My drummer right now, who was also the first drummer in Weeping Tile, Jon McCann, told me that [Hip drummer] Johnny Fay took drum lessons from [McCann's] dad, who taught a lot of the drummers in Kingston. He said that when he was in Grade 9, the Hip were the model; the goal was to get an agent and gig as much as possible.

Music is amazing, because you get to take it into your office or your living room or wherever you get to know it, and later you bring all those personal connections into a room with thousands and thousands of people.

Maybe I'm not giving people in the audience enough credit for actually thinking about what they're singing, but it's awesome when a rock'n'roll groove and melody can transport something from Barometer Rising or whatever [ed: it's from 1958's The Watch That Ends the Night] into [Toronto's] Molson Ampitheatre and have people just owning it.

I remember getting up and singing with them at Mile One arena in St. John's. It was such an honour that they asked me, but all I could think of was, "But I'm such a fan!" Later I sang on one of their records, that was awesome.

[Gord] Downie has become more animated than the early days, but he's still the same charismatic performer. And as a whole, that band is really the result of each individual member. If one member was not a part of it, it wouldn't be the Hip. They're all crucial to the whole thing.

My drummer right now, who was also the first drummer in Weeping Tile, Jon McCann, told me that [Hip drummer] Johnny Fay took drum lessons from [McCann's] dad, who taught a lot of the drummers in Kingston. He said that when he was in Grade 9, the Hip were the model; the goal was to get an agent and gig as much as possible.

Ah come on, these streams of light are not so subtle. All along the ditch, signs of life in sinking puddles!