An Interview with Bob Mersereau
Questions:
What initially made you want to take on such a mammoth project?
I was asked to do a music book for Goose Lane Editions in the spring of 2006, but the initial idea wasn't one that I was keen on. Instead, I asked them if they would be interested in this, which we all agreed was a better project. As a music fan and collector since my teens (I'm now 46), I had always looked for a book like this, something that listed great Canadian albums. Every time I go to a bookstore, I go to
the music book section first, and have always been frustrated that I couldn't find such a work. There are books that list the best albums of all time, from the U.S. or England, and lots of lists in magazines, but Canadians always get a few mentions. I felt there was no shortage of great Canadian albums, and it would be worthwhile.
As to the scope of the project, I wanted to do it as best I could,since music fans have pretty high standards. I felt anything less wouldn't give the subject its proper due.
What kept you going while you were working on it?
It was a lot of fun to do this type of survey. Every day, during the voting process, I'd come home to find a jammed mailbox on my Mac, and made many good friends, spoke to heroes, and made valuable contacts. It was exciting and rewarding work. Plus, as the vote-counter, it was a great secret that only I knew, seeing who was winning and which albums were doing well.
What was the most surprising result of your research?
Generally, it was a joy to discover how open most Canadian are to all forms of music. Hip-hop artists would vote for country, rock fans for jazz, young people for 60's albums, and 50-year olds for Arcade Fire. The biggest individual surprise was hearing about Simply Saucer, from Hamilton, the one band I had never heard of before in the Top 100. It is simply the most fascinating story I've ever heard in music, a band
from the 70's in Hamilton that had been a complete failure, rediscovered by a new generation, and some raw demo tapes from 1974 turned into an album in the 90's. Despite initial reticence from the group's leader, Edgar Breau, the album became a cult hit in Canada, the U.S., and Europe, to the point that the band has reformed,
recorded a new album, and is getting a ton of respect 30 years later.
The group's new disc comes out in January 2008.
What was the difference between Joni Mitchell's Blue and Neil Young's Harvest that put Harvest at the top of the list?
These two albums were very close in the voting, although Young was always ahead of Mitchell by about 10 per cent of votes. They were really the only two that came to this level, easily the overwhelming choices of the jury for the top two spots.
Are there any albums that you thought should have been included that weren't?
There were several that I feel would make it onto my Top 100. Like most people, it would be a completely different list than the one in the book. The book, however, reflects a consensus vote. I'm disappointed that The Odds from Vancouver didn't make it, with Good Weird Feeling. I would have chosen different discs from Rufus Wainwright and Ron Sexsmith, probably a couple more from each. I found it quite frustrating the The McGarrigle Sisters were not included. I felt Ashley MacIsaac's Hi How Are You Today should have been there, as well as Matt Mays, Lennie Gallant too. I could go on.
What do you hope this book will do for the future of Canadian music and music journalism?
My immediate goal was already met, with the large amount of press and debate over the list and book. It was my hope that the media would be filled with articles, that would generate this discussion. Most major newspapers, radio stations and television networks carried reports. Whether it was favourable or argumentative, people heard about the book, and it generated discussion, debate, and website chatter. I keep hearing of more and more. I'm thrilled that many publications carried the entire list, including full-page articles in The National Post, etc.
Next, I hope it spurs some music sales, and concert attendance. I know that CD orders have increased for some of these albums, and that is extremely satisfying. I hope that people will say, for example, "The Weakerthans, I've never heard of them, but they're supposed to be good, lets go to that show."
As for journalism, it would be my hope that more media outlets would choose to include stories about our own artists, removing the useless material on Britney Spears and Paris Hilton from their agenda. It's so easy for the media to use this material, as it's right in front of them on the news wires, and costs them no more to reproduce it. If Canadian stories are there, and more people are talking about them,
that becomes easier for them to print or broadcast them.
What do you think the role of music journalists is in Canada and does this book impact their value?
I see music journalism as an important way to discuss Canadian culture, first and foremost. Music is often placed on a lower level of the cultural index, because of its overall larger popularity. However, it of course is of just as much importance, and should be treated as such. Just as in visual art or literary works, there are
new pieces being created that new review and exposure and discussion, plus there is a rich body of historical work that should be examined for its quality, plus used as a reflection of our overall culture and history. I think this book places a spotlight on many artists, and hopefully serves as a primer and accurate source for further
examination. Say what you will about surveys, always a controversial topic in elections, polls, and all else, not just music, but at least the book treats the music and musicians and art with respect on each page, and overall in its hard-cover, coffee-table, full treatment, certainly a rare thing in Canadian music publishing.
What initially made you want to take on such a mammoth project?
I was asked to do a music book for Goose Lane Editions in the spring of 2006, but the initial idea wasn't one that I was keen on. Instead, I asked them if they would be interested in this, which we all agreed was a better project. As a music fan and collector since my teens (I'm now 46), I had always looked for a book like this, something that listed great Canadian albums. Every time I go to a bookstore, I go to
the music book section first, and have always been frustrated that I couldn't find such a work. There are books that list the best albums of all time, from the U.S. or England, and lots of lists in magazines, but Canadians always get a few mentions. I felt there was no shortage of great Canadian albums, and it would be worthwhile.
As to the scope of the project, I wanted to do it as best I could,since music fans have pretty high standards. I felt anything less wouldn't give the subject its proper due.
What kept you going while you were working on it?
It was a lot of fun to do this type of survey. Every day, during the voting process, I'd come home to find a jammed mailbox on my Mac, and made many good friends, spoke to heroes, and made valuable contacts. It was exciting and rewarding work. Plus, as the vote-counter, it was a great secret that only I knew, seeing who was winning and which albums were doing well.
What was the most surprising result of your research?
Generally, it was a joy to discover how open most Canadian are to all forms of music. Hip-hop artists would vote for country, rock fans for jazz, young people for 60's albums, and 50-year olds for Arcade Fire. The biggest individual surprise was hearing about Simply Saucer, from Hamilton, the one band I had never heard of before in the Top 100. It is simply the most fascinating story I've ever heard in music, a band
from the 70's in Hamilton that had been a complete failure, rediscovered by a new generation, and some raw demo tapes from 1974 turned into an album in the 90's. Despite initial reticence from the group's leader, Edgar Breau, the album became a cult hit in Canada, the U.S., and Europe, to the point that the band has reformed,
recorded a new album, and is getting a ton of respect 30 years later.
The group's new disc comes out in January 2008.
What was the difference between Joni Mitchell's Blue and Neil Young's Harvest that put Harvest at the top of the list?
These two albums were very close in the voting, although Young was always ahead of Mitchell by about 10 per cent of votes. They were really the only two that came to this level, easily the overwhelming choices of the jury for the top two spots.
Are there any albums that you thought should have been included that weren't?
There were several that I feel would make it onto my Top 100. Like most people, it would be a completely different list than the one in the book. The book, however, reflects a consensus vote. I'm disappointed that The Odds from Vancouver didn't make it, with Good Weird Feeling. I would have chosen different discs from Rufus Wainwright and Ron Sexsmith, probably a couple more from each. I found it quite frustrating the The McGarrigle Sisters were not included. I felt Ashley MacIsaac's Hi How Are You Today should have been there, as well as Matt Mays, Lennie Gallant too. I could go on.
What do you hope this book will do for the future of Canadian music and music journalism?
My immediate goal was already met, with the large amount of press and debate over the list and book. It was my hope that the media would be filled with articles, that would generate this discussion. Most major newspapers, radio stations and television networks carried reports. Whether it was favourable or argumentative, people heard about the book, and it generated discussion, debate, and website chatter. I keep hearing of more and more. I'm thrilled that many publications carried the entire list, including full-page articles in The National Post, etc.
Next, I hope it spurs some music sales, and concert attendance. I know that CD orders have increased for some of these albums, and that is extremely satisfying. I hope that people will say, for example, "The Weakerthans, I've never heard of them, but they're supposed to be good, lets go to that show."
As for journalism, it would be my hope that more media outlets would choose to include stories about our own artists, removing the useless material on Britney Spears and Paris Hilton from their agenda. It's so easy for the media to use this material, as it's right in front of them on the news wires, and costs them no more to reproduce it. If Canadian stories are there, and more people are talking about them,
that becomes easier for them to print or broadcast them.
What do you think the role of music journalists is in Canada and does this book impact their value?
I see music journalism as an important way to discuss Canadian culture, first and foremost. Music is often placed on a lower level of the cultural index, because of its overall larger popularity. However, it of course is of just as much importance, and should be treated as such. Just as in visual art or literary works, there are
new pieces being created that new review and exposure and discussion, plus there is a rich body of historical work that should be examined for its quality, plus used as a reflection of our overall culture and history. I think this book places a spotlight on many artists, and hopefully serves as a primer and accurate source for further
examination. Say what you will about surveys, always a controversial topic in elections, polls, and all else, not just music, but at least the book treats the music and musicians and art with respect on each page, and overall in its hard-cover, coffee-table, full treatment, certainly a rare thing in Canadian music publishing.
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