JB-  Some critics say this sort of show isn't good for music because it's more of a karaoke competition, we're not seeing "real" artists come out of this.  I'm sure you've heard those claims as well.

JG-  What I say is that they say "real artists" because these singers don't write their own songs, right?  I mean, that's basically what they're saying.  That's why they're saying it's karaoke.  So what's Michael Buble?  He has a bit of writing credits on his record, but not a lot.  Just like the Idols have a bit of writing credits on their records but not a lot.  Celine Dion has no writing credits on her record.  Joe Cocker doesn't write, but he's the ultimate in credibility.  So I think if you go through the list of all these great people there are some artists that write and some that don't.  I think that's really mostly what they are talking about.  Because there's a lot of talented singers out there.

JB-  It's about getting that break.

JG- Yeah, and this is just another opportunity.  You know what the reality is, Jeremy?  It's who are you there to make happy when you're a singer or artist or whatever?  Two things:  First and foremost, yourself.  Are you happy with what you're doing?  Secondly, the public who are your fans.  Everyone else comes third to that stuff.  Critics don't buy records, they get them free.  They don't buy concert tickets, they get those for free.  So they're not putting any money in any artist's pockets.  It's a great opportunity when people write about artists but at the end of the day it's content for the record buying public or the people that want to buy tickets to a show.

JB-  So Jake, if anyone knows talent it's you, right?

JG-  If you say so, Jeremy!

JB-  You've worked with some of the greats.  The Tragically Hip comes to mind.  So who better to be a judge on Canadian Idol?

JG-  That's why they cast me.  That's the idea.  I think they auditioned about 200 people from across the country and they came up with us.  So it's pretty cool.

JB-  Good choice.

JG-  Thanks.

JB- You've become a household name since Idol has started.

JG-  Yeah, it's kind of funny, isn't it?

JB-  And not many people know the story behind the man.  They know the face but not much more.  You've been in the music industry for quite some time.

JG-  I've been doing this… I started full-time as a manager in 1981.  So now I'm in my 26th year… I'm aging myself.  (laughing)

JB-  You mean 26-years-old…

JG-  Yeah, that's it!  Sure, Jeremy!

JB-  So you're co-owner of a record label, you manage bands…  well, you tell me your background. 

JG-  I co-own a label and management company.  Our label is Kindling Music and the management company is The Management Trust.  We have a whole bunch of great artists signed to it and Bryan Byrne is on the label, The Salads, The Populars [who recently appeared on SpeakFree Celebrity Sightings], onlyforward, Dearly Beloved.  We're about to sign a band called The Cliks.  We manage all those artists that are on the label.  As well I manage Gord Downie, who's the singer from The Tragically Hip; Sass Jordan, one of the judges on the show (Canadian Idol).  She has a new record coming out in September.

JB-  Wow, you can remember all that?  Or are you looking off notes somewhere?

JG-  No!

JB-  You're a busy guy!

JG-  Originally when I got the call (to be on Idol) I wasn't sure if I wanted to do it.

JB-  Why not?

JG-  I just didn't know if it was for me.  You know, I spent most of my career on the other side of the camera.  I never had aspirations of being someone onstage or anything like that.

JB- Now wait a second, you were in a couple of bands in your teens.

JG-  Yeah, when I was 16, 17 but I kind of gave up on that.

JB- Why?

JG- I think it just wasn't the right thing to do for me.  In a lot of ways I was a decent singer and not a very good performer.  I didn't get it, you know?

JB-  Like some of the people you see coming through Idol.

JG-  That don't get it, yeah.  They remind me of myself at that age.  (laughing)

JB-  So how did you get into managing?

JG-  I was working with this group.  I was their lighting guy and their tour manager for about a month and then they split up.  And a buddy of mine was the drummer and then they got a new guitar player and started a new band and he came to me and said, "You should be our manager."  And I said, "Well, I know nothing about that."  And he said, "It doesn't matter, I think you'd be really good at it."  I said, "OK" and that's what happened.  And that's literally how I became a manager.