Dan Aykroyd

I love writing more than anything. You're left alone. You know, you do three hours in the morning, you write three hours in the afternoon, go pick up a kid from school and write at night. And after nine hours, you come out with seven pages and then you're moving on.

I love writing more than anything. You're left alone. You know, you do three hours in the morning, you write three hours in the afternoon, go pick up a kid from school and write at night. And after nine hours, you come out with seven pages and then you're moving on.

I love writing more than anything. You're left alone. You know, you do three hours in the morning, you write three hours in the afternoon, go pick up a kid from school and write at night. And after nine hours, you come out with seven pages and then you're moving on.

Well, the first records, of course, were, you know, The Beatles and The Stones. And then I think the seminal record for me was the East-West record that Paul Butterfield did in the late 60s with Elvin Bishop and Michael Bloomfield. And from then on, I began to go out and try to search the bins in the record stores for blues artists and then started listening to John Lee Hooker.

Well, the first records, of course, were, you know, The Beatles and The Stones. And then I think the seminal record for me was the East-West record that Paul Butterfield did in the late 60s with Elvin Bishop and Michael Bloomfield. And from then on, I began to go out and try to search the bins in the record stores for blues artists and then started listening to John Lee Hooker.

Well, the first records, of course, were, you know, The Beatles and The Stones. And then I think the seminal record for me was the East-West record that Paul Butterfield did in the late 60s with Elvin Bishop and Michael Bloomfield. And from then on, I began to go out and try to search the bins in the record stores for blues artists and then started listening to John Lee Hooker.

And we had a tremendous booking process. agent in Ottawa, Canada, where I grew up. That's the capital of that great, great nation. And my parents worked for the government up there. And I was a kind of a son of government workers up there. And there was a club called Le Hibou, which was right on Sussex Drive near where the prime minister lives. And we had a booker there named Harvey Glatt.

And we had a tremendous booking process. agent in Ottawa, Canada, where I grew up. That's the capital of that great, great nation. And my parents worked for the government up there. And I was a kind of a son of government workers up there. And there was a club called Le Hibou, which was right on Sussex Drive near where the prime minister lives. And we had a booker there named Harvey Glatt.

And we had a tremendous booking process. agent in Ottawa, Canada, where I grew up. That's the capital of that great, great nation. And my parents worked for the government up there. And I was a kind of a son of government workers up there. And there was a club called Le Hibou, which was right on Sussex Drive near where the prime minister lives. And we had a booker there named Harvey Glatt.

And he brought in all of the great blues stars of the age. So that as a teenager, I jammed behind Muddy Waters when S.P. Leary refused to take the drum kit. And he said, is there anybody out there that's a drummer? And I walked up and I started to play and Muddy turns to me and he goes, keep that beat going, boy. You make Muddy feel good. I mean, this was part of my early exposure.

And he brought in all of the great blues stars of the age. So that as a teenager, I jammed behind Muddy Waters when S.P. Leary refused to take the drum kit. And he said, is there anybody out there that's a drummer? And I walked up and I started to play and Muddy turns to me and he goes, keep that beat going, boy. You make Muddy feel good. I mean, this was part of my early exposure.

And he brought in all of the great blues stars of the age. So that as a teenager, I jammed behind Muddy Waters when S.P. Leary refused to take the drum kit. And he said, is there anybody out there that's a drummer? And I walked up and I started to play and Muddy turns to me and he goes, keep that beat going, boy. You make Muddy feel good. I mean, this was part of my early exposure.

And then I saw Paul Butterfield and Charlie Musselwhite and You know, all these great players. And it was, I guess, just through the insight of this guy who was, you know, booking for the college crowd up there. And then listening to the black radio stations in Boston and Detroit and New York. This was, you know, these were sort of all part of my exposures, I guess.

And then I saw Paul Butterfield and Charlie Musselwhite and You know, all these great players. And it was, I guess, just through the insight of this guy who was, you know, booking for the college crowd up there. And then listening to the black radio stations in Boston and Detroit and New York. This was, you know, these were sort of all part of my exposures, I guess.

And then I saw Paul Butterfield and Charlie Musselwhite and You know, all these great players. And it was, I guess, just through the insight of this guy who was, you know, booking for the college crowd up there. And then listening to the black radio stations in Boston and Detroit and New York. This was, you know, these were sort of all part of my exposures, I guess.

Well, my dad used to pour over the newspapers and look for... record collections that were used. So he would go and he'd see that some guy in Ottawa or Hull or where we were living there, would be selling 100 records. He'd just go out and buy them all. So we were listening to anything from Glenn Miller to Mario Lanza, lots of Broadway soundtracks and stuff.

Well, my dad used to pour over the newspapers and look for... record collections that were used. So he would go and he'd see that some guy in Ottawa or Hull or where we were living there, would be selling 100 records. He'd just go out and buy them all. So we were listening to anything from Glenn Miller to Mario Lanza, lots of Broadway soundtracks and stuff.

Well, my dad used to pour over the newspapers and look for... record collections that were used. So he would go and he'd see that some guy in Ottawa or Hull or where we were living there, would be selling 100 records. He'd just go out and buy them all. So we were listening to anything from Glenn Miller to Mario Lanza, lots of Broadway soundtracks and stuff.

But I think my father really influenced me when he started to get into the Jack Hilton, Ray Noble, Freddie Gardner, English swing band music. That was really something because, you know, the value of horns was there. And then later, as I started to buy, of course, was the Beatles and the Stones and the Animals and then the Paul Butterfield record.

But I think my father really influenced me when he started to get into the Jack Hilton, Ray Noble, Freddie Gardner, English swing band music. That was really something because, you know, the value of horns was there. And then later, as I started to buy, of course, was the Beatles and the Stones and the Animals and then the Paul Butterfield record.