Have Not Been the Same: The CanRock Renaissance, 1985-1995. By Michael Barclay, Ian A.D. Jack, and Jason Schneider. Toronto: ECW Press, 2001. xii, 757 p. $29.95 ISBN 1-55022-475-1 The shelf of books published on what happened to rock music in Canada Canadian rock music could hardly be between 1985 and 1995 was as vital, described as crowded. Save for a few important, and valid as any music being biographies and historical gems like made anywhere else in the world at that Martin Melhuish's Heart of Gold, Rick time. Have Not Been The Same is a Jackson's Canadian Encyclopedia of musical panoramic photograph, Pop Rock & Folk Music still remains the documenting what took place here and only reference book we have devoted preserving an account for future (somewhat) exclusively to the subject. generations. But now a new title has come along that can be added to that shelf-Have Not The book bypasses the more Been The Same: The CanRock commercial Canadian artists of the time Renaissance, 1985-1995. Given the and instead focuses on a new breed of current climate in Canadian publishing, independent bands that were emerging, the mere existence of Have Not Been like The Spirit of the West, The The Same is noteworthy, and with the Rheostatics, 54-40, Eric's Trip, Jane wave of success Canadian rock and pop Siberry, and Skinny Puppy. These were groups have been riding of late both at the bands that laid a new foundation of home and internationally, its arrival Canadian rock by bucking and even couldn't be more timely. rejecting popular music trends and notions. They rediscovered their musical Based primarily on interviews with roots, charted their own paths and over 150 key artists and bands of the remained loyal to their unique musical time, the book explores a ten-year period vision. Their ultimate success (andlor during which, as authors Michael failure) was founded upon a do-it- Barclay, Ian Jack, and Jason Schneider yourself philosophy-a philosophy more aver, the musical seeds sowed by the akin to the traditions of punk and folk first wave of great Canadian artists in music than the mainstream. the 60s and 70s bore an abundant crop of talent and creativity fiom 1985 to 1995. Weighing in at nearly 800 pages, As music journalists and musicians in Have Not Been The Same (the title is their own right, the book's authors know taken f?om the signature song of the their territory and infuse the proceedings seminal Vancouver band, Slow) is with their insight, knowledge and nothing if not exhaustive. Delving deep passion. Barclay, Jack and Schneider into the roots of the CanRock make it clear that they are not attempting renaissance and the Canadian psyche, to write an encyclopedia. Instead they HNB TS weaves together diverse are writin story about the music and the musical, artistic, and cultural strands people W71 o made it. In the book's into a rich tapestry that at once shows us prefatory "Disclaimer," they argue that where we've been, and where we're headed. Eschewing a traditional and country music, to the Halifax encyclopedic format (with individual underground and Vancouver's Nettwerk entries on bands and musicians), the Records. Separate chapters are devoted book is instead divided into seventeen exclusively to the bands Sloan, Blue chapters, each tackling a different Rodeo, and The Tragically Hip, subject and including a lively selection respectively. o f quotations, lyrics, reminiscences, and commentary fiom a cross-section of ECW Press has produced a high musical points of view. quality book that will appeal to a wide audience. HNB TS is generously illustrated throughout with clear black- The book opens with a survey of the and-white photographs, and includes a Canadian musical and cultural landscape centre spread of sixteen pages of colour in 1985 in a chapter titled "Everyone photos of musicians and bands. But Knows This Is Nowhere." Peter C. though its scope is broad, that's not to Newman, The Cowboy Junkies, Blue say the book will satisfy every reader. Rodeo, Stompin' Tom Connors, Sarah The authors make no bones about McLachlan, Kurt Swinghammer and subjective choice being paramount in Toronto filmmaker Bruce MacDonald deciding who was and was not included, (among others) all weigh in with their as they themselves admit-"[elvery thoughts. The authors themselves aren't person who reads this book is bound to above poking at a few sacred cows ask, 'Yeah, but what about.. .?"' either. Bemoaning the music scene and "[tlhe dismal lack of Canadian celebrity After reading HNBTS readers will circa 1985," they pinpoint the Ethiopian likely come away with a new famine relief single 'Tears Are Not appreciation and understanding of Enough" by Northern Lights as the arguably one of the most fascinating and nadir. From there, HNBTS takes the least understood eras in Canadian music. reader on a musical odyssey that Even if all that the book accomplishes is explores development and growth of the merely to draw someone's attention to a CanRock renaissance over time £rom a previously unheard of band or musician variety of angles: £torn the importance of (like Edmonton's Jr. Gone Wild in the MuchMusic, campus radio and the CBC case of this reviewer), it will have in introducing a new crop of musical succeeded in its mission. AU that is talent, to the emergence of independent missing fiom the book is a companion record labels like Montreal's Og CD set. Perhaps that is something to Records; fiom the punk music scenes of consider for future editions. Vancouver and Toronto, to Hamilton's homegrown superstar producer Daniel Lanois and the enduring legacy of Neil Sebastian Deny Young and Crazy Horse; from the re- Killam Library introduction and re-vitalization of folk Dalhousie University .