I think I was making a Stephen Fearing record, and I mentioned to someone that the Tragically Hip were talking to me about working with them. The Canadians in the room couldn't believe it, as if the Beatles were getting back together again and asking me to produce them. I have to say, as an American, it's different; they're not exactly a national treasure here.

Like any band, including mine, there's a comfort zone that's hard to escape. You kind of need an outsider to tell you that. You think it's your vocabulary, but it's a cocoon that's safe. Producers are supposed to tell you to try things a different way.

I think I was making a Stephen Fearing record, and I mentioned to someone that the Tragically Hip were talking to me about working with them. The Canadians in the room couldn't believe it, as if the Beatles were getting back together again and asking me to produce them. I have to say, as an American, it's different; they're not exactly a national treasure here.

Gord Downie is extraordinary. It's safe to say there's nobody like that guy that I've ever come across.

It seems silly, but it mattered to Gord Downie. I don't know if I necessarily felt like it had to be one or the other, but he really wanted that engagement: "If you think it should be 'the' then tell me why it should be 'the.' " 'Uh, okay, well...' He was really serious.

I was struck by the effortless way they moved between musical styles, all the while managing to make each their own. It was instantaneous that I knew I wanted to work with them.

The lesson there is that there's no hiding the sound of a band that is bored with its own music. Whatever it takes to create the sound of excitement, that's what you want to do.