Lœœ“iÀÊLÕÃÌ iÌ>« ÞÈV>Ê Õià BILL COLGATE ,>`ˆV>Ê,œ>` / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì œÀ`iÀˆ˜iÊ À>âÞ ˆÊ ÞÊ Õ« œLœ`Þ¿ÃÊœœ ˆÃÃÊ>܏ˆ˜i 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài` 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ œÀÊ Àވ˜}Ê"ÕÌÊœÕ` /œœÊœÌʘœÌ ,œ>`Ê/œÊ->“>À> Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ Ê œ˜¿ÌʘœÜÊ
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graphicdesign [email protected] BILL COLGATE

“A thousand yard stare and a three day beard / I used to think it was God I feared” Used To Think It Was God I Feared — boomer bust

Lœœ“iÀÊLÕÃÌ BILL COLGATE iÌ>« ÞÈV>Ê Õià (at a glance) ,>`ˆV>Ê,œ>` / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊBill Colgateˆ} Ì is a bar band singer turned successful actor turned critically lauded and œÀ`iÀˆ˜iÊ À>âÞ award winning singer/songwriter. boomer bust is Bill’s 3rd CD. As an actor, he has ˆÊ ÞÊ Õ« appeared in every aspect of the profession: stage, screen (BIG and small), radio, cartoon œLœ`Þ¿ÃÊœœ and commercial voice work. He has worked with such notables as Tommy Lee Jones, ˆÃÃÊ>܏ˆ˜i Matt Dillon, Diane Keaton, Diane Lane, Anthony Edwards and Kiefer Sutherland. As a 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài`singer/songwriter, he has shared the concert stage with: Ron Sexsmith, Bobby Wiseman, 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ Kevin Hearn, Sarah Slean, Amos Garrett and John Lee Hooker. Bill’s years singing in bars œÀÊ Àވ˜}Ê"ÕÌÊœÕ` gave him the experience to write children’s songs for the theatre which subsequently /œœÊœÌʘœÌ gave him the skills necessary to find his own “voice” and write his own songs. Look out ,œ>`Ê/œÊ->“>À> world there’s a not-so-new-kid in town. Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ REVIEWS Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} Ì“..an important and committed new talent on the Canadian independent music scene” “«iÀœÀ¿ÃÊ iÜÊ œÌ ià Greg Quill 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ The Toronto Star -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“ià ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Ü“Bill Colgate, a name you might not know but you should because he is an excellent, / iÊÀ>ViÊ"vÊ9œÕ excellent singer/songwriter.” iL>˜œ˜Ê*ˆŽi James Reaney œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜London Free Press iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ “Bill Colgate has a voice that sounds lived in, possibly even squatted in by tramps for a ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ while. It’s the perfect voice for barstool philosophy and “boomer bust”, Colgate’s third ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} album, is full to overflowing with the wisdom you only reach after midnight and several œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀbeers have passed.” Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ Matt Hutchinson ÊœÌÊ/ iÊ, ÞÌ “ americana uk -ÌÕVŽÊiÀiʘÊÌ iÊ Õià œVŽiÞÊ ˆ} Ì “Bill Colgate might not have the cure for cancer, but his honest, soulful songwriting has >ÌiÊ/ >ÌÊ/À>ˆ˜ the potential to heal a world suffering from insipid popular music.” Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ David Lockeretz Àiˆ} ÌÊ/À>ˆ˜Ê,œ The Muse’s Muse œœÊ
ÀœÕ˜` AWARDS *i>ÃiÊ* œ˜iÊœ“i 2nd Grand Prize Overall 2002 USA Songwriting Competition ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi® (This win is out of over 32,000 entries and represents the highest standing ever by a >ŽiÊ"vÊ >Þà Canadian in the history of the contest to that date — including such notables as Shirley iÌÊÌÊ iÊ/ iÀi Eikhard and James Keeleghan.) 5th Place Gospel/Inspirational Category 1997 John Lennon Songwriting Contest >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE

“Have I become such a bore in my own Elsinore?” Metaphysical Blues — boomer bust

Lœœ“iÀÊLÕÃÌ iÌ>« ÞÈV>Ê Õià ,>`ˆV>Ê,œ>` / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì œÀ`iÀˆ˜iÊ À>âÞ ˆÊ ÞÊ Õ« œLœ`Þ¿ÃÊœœ ˆÃÃÊ>܏ˆ˜i 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài` 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ œÀÊ Àވ˜}Ê"ÕÌÊœÕ` The Bill Colgate Story /œœÊœÌʘœÌ (unexpurgated) ,œ>`Ê/œÊ->“>À> Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ What is a Bill Colgate? Poster boy for mid-life crisis or a somewhat late bloomer? Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} ÌBorn in Welland Ontario and raised in Toronto, the arc of Bill’s professional life begins in “«iÀœÀ¿ÃÊ iÜÊ œÌ ià the early 70’s, fronting such memorable bar bands as Uncle John’s Dirty Secret and The 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ All Star Disco Band (currently residing in the 9th Circle of Hell). It was while playing The -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“iÃNickleodeon (Ronnie Hawkins’ old “Hawk’s Nest”) that things took a left turn when he ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Üwas approached by the artistic director of a fledging theatre company with the proposal / iÊÀ>ViÊ"vÊ9œÕ that he might consider giving acting a try “since you seem to be handling the role of iL>˜œ˜Ê*ˆŽi lead singer pretty well”. 20 years later, when he recorded his first CD, Bill had appeared œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜in every aspect of the profession: stage, screen (BIG and small), radio, cartoon and com- iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ mercial voice work. He has performed the plays of Shakespeare, Beckett, Shaw and Ibsen ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ but is most often recognized as The Singing Pirate from an episode of the children’s ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} show “Join In” recorded 15 years ago. œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀ Bill has worked with the following names you may recognize: Tommy Lee Jones, Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ John Cusack, Billy Bob Thornton, Diane Keaton, Diane Lane, Kiefer Sutherland, Liev ÊœÌÊ/ iÊ, ÞÌ “ Schreiber, Matt Dillon, Anthony Edwards, Tia Carrere, Jennifer Jason Leigh, Beau -ÌÕVŽÊiÀiʘÊÌ iÊ Õià Bridges, Joe Mantegna, Sarah Polley, Kyra Sedgwick and Joanna Cassidy. œVŽiÞÊ ˆ} Ì >ÌiÊ/ >ÌÊ/À>ˆ˜ While with a small theatre company in Mississauga Ontario (Cyclos Theatre), the process Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ of osmosis first affected Bill’s artistic life. He discovered that all those years of singing in Àiˆ} ÌÊ/À>ˆ˜Ê,œ bar bands had given him an instinctive understanding of song structure. This came in œœÊ
ÀœÕ˜` especially handy as he was the only one in the company with any musical background *i>ÃiÊ* œ˜iÊœ“i and someone was needed to write original songs for their children’s shows. Thus began ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi®Bill’s education in songwriting. It proved to be an excellent training ground. The lyrics >ŽiÊ"vÊ >Þà had to convey information and “further the plot” while the melody had to engage the iÌÊÌÊ iÊ/ iÀi notoriously fickle pre-pubescent audience. It was an apprenticeship that’s advantages far outweighed the one disadvantage of having to “unlearn” a certain didacticism inherent in children’s music as he later struggled to find his own “voice” ...cont’d >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE

“It’s more than just amazing how I fell / It’s how I keep on drawing from that well” Borderline Crazy — boomer bust

Lœœ“iÀÊLÕÃÌ iÌ>« ÞÈV>Ê Õià ,>`ˆV>Ê,œ>` / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì œÀ`iÀˆ˜iÊ À>âÞ ˆÊ ÞÊ Õ« œLœ`Þ¿ÃÊœœ ˆÃÃÊ>܏ˆ˜i 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài` 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ œÀÊ Àވ˜}Ê"ÕÌÊœÕ` /œœÊœÌʘœÌ ,œ>`Ê/œÊ->“>À> Bill Colgate Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ (cont’d) Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} ÌThis struggle began during an hour long walk Bill would take every summer day from “«iÀœÀ¿ÃÊ iÜÊ œÌ ià the hamlet of Port Ryerse to the town of Port Dover (where he was appearing at The 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ Lighthouse Festival Theatre) along The Radical Road It had been several years since Bill -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“iÃhad been required to write a song but, for some reason, that summer they came fast ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Üand furious and, so far, the flood has not abated. Whereas once the osmotic process / iÊÀ>ViÊ"vÊ9œÕ had flowed from music to theatre, the reverse was now the rule. All the experience Bill iL>˜œ˜Ê*ˆŽi had acquired from his years as an actor — his understanding of imagery, the rhythms œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜ of speech, the relationship and responsibilities of performer to audience — informed his iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ songwriting. He had a foot in both camps. He could stand on the shoulders of the ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ giants, not only of the music he loved (The Band, Bob Dylan, Neil Young, Bruce ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} Springsteen) but of the theatre, whose works he had performed (Shakespeare, Beckett, œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀ Ibsen, Shaw). Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ ÊœÌÊ/ iÊ, ÞÌ “ Bill does not play an instrument. He has too much respect for musicians to call what he -ÌÕVŽÊiÀiʘÊÌ iÊ Õià does to a harmonica “playing an instrument”. Nevertheless, with his principal musical œVŽiÞÊ ˆ} Ì collaborator, Cam MacInnes, he has successfully developed techniques for getting what >ÌiÊ/ >ÌÊ/À>ˆ˜ he hears in his head “outta there”. At three critically lauded CDs and counting, it must Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ be workin’. Àiˆ} ÌÊ/À>ˆ˜Ê,œ Fast forward to today and we have a Bill Colgate who, ironically enough, uses the acting œœÊ
ÀœÕ˜` profession as that thing to fall back on if this singer/songwriter gig doesn’t work out. *i>ÃiÊ* œ˜iÊœ“i Look out world there’s a not-so-new-kid in town. ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi® >ŽiÊ"vÊ >Þà Bill has shared the concert stage with the following names you may recognize: Ron iÌÊÌÊ iÊ/ iÀi Sexsmith, Jim Cuddy, Bobby Wiseman, Kevin Hearn, Sarah Slean, Mia Sheard, Tamara Williamson, Amos Garrett, The Bills, and, in his bar band days: John Lee Hooker, Chubby Checker, Sha Na Na, Lighthouse and The Stampeders. >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE

“ This song’s about redemption, this song’s about defeat, this song’s about three minutes long but it’s got this steady beat” Emperor’s New Clothes — waiting for simon

Lœœ“iÀÊLÕÃÌ Bill Colgate and The Urbane Guerillas featuring Cam MacInnes iÌ>« ÞÈV>Ê Õià Bill is a singer/songwriter and, as such, can and does appear in various musical configu- ,>`ˆV>Ê,œ>` / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊrations, ˆ} Ì depending on the venue and the circumstances. He will always be accompanied œÀ`iÀˆ˜iÊ À>âÞ by his musical director and chief collaborator, Cam MacInnes, but, beyond that, the best ˆÊ ÞÊ Õ« we can liken it to would be the menu from a Chinese restaurant. The main difference œLœ`Þ¿ÃÊœœ being that your choice of meal would be of the musical variety: ˆÃÃÊ>܏ˆ˜i ONE 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài` Bill Colgate - vocals & harmonica 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ Cam MacInnes - acoustic & electric guitars, dobro œÀÊ Àވ˜}Ê"ÕÌÊœÕ` TWO /œœÊœÌʘœÌ Bill Colgate - vocals & harmonica Cam MacInnes - acoustic & electric guitars, dobro ,œ>`Ê/œÊ->“>À> Joe Gaitanis - acoustic & electric guitars, mandolin, banjo, vocals Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ THREE Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} Ì Bill Colgate - vocals & harmonica “«iÀœÀ¿ÃÊ iÜÊ œÌ ià Cam MacInnes - acoustic & electric guitars, dobro 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ Joe Gaitanis - acoustic & electric guitars, mandolin, banjo, vocals -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“ià Stephen Bright - bass ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Ü FOUR / iÊÀ>ViÊ"vÊ9œÕ Bill Colgate - vocals & harmonica Cam MacInnes - acoustic & electric guitars, dobro iL>˜œ˜Ê*ˆŽi Joe Gaitanis - acoustic & electric guitars, mandolin, banjo, vocals œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜ Stephen Bright - bass iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ Bruce Moffet - drums ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ FIVE ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} Bill Colgate - vocals & harmonica œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀ Cam MacInnes - acoustic & electric guitars, dobro Joe Gaitanis - acoustic & electric guitars, mandolin, banjo, vocals Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ Stephen Bright - bass ÊœÌÊ/ iÊ, ÞÌ “ Bruce Moffet - drums -ÌÕVŽÊiÀiʘÊÌ iÊ Õià Denis Keldie - B3, accordion œVŽiÞÊ ˆ} Ì >ÌiÊ/ >ÌÊ/À>ˆ˜ Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ Cam MacInnes Àiˆ} ÌÊ/À>ˆ˜Ê,œ œœÊ
ÀœÕ˜` guitar, dobro, bass, banjo, mandoguitar, auto-harp *i>ÃiÊ* œ˜iÊœ“i ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi® Drastic Measures, Perfect World, Melody Ranch, Mary Jo Eustace, >ŽiÊ"vÊ >Þà Melanie Doane, Ana (formerly Hey Vera) Co-producer and musical iÌÊÌÊ iÊ/ iÀi director of Bill Colgate’s 2nd CD waiting for simon 2004. Cam is Bill Colgate’s principal musical collaborator. www.cammacinnes.com. >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE

“Jack was nimble, Jack was quick but Jack knew jack about that candlestick” Fill My Cup — boomer bust

Lœœ“iÀÊLÕÃÌ DISCOGRAPHY iÌ>« ÞÈV>Ê Õià ,>`ˆV>Ê,œ>` boomer bust is Bill Colgate’s / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì 2007 third CD. It is his second with œÀ`iÀˆ˜iÊ À>âÞ Title: boomer bust his primary musical collabora- ˆÊ ÞÊ Õ« Artist: Bill Colgate and the Urbane Guerillas tor guitar ace Cam MacInnes œLœ`Þ¿ÃÊœœ Producer: Vezi and his first with killer rhythm Recorded at: Kensington Sound, Toronto section The Urbane Gueril- ˆÃÃÊ>܏ˆ˜i las (Cam MacInnes, Shiraz 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài` Tayyeb and Stephen Bright). Lyric driven and roots based, their sound is what Cam has termed 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ “uprooted roots”. boomer bust is mid life angst with a backbeat. Tongue in cheek and heart on œÀÊ Àވ˜}Ê"ÕÌÊœÕ` sleeve it is a collection of funny, reflective and occasionally melancholy songs occupied more with /œœÊœÌʘœÌ the eternal than the diurnal. From the Hamlet manqué of Metaphysical Blues (“Have I become ,œ>`Ê/œÊ->“>À> such a bore in my own Elsinore?”) to the, where-the-hell-did-that-come-from of Used To Think Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ It Was God I Feared (“...a thousand yard stare and a three day beard / I used to think it was God Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} ÌI feared”) Bill has discovered that writing to find out what you think can tap some very interest- “«iÀœÀ¿ÃÊ iÜÊ œÌ ià ing wells. A stellar cast of supporting players including Denis Keldie on B3, accordion and clavi- 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ net; Sara McEachern on multiple trumpets and the gospel inspired vocal duo of Amoy Levy & -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“iÃAdrienne McKenzie (“The Double A’s) contribute to making this CD a knockout from first to last. ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Üboomer bust is the work of a mature artist with mature concerns but The Urbane Guerillas make sure that any navel gazing is confined to the lyrical. Forgive the cliché but this CD rocks. Veteran / iÊÀ>ViÊ"vÊ9œÕ producer Vezi — as a producer and engineer, he has contributed to projects by Daniel Lanois, iL>˜œ˜Ê*ˆŽi Murray McLauchlan, Alannah Myles, Eddie Schwartz, The Drifters and The Lincolns — while add- œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜ing his deft touch at the controls and on keyboards, has also succeeded in capturing the sponta- iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ neity of Bill and the band’s much lauded live performances. boomer bust more than fulfills the ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ promise of Bill Colgate’s first two CDs and marks the further development of a lyrical voice unlike ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} any other’s. P.S. Did I mention his acting training has given him one of the more expressive and œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀengaging singing voices around? P.P.S. He’s turning into a not-so-bad harmonica player as well. Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ ÊœÌÊ/ iÊ, ÞÌ “ -ÌÕVŽÊiÀiʘÊÌ iÊ Õià 2004 œVŽiÞÊ ˆ} Ì Title: waiting for simon >ÌiÊ/ >ÌÊ/À>ˆ˜ Artist: Bill Colgate Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ Producer: Cam MacInnes and Bob Cobban Àiˆ} ÌÊ/À>ˆ˜Ê,œ Recorded at: Studio 306, Toronto œœÊ
ÀœÕ˜` *i>ÃiÊ* œ˜iÊœ“i ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi® 1996 >ŽiÊ"vÊ >Þà Title: when dinosaurs ruled the earth iÌÊÌÊ iÊ/ iÀi Artist: Bill Colgate Producer: Ralph Cole and Ray Parker Recorded at: Inception Sound, Toronto >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE AND THE URBaNE GUERILLAS BILL COLGATE

“On an ocean of stars roll those radio waves” Lake of Bays — when dinosaurs ruled the earth

REVIEWS Lœœ“iÀÊLÕÃÌ iÌ>« ÞÈV>Ê Õià “...an important and committed new talent on the Canadian independent music ,>`ˆV>Ê,œ>` scene” – Greg Quill, The Toronto Star / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì œÀ`iÀˆ˜iÊ À>âÞ “Bill Colgate, a name you might not know but you should because he is an excel- ˆÊ ÞÊ Õ« lent, excellent singer/songwriter.” – James Reaney, London Free Press œLœ`Þ¿ÃÊœœ ˆÃÃÊ>܏ˆ˜i “Bill Colgate has a voice that sounds lived in, possibly even squatted in by tramps for 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài`a while. It’s the perfect voice for barstool philosophy and “boomer bust”, Colgate’s 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ third album, is full to overflowing with the wisdom you only reach after midnight œÀÊ Àވ˜}Ê"ÕÌÊœÕ` and several beers have passed.” – Matt Hutchinson, americana uk /œœÊœÌʘœÌ

,œ>`Ê/œÊ->“>À> “boomer bust” by Bill Colgate and The Urbane Guerillas is an extremely exciting Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ album without any clichés anywhere.” – John Gjaltema, www.altcountry.nl Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} Ì “«iÀœÀ¿ÃÊ iÜÊ œÌ ià “when dinosaurs ruled the earth” by Toronto singer Bill Colgate, is an album of 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ triumph for an amazing artist.” – Melissa Kowalewski, Rambles.net -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“iÃ

ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Ü “Bill Colgate might not have the cure for cancer, but his honest, soulful songwrit- / iÊÀ>ViÊ"vÊ9œÕ iL>˜œ˜Ê*ˆŽi ing has the potential to heal a world suffering from insipid popular music.” – David œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜Lockeretz, The Muse’s Muse iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ (of waiting for simon) “…a wonderfully subtle masterpiece of troubadouria that glis- ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} tens more with each additional play.” – Shael Risman, RismixLive œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀ Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ “The more I listen to “boomer bust”, the more I appreciate Bill Colgate’s skillful ÊœÌÊ/ iÊ, ÞÌ “ blend of insightful lyrics and soulful melody. He paints a unique picture for my musi- -ÌÕVŽÊiÀiʘÊÌ iÊ Õià cal ear using a distinctive colour pallete. Well done Mr. Colgate.” – Steve Clarke, œVŽiÞÊ ˆ} Ì Acoustic Planet, Erin Radio >ÌiÊ/ >ÌÊ/À>ˆ˜ Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ “I love what Bill does…it was a superb weekend of music.” – Holly Fleming, The Àiˆ} ÌÊ/À>ˆ˜Ê,œ Yellow Door, Montreal œœÊ
ÀœÕ˜` *i>ÃiÊ* œ˜iÊœ“i “Bill Colgate’s show at Rasputin’s in March grabbed my attention. Not only did his ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi®trio kick ass, but his original songs were wonderful. Bill and his crew are well worth >ŽiÊ"vÊ >Þà listening to, and worth booking.” – Dean Verger, Rasputin’s, Ottawa iÌÊÌÊ iÊ/ iÀi “Great Canadian singer/songwriter Bill Colgate gave an outstanding performance... Along with Cam MacInnes and a stellar band of players, Colgate brought down the house with his acoustic, folk based story songs that have won him countless awards,

>Vˆ°œ˜°V> including the USA Songwriting Competition and The John Lennon Songwriting J  Contest.” – Snap Peterborough Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

}À>« ˆV`iÈ}˜ÊV“>Àà > ÜÜÜ°LˆVœ}>Ìi°Vœ“ÊÊÊ BILL COLGATE

“ My heart is aching my shoes are too tight and I don’t know a soul in Toronto tonight” I Don’t Know A Soul In Toronto Tonight — waiting for simon

Lœœ“iÀÊLÕÃÌ iÌ>« ÞÈV>Ê Õià ,>`ˆV>Ê,œ>` TORONTO SONGWRITER SHINES / iÊÀ>˜`Ê"`Ê/À>`ˆÌˆœ˜Ê"vÊ->ÌÕÀ`>ÞÊ ˆ} Ì œÀ`iÀˆ˜iÊ À>âÞ EX-ACTOR EXCELS IN U.S. COMPETITION WINNIPEGER WINS IN FOLK CATEGORY ˆÊ ÞÊ Õ« TORONTO STAR - DEC 17 ‘02 œLœ`Þ¿ÃÊœœ Canadian roots music got a big boost late last week when Toronto songwriter Bill ˆÃÃÊ>܏ˆ˜i Colgate and Winnipeg’s James Keelaghan took top prizes in the gospel and folk catego- 1Ãi`Ê/œÊ/ ˆ˜ŽÊÌÊ7>ÃÊœ`ÊÊi>Ài`ries respectively of the prestigious USA Songwriting Competition. 6œˆViÊÀœ“Ê/ iÊ*>ÃÌ œÀÊ Àވ˜}Ê"ÕÌÊœÕ` Colgate, who turned from acting a couple of years ago to pursue a career in music, /œœÊœÌʘœÌ and has released just one album of original songs, when dinosaurs ruled the earth, was ,œ>`Ê/œÊ->“>À> also named second overall winner in the competition, which this year attracted 32,000 Ü>ˆÌˆ˜}ÊvœÀÊȓœ˜ entries in 15 categories and bills itself as “the world’s leading international songwriting Ê œ˜¿ÌʘœÜÊ
Ê-œÕÊ˜Ê/œÀœ˜ÌœÊ/œ˜ˆ} Ìcompetition” with more than $60,000 U.S. in prizes.... “«iÀœÀ¿ÃÊ iÜÊ œÌ ià Last year veteran Canadian songwriter Shirley Eikhard, who lives in Orangeville, Ont., 7>ˆÌˆ˜}ÊœÀÊ-ˆ“œ˜ won in the USA Songwriting Competition’s jazz category for her “Tomorrow Is A Lonely -œ“iÌ ˆ˜}Ê7ˆVŽi`Ê/ ˆÃÊ7>ÞÊ œ“ià Place”.... ˆÛˆ˜}Ê"˜Ê/ iÊ"ÕÌÈ`iÊ"vÊ/ iÊ>Ü / iÊÀ>ViÊ"vÊ9œÕ “I had no idea I was in the running,” said Colgate at his home in Etobicoke. “As an iL>˜œ˜Ê*ˆŽi independent singer-songwriter just starting out in the business at the tender age of 50, œÌÊ
˜œÌ iÀÊ-œ˜}Ê
LœÕÌÊ/ iÊ,>ˆ˜I’m always throwing stuff at walls, hoping something will stick. I applied last March after iۈ¿ÃÊ,ˆ} ÌÊ>˜`Ê >˜ reading about the competition on the Maplepost folk music Internet newsgroup, and ÌÊ-̈Ê œ“iÃÊ œÜ˜Ê/œÊ9œÕ thought it sounded legitimate in terms of its size and profile, organization, sponsors ,œVŽÊEÊ,œÊ >ÌÃÊÌ¿ÃÊ9œÕ˜} and prizes. It was also reasonably inexpensive to enter, and after I submitted my song, I œLLÞÊ-Ì>Þi`Ê/œœÊœ˜}Ê
ÌÊ/ iÊ>ˆÀforgot about it. Ü i˜Ê`ˆ˜œÃ>ÕÀÃÊÀՏi`ÊÌ iÊi>ÀÌ “I’ve learned after 20 years as an actor that if you worry about the auditions you do, you ÊœÌÊ/ iÊ, ÞÌ “ can go crazy.” -ÌÕVŽÊiÀiʘÊÌ iÊ Õià œVŽiÞÊ ˆ} Ì Colgate’s winning song, “Let It Be There”, is not a religious song, he says, but it seemed >ÌiÊ/ >ÌÊ/À>ˆ˜ appropriate for the gospel category because of the gospel-style arrangement by Toronto Ê7ˆÊ-̈Ê,i“i“LiÀÊ9œÕ guitarist/composer Ralph Cole — a founding member of Lighthouse — who produced Àiˆ} ÌÊ/À>ˆ˜Ê,œ when dinsosaurs ruled the earth, a roots-rock album that showcases Colgate’s R’n’B- œœÊ
ÀœÕ˜` flavoured originals and powerful growl. *i>ÃiÊ* œ˜iÊœ“i He wins $2,000 U.S. for topping the gospel category, and $7,000 for the “overall ÀÕà i`Ê­ˆ˜ÊÌ iÊ}Àˆ«ÊœvÊޜÕÀʏœÛi® second best in show prize,” he said. >ŽiÊ"vÊ >Þà iÌÊÌÊ iÊ/ iÀi Keelaghan’s and Colgate’s awards come with showcasing opportunities in the U.S. at such venues as Nashville’s Bluebird Café, and airplay on the internationally syndicated U.S. radio program Acoustic Café. >Vˆ°œ˜°V> J  Vœ˜Ì>VÌÊ *OAN "ENDONÊ ˆ«Ê Ûi˜Ìà Çn£Ê ˆ˜}Ê -Ì°Ê 7°Ê -ՈÌiÊ £äÎÊ /œÀœ˜ÌœÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ œ>˜Jvˆ«iÛi˜ÌðVœ“Ê

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