LiÀÊLÕÃÌ iÌ>« ÞÃV>Ê Õià BILL COLGATE ,>`V>Ê,>` / iÊÀ>`Ê"`Ê/À>`ÌÊ"vÊ->ÌÕÀ`>ÞÊ } Ì À`iÀiÊ À>âÞ ÊÞÊ Õ« L`Þ¿ÃÊ ÃÃÊ>Ãi 1Ãi`Ê/Ê/ ÊÌÊ7>ÃÊ`ÊÊi>Ài` 6ViÊÀÊ/ iÊ*>ÃÌ ÀÊ ÀÞ}Ê"ÕÌÊÕ` /ÊÌÊÌ ,>`Ê/Ê->>À> Ü>Ì}ÊvÀÊÃ Ê ¿ÌÊÜÊÊ-ÕÊÊ/ÀÌÊ/} Ì «iÀÀ¿ÃÊ iÜÊ Ì ià 7>Ì}ÊÀÊ- -iÌ }Ê7Vi`Ê/ ÃÊ7>ÞÊ ià Û}Ê"Ê/ iÊ"ÕÌÃ`iÊ"vÊ/ iÊ>Ü / iÊÀ>ViÊ"vÊ9Õ iL>Ê*i ÌÊÌ iÀÊ-}ÊLÕÌÊ/ iÊ,> iÛ¿ÃÊ,} ÌÊ>`Ê> ÌÊ-ÌÊ iÃÊ ÜÊ/Ê9Õ ,VÊEÊ >ÌÃÊÌ¿ÃÊ9Õ} LLÞÊ-Ì>Þi`Ê/Ê}ÊÌÊ/ iÊ>À Ü iÊ`Ã>ÕÀÃÊÀÕi`ÊÌ iÊi>ÀÌ ÊÌÊ/ iÊ, ÞÌ -ÌÕVÊiÀiÊÊÌ iÊ Õià ViÞÊ } Ì >ÌiÊ/ >ÌÊ/À> Ê7Ê-ÌÊ,iiLiÀÊ9Õ Ài} ÌÊ/À>Ê, ÊÀÕ` *i>ÃiÊ* iÊi ÀÕà i`Ê­ÊÌ iÊ}À«ÊvÊÞÕÀÊÛi® >iÊ"vÊ >Þà iÌÊÌÊ iÊ/ iÀi >V°°V> J VÌ>VÌÊ *OAN "ENDONÊ «Ê ÛiÌà Çn£Ê }Ê -Ì°Ê 7°Ê -ÕÌiÊ £äÎÊ /ÀÌÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ >Jv«iÛiÌðVÊ }À>« V`iÃ}ÊV>Àà > ÜÜÜ°LV}>Ìi°VÊÊÊ 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 LiÀÊLÕÃÌ BILL COLGATE iÌ>« ÞÃV>Ê Õià (at a glance) ,>`V>Ê,>` / iÊÀ>`Ê"`Ê/À>`ÌÊ"vÊ->ÌÕÀ`>ÞÊBill Colgate} Ì is a bar band singer turned successful actor turned critically lauded and À`iÀiÊ À>âÞ award winning singer/songwriter. boomer bust is Bill’s 3rd CD. As an actor, he has ÊÞÊ Õ« appeared in every aspect of the profession: stage, screen (BIG and small), radio, cartoon L`Þ¿ÃÊ and commercial voice work. He has worked with such notables as Tommy Lee Jones, ÃÃÊ>Ãi Matt Dillon, Diane Keaton, Diane Lane, Anthony Edwards and Kiefer Sutherland. As a 1Ãi`Ê/Ê/ ÊÌÊ7>ÃÊ`ÊÊi>Ài`singer/songwriter, he has shared the concert stage with: Ron Sexsmith, Bobby Wiseman, 6ViÊÀÊ/ iÊ*>ÃÌ Kevin Hearn, Sarah Slean, Amos Garrett and John Lee Hooker. Bill’s years singing in bars ÀÊ ÀÞ}Ê"ÕÌÊÕ` gave him the experience to write children’s songs for the theatre which subsequently /ÊÌÊÌ gave him the skills necessary to find his own “voice” and write his own songs. Look out ,>`Ê/Ê->>À> world there’s a not-so-new-kid in town. Ü>Ì}ÊvÀÊà REVIEWS Ê ¿ÌÊÜÊÊ-ÕÊÊ/ÀÌÊ/} Ì“..an important and committed new talent on the Canadian independent music scene” «iÀÀ¿ÃÊ iÜÊ Ì ià Greg Quill 7>Ì}ÊÀÊ- The Toronto Star -iÌ }Ê7Vi`Ê/ ÃÊ7>ÞÊ ià Û}Ê"Ê/ iÊ"ÕÌÃ`iÊ"vÊ/ iÊ>Ü“Bill Colgate, a name you might not know but you should because he is an excellent, / iÊÀ>ViÊ"vÊ9Õ excellent singer/songwriter.” iL>Ê*i James Reaney ÌÊÌ iÀÊ-}ÊLÕÌÊ/ iÊ,>London Free Press iÛ¿ÃÊ,} ÌÊ>`Ê> “Bill Colgate has a voice that sounds lived in, possibly even squatted in by tramps for a ÌÊ-ÌÊ iÃÊ ÜÊ/Ê9Õ while. It’s the perfect voice for barstool philosophy and “boomer bust”, Colgate’s third ,VÊEÊ,Ê >ÌÃÊÌ¿ÃÊ9Õ} album, is full to overflowing with the wisdom you only reach after midnight and several LLÞÊ-Ì>Þi`Ê/Ê}ÊÌÊ/ iÊ>Àbeers have passed.” Ü iÊ`Ã>ÕÀÃÊÀÕi`ÊÌ iÊi>ÀÌ Matt Hutchinson ÊÌÊ/ iÊ, ÞÌ americana uk -ÌÕVÊiÀiÊÊÌ iÊ Õià ViÞÊ } Ì “Bill Colgate might not have the cure for cancer, but his honest, soulful songwriting has >ÌiÊ/ >ÌÊ/À> the potential to heal a world suffering from insipid popular music.” Ê7Ê-ÌÊ,iiLiÀÊ9Õ David Lockeretz Ài} ÌÊ/À>Ê, The Muse’s Muse ÊÀÕ` AWARDS *i>ÃiÊ* iÊi 2nd Grand Prize Overall 2002 USA Songwriting Competition ÀÕà i`Ê­ÊÌ iÊ}À«ÊvÊÞÕÀÊÛi® (This win is out of over 32,000 entries and represents the highest standing ever by a >iÊ"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 >V°°V> J VÌ>VÌÊ *OAN "ENDONÊ «Ê ÛiÌà Çn£Ê }Ê -Ì°Ê 7°Ê -ÕÌiÊ £äÎÊ /ÀÌÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ >Jv«iÛiÌðVÊ }À>« V`iÃ}ÊV>Àà > ÜÜÜ°LV}>Ìi°VÊÊÊ BILL COLGATE “Have I become such a bore in my own Elsinore?” Metaphysical Blues — boomer bust LiÀÊLÕÃÌ iÌ>« ÞÃV>Ê Õià ,>`V>Ê,>` / iÊÀ>`Ê"`Ê/À>`ÌÊ"vÊ->ÌÕÀ`>ÞÊ } Ì À`iÀiÊ À>âÞ ÊÞÊ Õ« L`Þ¿ÃÊ ÃÃÊ>Ãi 1Ãi`Ê/Ê/ ÊÌÊ7>ÃÊ`ÊÊi>Ài` 6ViÊÀÊ/ iÊ*>ÃÌ ÀÊ ÀÞ}Ê"ÕÌÊÕ` The Bill Colgate Story /ÊÌÊÌ (unexpurgated) ,>`Ê/Ê->>À> Ü>Ì}ÊvÀÊà What is a Bill Colgate? Poster boy for mid-life crisis or a somewhat late bloomer? Ê ¿ÌÊÜÊÊ-ÕÊÊ/ÀÌÊ/} ÌBorn in Welland Ontario and raised in Toronto, the arc of Bill’s professional life begins in «iÀÀ¿ÃÊ iÜÊ Ì ià the early 70’s, fronting such memorable bar bands as Uncle John’s Dirty Secret and The 7>Ì}ÊÀÊ- All Star Disco Band (currently residing in the 9th Circle of Hell). It was while playing The -iÌ }Ê7Vi`Ê/ ÃÊ7>ÞÊ iÃNickleodeon (Ronnie Hawkins’ old “Hawk’s Nest”) that things took a left turn when he Û}Ê"Ê/ iÊ"ÕÌÃ`iÊ"vÊ/ iÊ>Üwas approached by the artistic director of a fledging theatre company with the proposal / iÊÀ>ViÊ"vÊ9Õ that he might consider giving acting a try “since you seem to be handling the role of iL>Ê*i lead singer pretty well”. 20 years later, when he recorded his first CD, Bill had appeared ÌÊÌ iÀÊ-}ÊLÕÌÊ/ iÊ,>in every aspect of the profession: stage, screen (BIG and small), radio, cartoon and com- iÛ¿ÃÊ,} ÌÊ>`Ê> mercial voice work. He has performed the plays of Shakespeare, Beckett, Shaw and Ibsen ÌÊ-ÌÊ iÃÊ ÜÊ/Ê9Õ but is most often recognized as The Singing Pirate from an episode of the children’s ,VÊEÊ,Ê >ÌÃÊÌ¿ÃÊ9Õ} show “Join In” recorded 15 years ago. LLÞÊ-Ì>Þi`Ê/Ê}ÊÌÊ/ iÊ>À Bill has worked with the following names you may recognize: Tommy Lee Jones, Ü iÊ`Ã>ÕÀÃÊÀÕi`ÊÌ iÊi>ÀÌ John Cusack, Billy Bob Thornton, Diane Keaton, Diane Lane, Kiefer Sutherland, Liev ÊÌÊ/ iÊ, ÞÌ Schreiber, Matt Dillon, Anthony Edwards, Tia Carrere, Jennifer Jason Leigh, Beau -ÌÕVÊiÀiÊÊÌ iÊ Õià Bridges, Joe Mantegna, Sarah Polley, Kyra Sedgwick and Joanna Cassidy. ViÞÊ } Ì >ÌiÊ/ >ÌÊ/À> While with a small theatre company in Mississauga Ontario (Cyclos Theatre), the process Ê7Ê-ÌÊ,iiLiÀÊ9Õ of osmosis first affected Bill’s artistic life. He discovered that all those years of singing in Ài} ÌÊ/À>Ê, bar bands had given him an instinctive understanding of song structure. This came in ÊÀÕ` especially handy as he was the only one in the company with any musical background *i>ÃiÊ* iÊi and someone was needed to write original songs for their children’s shows. Thus began ÀÕà i`Ê­ÊÌ iÊ}À«ÊvÊÞÕÀÊÛi®Bill’s education in songwriting. It proved to be an excellent training ground. The lyrics >iÊ"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 >V°°V> J VÌ>VÌÊ *OAN "ENDONÊ «Ê ÛiÌà Çn£Ê }Ê -Ì°Ê 7°Ê -ÕÌiÊ £äÎÊ /ÀÌÊÊ" Ê Ê x6Ê Îx Ê {£È°xä{°ÈxÎÈÊÊ >Jv«iÛiÌðVÊ }À>« V`iÃ}ÊV>Àà > ÜÜÜ°LV}>Ìi°VÊÊÊ 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 LiÀÊLÕÃÌ iÌ>« ÞÃV>Ê Õià ,>`V>Ê,>` / iÊÀ>`Ê"`Ê/À>`ÌÊ"vÊ->ÌÕÀ`>ÞÊ } Ì À`iÀiÊ À>âÞ ÊÞÊ Õ« L`Þ¿ÃÊ ÃÃÊ>Ãi 1Ãi`Ê/Ê/ ÊÌÊ7>ÃÊ`ÊÊi>Ài` 6ViÊÀÊ/ iÊ*>ÃÌ ÀÊ ÀÞ}Ê"ÕÌÊÕ` /ÊÌÊÌ ,>`Ê/Ê->>À> Bill Colgate Ü>Ì}ÊvÀÊà (cont’d) Ê ¿ÌÊÜÊÊ-ÕÊÊ/ÀÌÊ/} ÌThis struggle began during an hour long walk Bill would take every summer day from «iÀÀ¿ÃÊ iÜÊ Ì ià the hamlet of Port Ryerse to the town of Port Dover (where he was appearing at The 7>Ì}ÊÀÊ- Lighthouse Festival Theatre) along The Radical Road It had been several years since Bill -iÌ }Ê7Vi`Ê/ ÃÊ7>ÞÊ iÃhad been required to write a song but, for some reason, that summer they came fast Û}Ê"Ê/ iÊ"ÕÌÃ`iÊ"vÊ/ iÊ>Üand furious and, so far, the flood has not abated. Whereas once the osmotic process / iÊÀ>ViÊ"vÊ9Õ had flowed from music to theatre, the reverse was now the rule. All the experience Bill iL>Ê*i had acquired from his years as an actor — his understanding of imagery, the rhythms ÌÊÌ iÀÊ-}ÊLÕÌÊ/ iÊ,> of speech, the relationship and responsibilities of performer to audience — informed his iÛ¿ÃÊ,} ÌÊ>`Ê> songwriting. He had a foot in both camps. He could stand on the shoulders of the ÌÊ-ÌÊ iÃÊ ÜÊ/Ê9Õ giants, not only of the music he loved (The Band, Bob Dylan, Neil Young, Bruce ,VÊEÊ,Ê >ÌÃÊÌ¿ÃÊ9Õ} Springsteen) but of the theatre, whose works he had performed (Shakespeare, Beckett, LLÞÊ-Ì>Þi`Ê/Ê}ÊÌÊ/ iÊ>À Ibsen, Shaw).