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.