Shoulder along with Isle of Man (Version II). Turn it up.

Ministry: Halloween (Remix) / Nature of Outtakes (1985)

This is the USA 45RPM version with a die cut sleeve. There is a version with a solid sleeve. The remix of Halloween is damn good.

Ministry: The Nature Of Love (1985)

Here is more synthpop from Ministry, before they adopted a raging industrial metal sound. It's not a bad new wave synth tune. I still really like this. At around this time, I had buried my head in Skinny Puppy, Cabaret Voltaire, Killing Joke, etc.

Ministry: All Day / Everyday (Is Halloween) (1985)

Oddly, the a-side is All Day, and the b-side contains the smash club hit, Everyday (Is Halloween). I suppose both were popular tunes, but I prefer the track on the flipside better. I think that Everyday (Is Halloween) was played without fail at the club I used to attend every time I went.

This 12" was released in blue, green, yellow, or red sleeves. I have a blue sleeve.

Ministry: Over The Shoulder (1985)

For quite some time, Over the Shoulder was my favourite song. I played it for everyone. It was one of those tracks which really connected with me, probably because it is so weird. I think my dad heard it once and he must have wondered if there was something wrong with my stereo system.

This 12", which was pressed in Canada. has:

Over The Shoulder (12" Version)
Isle Of Man (Version II)
Twitch (Version II)

I believe that the US and European pressing had the same tracks. This might still be my favorite Minitsry song.

MInistry: Cold Life (1981)

I've read that Al Jourgensen doesn't like to think about or even admit that this happened. I've also read once that the record label wanted him to play this sort of genre, against his will. I've also read that that the last statement is garbage. I've also read that Al simply doesn't like the first LP. Still, I do like early ministry, and I love later Ministry, It's all good. Much later, he explored heavier industrial territory, which almost approached metal, in some ways. The other tracks from this 12" are I'm Falling, Primental, and Cold Life Dub.

The Steve MIller Band: Circle of Love (1981)

Although I was never a huge Steve Miller fan, I do like some of his music. This, though, is a bizarre record. Perhaps I should get rid of this one. The lead off track is probably the best on the record.

Steve Miller Band: Greatest Hits 1974-78 (1978)

I have the Canadian Columbia House Club edition of this record. I'm not sure if that means it's inferior. Sometimes, The club releases lacked printed inner sleeves, so I will have to check and see if it is there. This record is probably the only one you need from the band. I mean, unless you want to go way back in the Steve Miller catalogue, to that unknown psychedelic period, this is the one. It has all the hots from Fly Like an The Joker onward.

Steve Miller Band: Abracadabra (1982)

Clearly, the band was past its prime by this point. Ages ago, I jettisoned Circle of Love from my collection, and this one should follow. It's like Miller decided he wanted to be a new wave star.

The Steve Miller Band: Book Of Dreams (1977)

This record also makes me think of my sister. Jet Airliner, Swingtown, and Jungle Love are the big hits from this record. Evidently, this was the band's biggest success. I haven't listened to this in ages, but it always takes me back.

Steve Miller Band: Fly Like An Eagle (1976)

The Steve Miller band is a group I strongly associate with my sister. I listened to a number of records from this group in her bedroom, sitting on her black bean bag chair. So, there are strong memories attached to this music. Had it not been for that association, I would probably not own any records from Miller. Still, I think I can say confidently that I genuinely like some of these tracks.

M1ke + The Mechan1c5 [Mike + the Mechanics]: M1ke + The Mechan1c5 [Mike + the Mechanics] (1985)

There was a time when I was a big fan of Genesis, and so that led to me acquiring some Phil Collins records (some of which were way better than others) and this record, by M1ke + the Mechan1c5 (or Mike + the Mechanics or Mike and the Mechanics). The band features Mike Rutherford, of Genesis, along with other famous and semi-famous peeps, meaning that this is sort of a supergroup.

But, I have to say that I only got this record after a woman who lived in residence with me told me how much she liked Silent Running. That's not a bad track at all. I had no idea that they recorded nine more records! The other notable track from this LP is All I Need is a Miracle, sung by Paul Young (but not that Paul Young), but it's just not as good as the lead-off track, sung by Paul Carrack.

The only other song I know after this record is The Living Years from the album of almost the same name.

By the way -- since we are in the M section -- I used to own some Pat Metheny records, but I got rid of them.

MG [Martin Gore}: MG EP

This is a double 12" release, all mastered at 45 RPM, except for side B, which is 33 1/3 RPM. Other motes from Discogs say:

"This vinyl release comes supplied with a digital download code that gets you the digital version of the EP, consisting of all 5 tracks from the vinyl version plus extra track "Featherlight (Mantra Of Machines Remix)", as MP3 and FLAC bundle"

Again, I think this is great.

MG [Martin Gore]: MG (2015)

MG is Martin Gore, of Depeche Mode. This record (spread over 2 discs) comes with the full album on CD.  Discogs notes this: "Released in a textured gatefold sleeve with debossed lettering, and includes a digital copy on CD in card sleeve." The description from Allmusic is very good:

...this eponymous album finds Gore further exploring instrumental electronic music, but instead of the straightforward techno of VCMG, it comes closer to early-'90s Artificial Intelligence-era IDM, with only a few excursions into buzzing industrial techno. Tracks like "Islet" come close to sounding like Autechre circa Incunabula, as well as the more experimental moments of Kraftwerk albums such as Radio-Aktivität. The songs' brief running times (only a handful of them are over four minutes) and ominous melodies give the album a cinematic feel, recalling '80s soundtracks by Vangelis or John Carpenter. "Crowly" and "Brink" have upfront 4/4 techno beats and growling sawtooth bass, but they still seem primed for an action sequence rather than the dancefloor. Highlight "Europa Hymn" combines unconventional patterns of crunchy beats with simple yet expressive melodies, creating something original and affecting. "Stealth" is a bit more sneaky and mischievous, starting out with an earworm melody that snakes its way throughout the track, then gradually recalling the combination of darkness and soul-searching that made Depeche Mode's best work so moving. MG is an intriguing diversion that might appeal to Depeche Mode fans who were put off by the pure, minimalist techno of VCMG, and it could also come as a surprise to listeners who aren't DM fans, or haven't kept up with their later work. [source]

What I can say is that I love this record. In fact, I might like it more than anything Depeche Mode ever released.

Messenjah: Rock You High (1983)

Messenjah are (were?) apparently the most successful Canadian reggae band of all time. This, the debut LP, was originally released independently on Phonyx records, and the re-released on WEA, which is the version I have. There was also a cassette version. It was only ever released domestically, and never on CD, as far as I can tell.

I think I paid $1 for this, but I think it could be found for $10-$15.

Scott Merritt: Gravity is Mutual (1986)

Somehow, Scott managed to get Adrian Belew to play on three tracks on this record. I assume that he had to pay Belew, but what do I know? I had never seen this video before.Again, this is a very good record that most people know nothing about.

Scott Merritt: Serious Interference (1983)

Scott Merritt is under-appreciated and probably unknown to many people. That's a huge shame because he recorded some really interesting music. By the way, how many young people today even know what a transistor is? There was a time when I carried my transistor radio everywhere.

This record was re-released in 1985. I have the original pressing, which is probably worth $4 or $5, which is less than I paid for it.

Here's the scoop from Wikipedia:

Scott Merritt is a Canadian singer-songwriter and record producer. Most prominent in the 1980s, he was a shortlisted nominee for Most Promising Male Vocalist at the Juno Awards of 1986.
Originally from Brantford, Ontario, in the late 1970s Merritt launched a career as a folk music singer-songwriter, performing both locally and on the folk festival circuit. His debut album Desperate Cosmetics, released in 1979, was engineered by Daniel Lanois.

He followed up with Serious Interference in 1983, supported in part by a cultural exchange tour of the United States with artists including Brent Titcomb and Tamarack. However, the album was not particularly successful, and Merritt began to pursue a more rock-oriented sound.

He signed to Duke Street Records in 1985. The label rereleased Serious Interference in early 1986, released his song "Transistor" as a single, and sent him out on tour as an opening act for Jane Siberry. He followed up later the same year with his third album Gravity Is Mutual, which was produced by Roma Baran and included guest contributions by Adrian Belew. That album's lead single, "Overworked and Underprivileged", became Merritt's most successful song on radio.

I like this record.

Mental as Anything: Cats & Dogs (1982)

"Formed on a whim by a group of bored art students in search of free drinks, Australia's prankish Mental as Anything went on to forge a career spanning several decades, their tongues remaining planted firmly in cheek throughout the duration of their existence." [source]

This isn't bad. I keep think about Doug and the Slugs when I hear Too Many Times. 

Mendelson Joe: Born to Cuddle (1988)

The band on the record is none other than The Shuffle Demons, plus Colin Linden. This is anther pleasant record from Joe Mendelson or Mendelson Joe. 

Mendelson Joe [Joe Mendelson]: Not Homogenized (1979)

Mendelson Joe? Joe Mendelson? If you lived in Toronto during a certain period of time, this man's name -- in whatever the arrangement -- was often seen in the letters-to-editors sections of various newspapers. These letters partly expressed his outspoken political activism. In addition, he is a painter, singer, songwriter, and guitarist, His birth name was Birrel Josef Mendelson, later shortened to Joe Mendelson, and then rearranged as it stands now. I put it under M, just because. This is the same Mendelson who co-founded the band McKenna Mendelson Mainline, which many Canadians will know.

The engineer on this record is none other than Daniel Lanois. Amazing.