Pursuit of Happiness

Websites:  https://citizenfreak.com/artists/94852-facecrime, https://citizenfreak.com/artists/99756-modern-minds
Origin: St. Albert, Alberta, 🇨🇦 - Toronto, Ontario, 🇨🇦
Biography:

The Pursuit of Happiness (TPOH) emerged from Toronto’s mid-1980s indie scene with a blend of literate power pop, wry social commentary, and high-energy hooks that made them one of Canada’s most celebrated alt-rock acts. At the helm was Moe Berg, a St. Albert, Alberta native whose formative years included pivotal stints in Edmonton's punk and new wave scenes with bands like Modern Minds, Facecrime, and Troc '59.

Berg’s musical foundation began in his teens. With Kim Upright and Robert Drysdale, he helped form Modern Minds—an original power-pop trio known for their 1980 single Theresa’s World, and a key influence on Alberta’s punk underground. After Modern Minds, Berg played in Facecrime, whose contribution to the It Came From Inner Space compilation was recorded live-off-the-floor in 1983—capturing the band’s raw, unfiltered sound just prior to their lone 12" EP Sex and Revolution (1984). These early projects honed Berg’s songwriting and performance chops while developing the lyrical perspective he would carry forward.

In 1985, Berg and drummer Dave Gilby (also from Facecrime and Troc '59) made the decision to leave Edmonton for Toronto, seeking a broader stage. Once in Toronto, Berg began performing solo acoustic sets around the city. It was during this period that he met bassist Johnny Sinclair, a fellow transplant from Saskatoon. Together, they laid the foundation for what would become The Pursuit of Happiness.

By 1986, the group had expanded to include Winnipeg-born sisters Tam and Tasha Amabile on backing vocals, and began playing local venues to growing acclaim. One of Berg’s earliest solo compositions, I’m An Adult Now, became an audience favorite. Directed by Nelu Ghiran, the band self-produced a no-budget video that was picked up by MuchMusic and CITY-TV’s Toronto Rocks. The accompanying independent 12” single sold out almost immediately, and when WEA Canada picked up the single for distribution, TPOH had an unexpected nationwide hit. The band earned two 1987 Juno nominations: Most Promising Group and Best Video.

Though WEA declined to offer a full album deal, the band followed up in 1988 with another independent single, Killed by Love, which solidified their local following. That same year, the Amabile sisters departed and were replaced by Kris Abbott (guitar, backing vocals) and Leslie Stanwyck (backing vocals). Chrysalis Records, impressed by the band’s live presence and success, signed TPOH and paired them with Berg’s childhood musical hero, Todd Rundgren, to produce their debut album.

Released in 1988, Love Junk was a triumph. The album re-recorded I’m An Adult Now for a wider audience—earning heavy MuchMusic rotation and overcoming an initial MTV ban in the U.S. due to references to sex, alcohol, and drugs. Rundgren’s production polished the band’s melodic core without compromising its edge. Love Junk went platinum in Canada and sold over 100,000 copies in the U.S., launching the band into international recognition.

TPOH returned to the studio with Rundgren for 1990’s One-Sided Story. Although Love Junk was a hard act to follow, the sophomore release reached gold status in Canada and earned strong reviews. During this period, Stanwyck and Sinclair exited to form Universal Honey, and were replaced by bassist Brad Barker and backing vocalist Susan Murumets.

The band’s third album, The Downward Road (1993), was produced by Ed Stasium (The Ramones, Smithereens) and released through Mercury Records. The album included collaborations with Jules Shear and a guitar solo by Rundgren. Though it didn't match previous commercial highs, it was critically praised and continued the band’s commitment to literate, emotionally intelligent rock.

Two more albums followed on Toronto’s Iron Music Group: Where’s the Bone (1995) and The Wonderful World of The Pursuit of Happiness (1996). Both retained a loyal following and included further lineup changes, including Rachel Oldfield and later Jennifer Foster on backing vocals. Berg continued to evolve as a songwriter, even as mainstream attention shifted elsewhere.

While the band never formally disbanded, Berg released a solo album (Summer’s Over, 1997) and focused increasingly on production, education, and writing. In 1999, Razor & Tie Records issued a U.S. best-of compilation, and in 2005, EMI Canada released When We Ruled: The Best of TPOH. The group occasionally reunited for performances, and Berg revived their alter ego cover band Monteforte in 2000.

Today, TPOH’s influence remains deeply felt in Canadian rock. Love Junk is considered a landmark of ’80s alternative pop, and Moe Berg is recognized as one of the country’s most insightful and enduring songwriters—his roots firmly grounded in the Edmonton DIY spirit that fueled Modern Minds and Facecrime.
-Robert Williston