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Greg Quill to Host Weekly Roots Music Radio Program Exclusively on SIRIUS Satellite Radio

Popular Toronto Star entertainment columnist and musician to host River of Song Sundays on Iceberg Radio, SIRIUS Satellite Radio channel 95.

TORONTO – (July 10, 2006) – SIRIUS Canada today announced that popular Toronto Star entertainment columnist and musician Greg Quill will host a weekly roots music program entitled River of Song exclusively on SIRIUS’ Iceberg Radio // channel 95.

River of Song will be dedicated to Canadian roots music and will feature a wide variety of Canadian artists including folk legends Gordon Lightfoot, Stan Rogers, Bruce Cockburn and Joni Mitchell as well as Great Big Sea, Ron Sexsmith, Ian Tyson, Corb Lund, Stephen Fearing and emerging singer-songwriters Kim Barlow, Nidi Onukwulu, Ron Hynes and Dave Gunning.

Starting in July 2006, River of Song can be heard Sundays at 6 a.m. and again at 6 p.m. on Iceberg Radio // SIRIUS channel 95. SIRIUS Canada’s premium 110 channel satellite radio service features the most channels and the most commercial-free music among satellite radio providers in Canada.

“Canada’s rich and diverse history of songwriting is unique and has been shaped by our collective experiences,” said Greg Quill. “With River of Song I hope to guide listeners through Canada’s rich roots musical landscape by featuring popular songs from some of Canada’s favorite roots musicians along with exploring new sounds and music from emerging Canadian singer-songwriters. I’ll be playing roots music the way it’s meant to be heard - without pretense and without commercials on SIRIUS.”

“Canadian roots music is becoming increasingly popular both in Canada and the U.S. and as a highly respected columnist and musician, there is no better guide to this genre of music than Greg Quill,” said Liz Janik, Program Manager for Iceberg Radio. “We are thrilled to offer Greg an outlet for his unique concept on Iceberg Radio and pleased to give him an opportunity to share music from Canadian singer-songwriters with a truly North American audience. River of Song is a further example of compelling programming that is offered from SIRIUS, Canada’s leading satellite radio provider with the most channels and the most commercial-free music.”

Additional information on Iceberg Radio // SIRIUS Canada channel 95 can be found at: www.siriuscanada.ca/iceberg-e.htm

About Greg Quill

Greg Quill is an Entertainment Columnist with the Toronto Star, Canada’s largest daily newspaper. For most of the past 20 years, he has written a lot about music, and for the last five years, almost exclusively about roots music in its various forms – folk, country, blues, world music, rhythm ‘n’ blues, country-rock, folk-rock, gospel, art song and pure balladry.

He is also a singer and a songwriter, first in Australia, where his love of traditional music was nurtured in the 1960s and 70s with the award-winning band Country Radio, and then in Canada. Greg performs regularly on the folk club and festival circuit in Canada and Australia, both solo and with his band The Usual Suspects. For more information: www.gregquill.com

About SIRIUS

Canada From broadcast studios in Vancouver, Toronto, Montreal and New York, SIRIUS Canada delivers 110 channels of the best programming in all of radio. With a total of 65 commercial-free music channels – the most in Canada - SIRIUS is the original and only home of 100% commercial-free music. SIRIUS Canada features sports, news, talk and entertainment. SIRIUS is the Official Satellite Radio Partner of the CFL, NHL, NFL and NBA and broadcasts live play-by-play games of the CFL, NHL, NFL and NBA. For more information please visit: www.siriuscanada.ca

NEW YORK METRO

By David Weiss

Sept. 1, 2005

They say there are a million stories in the Naked City. Come to think of it, there have probably been a million albums made in the Naked City (New York City, for our purposes), but none with such an unlikely genesis as Jimmy Norman's "Little Pieces."

A gorgeously soulful CD by a lifelong songwriter with amazing credits but little recognition, its recording is the tale of how a dedicated team of New York City engineers and musicians helped rescue a precious set of songs from the trash bin -- literally -- and turn them into jewels in a jewel case.

It all began when Brooklyn-based producer and guitarist/dobro player Kerryn Tolhurst started taking part in regular, high-level Monday night jam sessions at an Upper West Side restaurant called Penang.

One of the singers who began showing up to put his wise R&B voice on the mic seemed to be from another era, and indeed he was: It was Jimmy Norman (www.jimmynorman.net), whose musical resume had grown quite long since he first appeared on the planet in 1937.

His past songwriting collaborators included no less than Bob Marley, Jimi Hendrix, Lloyd Price, Lou Rawls and Johnny Nash. While performing in venues from the chitlin' circuit to the Apollo Theatre and Carnegie Hall, Norman shared the stage with Jerry Lee Lewis, Solomon Burke, Marvin Gaye, The Temptations, Ben E. King and Ike & Tina Turner.

On top of that, he sang lead for Carl Gardner's well-known group, The Coasters. Upping the ante, Norman wrote lyrics for "Time Is on My Side" during Irma Thomas' 1964 recording session, later to become a Rolling Stones classic hit. He was also the featured vocalist on Eddie Palmieri's 1971 Latin funk breakthrough, Harlem River Drive.

It is an astounding career, but not one that had netted Norman any kind of monetary windfall for his retirement years. Fortunately for him, the Jazz Foundation of America (www.jazzfoundation.org) was tuned in with financial and medical assistance from its emergency fund.

It was 2002, and what happened next was an amazing three-year sequence of events that would allow Little Pieces to come to life. "Two Jazz Foundation volunteers named Lily Morton and Jeni Lausch were doing some cleanup in his apartment," Tolhurst recalls, "and they came across notebooks in a trash bag that were going to be thrown out. They found out these were notebooks of songs written by Jimmy in the 1960s but never recorded. News of this came to me and my ears perked up."

Tolhurst went to Norman's apartment around the corner from Penang, started going through the songs and was astonished to realize that Norman remembered the melody to each tune, scratch piano part included.

"Jimmy had a heart attack in the mid-1990s after he joined The Coasters and couldn't travel or tour anymore," Tolhurst explains. "He got very excited again with the prospect of being able to record this stuff. So the next question came, how to do it? It was in fragments. Given Jimmy's health, I figured we had to get the vocals done first. He also has emphysema so he had great difficulty singing; I could only get him for short periods of time. To get him into a studio wouldn't be cost-effective, so I figured I had to get the vocals before we went any further."

Unafraid to set up a basic field recording situation, Tolhurst started showing up at Norman's place with a MiniDisc recorder to put down roughs of songs that would work together for an album. Next, Tolhurst took the roughs home, laid guitar down to a click track and mapped out arrangements for Norman to cut his sweetly gruff vocals back at his apartment, as Tolhurst recorded him through an Audio-Technica 4050 mic and Joe Meek preamp into his trusty Alesis ADAT 8-track.

"I was looking for songs that would work as a cohesive unit, that fit the period but would speak now," says Tolhurst. "I love the Memphis R&B crossover, and that's kind of where I wanted to go with it. Jimmy was born in Nashville, so he has those roots.

"For recording, the room in Jimmy's apartment was pretty well padded. You could barely move in there and it was remarkably quiet. Jimmy enjoyed it; he'd always been at a formal studio with the clock ticking."

Vocal tracks in hand, Tolhurst headed to New York City's Studio 900 and dumped the ADAT recordings to 16-track 2-inch tape. Next, he brought in the pro musicians who made up the core of the Penang jam band to provide Norman with virtual backup, including bassist Paul Ossola, drummer Tony Beard, and keyboardists Jonny Rosch and Tony Shanahan.

A laundry list of top New York City musicians would continue to come onboard to contribute Hammond organ, Wurlitzer, horns, backing vocals and more to the project. The list of contributing musicians grew to global proportions when Tolhurst went back to his native Australia and came away with another guest star, ex-Procol Harum organist Chris Copping. A half dozen overdubs came in from across the world as Pro Tools files and ADATs (from anyone Tolhurst could find working on the format).

Along the way, Tolhurst was constantly planning ahead to prevent a logistical multimedia mess from forming. "I try to be organized," he says. "When I record, I don't overindulge myself. I tend to think before I put something to tape, and I like to know where it's going to go. I hear the stereo mix, and if there's a place to fill, it's going to go there. I'm not the kind to pile a lot of stuff on and figure it out later, so tracks that go down have a purpose."

It was moving in fits and starts, but Little Pieces was coming together. "All this was over the course of a couple of years. I was just grabbing time when I could and everyone was pretty much doing this pro bono," Tolhurst notes. "Then we hit a stalemate because we ran out of money. Fortunately, a friend who was getting into the music business, Sam Nole, put up some money to get the record finished. When it finally came time to mix, things were pretty much in place."

Next stop was producer Joe Blaney's downtown studio, Joe Music, where the 2-inch tape and Pro Tools files came together to make 11 songs a rich reality. With mixer Dave McNair moving the faders, song after song emerged as its own chapter in an album that may someday be regarded as an instant classic. The graceful title track balances Norman's voice and lyrics with melodica and gentle rhythms, hair-raising in their musical subtlety. For true music aficionados, however, the capper will be Norman's soul-stirring rendition of "Time Is on My Side," a naturally awesome rebirth for a timeless song, performed by a man who took part in its creation.

After being mastered by Rick Rowe of Rick Rowe Mastering, another New York City -- based music legend, Judy Collins, stepped up to release and distribute the record on her Wildflower Records label. Four decades in the making from concept to completion, Jimmy Norman's 21st-century solo album proved to be worth the effort for everybody who had thrown their heart and soul into it -- maybe Norman most of all.

"Jimmy was knocked out, having seen it go from the humble beginnings to the final mix we got in the end," Tolhurst says. "Jimmy had been a producer in his time, but he hadn't done that much recording in 10 years or so and a lot had changed in that period. It was a whole new world for him.

The album is called Little Pieces because it's one of the songs, but it made sense: It was made up of little pieces of stuff in his apartment -- little pieces of his life."

JIMMY NORMAN
Little Pieces
(Stalking Horse Records/Wildflower Records)

Produced by Kerryn Tolhurst
CD Release
Au Bar, New York City
Oct. 4, 2004

The Little Pieces Story

Every musical recording is ultimately defined by the quality of its content. Sometimes a recording transcends its music and becomes something larger—a metaphor for the people, events and the times that surround it. Little Pieces is such a recording. Behind its creation is an extraordinary story that makes it a rarity in an era of mass-produced music.

From its conception, Little Pieces was a project rooted in a deep human connection to the music. For the original participants, it was purely a labor of love. (As the best things in life always are.) Everyone involved in its origins—including the producer, Kerryn Tolhurst, and studio musicians—worked on a volunteer “spec” basis. It was never about money. In fact, it was the volunteers who got the honor of occasionally testing their commitment by reaching into their pockets to pay for essentials like recording tape and take-out food deliveries.

No, Little Pieces was always about something bigger.

It was born in the exuberance of the Monday night jams with Jonny Rosch and his band in the basement of Penang, an Upper West Side restaurant that served as a cover for a virtually unknown musical scene that included some of New York City’s finest studio musicians. Joining them occasionally was Jimmy Norman, a man from another era with talent they respected and a history that was endlessly fascinating.

Though Jimmy had done it all in the music business, times were hard for him at the turn of the millennium. He was recovering from the physical and financial hardship of two heart attacks. His life on the road had ended—and with it the freewheeling lifestyle he coveted.

Like so many black musicians of his era, Jimmy was far richer in musical talent than business skills. Despite the fact he had written dozens of recorded songs and one the classics of rock & roll, he had little money to show for it. What he did have was quickly consumed by medical bills.

The Jazz Foundation of America came to his aid. The organization has an emergency fund to help struggling musicians facing difficult times. Jimmy needed help and the Jazz Foundation was there for him, providing not only financial and medical assistance, but volunteers who could help him navigate the obstacles of daily life.

It was while helping Jimmy with the seemingly mundane task of cleaning and re-organizing his apartment that two Jazz Foundation volunteers—Lily Morton and Jeni Lausch—struck musical gold. Through a simple twist of fate, they helped launch the second act of Jimmy’s remarkable career.

Among his long-forgotten possessions were stacks of old notebooks full of song lyrics, most never recorded or even performed in public. For years, the hand-scribbled pages had been buried under boxes and other stored items. For Jimmy, they were out of sight and out of mind.

The notebooks had already been bagged for dumping in the trash. However, due to the well-honed instincts of the volunteers—who were trained to be on the lookout for such musical treasures—the notebooks were rescued at the last minute.

Word of Jimmy’s “lost” songs quickly reached Penang. Kerryn Tolhurst, a record producer who often jams at Penang with his dobro and lap steel guitar, visited Jimmy at his apartment to hear some of the new material. Using a Minidisc portable, Kerryn recorded Jimmy as he noodled the songs on his piano. From those crude recordings, Kerryn selected and made guide tracks for about 15 of the new songs.

Returning to Jimmy’s apartment with professional recording gear and an eight-track digital ADAT recorder, Kerryn began what would become three months of sessions recording Jimmy’s vocals to the guide tracks. Later, other artists that often perform at Penang—bassist Paul Ossola, drummer Tony Beard and keyboardist Rosch—would be joined by Tony Shanahan, also playing keyboard, at Joe Johnson’s Studio 900 in New York City. At times, Kerryn shifted from his producing role to add his own guitar and dobro tracks.

Later, other musicians—impressed by the music—joined the project. They included Jeff Golub, guitar; Chris Copping, Hammond organ; Neal Pawley, trombone; Richie Cannata, sax; and Kati Mac, Amanda Homi and Gina Rothchild on backing vocals.

As the project progressed, the timeliness and authenticity of Jimmy’s “new-old” work became inescapable. Mostly written in the 1960s and 70s, the songs not only established a fresh connection to an important musical era, but—like all good art—provided an uncanny relevance to modern life.

All of Jimmy Norman’s primary influences—gospel, blues, jazz, country and American standards—are found in Little Pieces. And, just as Jimmy is a gifted raconteur who can spellbind music fans with insider information, he uses his songs as vehicles for stories.

“I’ve always felt songwriters are modern day philosophers. If the writer captures essential truth, then the song endures over time,” Jimmy said. “If anyone influenced me most it was the great country-western songwriters. I was always into the stories. I liked Roy Acuff, Hank Williams, and the people I heard on the Grand Ole Opry. As I learned more about music, I realized that a certain kind of music goes best with these stories.”

While working on Little Pieces, Jimmy gained a new awareness of how history repeats itself. “As I’ve revisited these songs—some after 40 years—I realized how much of my life keeps coming back in different forms. I’ve learned to take things as they come.”

The Little Pieces project represents a renewal in Jimmy’s life. Now, with his health improved, he has returned for Act Two of his musical career. Fortunately, with the passage of time and new reflection, his latest recording is among his best.

For fans of American roots music, we get not only get a remarkable new collection of songs, but Jimmy Norman himself. The middle-aged baby boomers who grew up on the songs Jimmy helped make famous now have his unique perspective to illuminate an important part of one of the most exciting eras of American music.

For all who worked on the Little Pieces project and all who enjoy the music on this CD, it’s apparent that this is not only Jimmy Norman’s story, but ours as well. His music is our music. He helps us connect the dots and understand why music is so important in our lives.

As a generation, “we wanted to be free,” but now “we’ve come runnin’ back.” And just as Jimmy promised in the classic song, “I’ll always be around.” Yes, just for once, time was on our side.
— Frank Beacham

For more information, go to: www.jimmynorman.net

Kerryn Tolhurst and Jimmy Norman recording Little Pieces

MEDIA BULLETIN:

A four-minute clip of the QUILL•TOLHURST story featured on Arts & Minds recently on the specialty arts channel Bravo!Canada and CP24, with Greg and Kerryn, Garth Hudson and The Usual Suspects and live performance footage can be downloaded from this site.

The segement features Garth Hudson on accordion and piano, guitarist Mitch Lewis, fiddler Anne Lindsay, drummer Bucky Berger and bassist Dennis Pinhorn at NIA/Ce’Est What? in Toronto, celebrating the Canadian release of the QUILL•TOLHURST CD, so rudely interrupted, on True North Records. The program also contains archived performances by Greg Quill and Kerryn Tolhurst and their band Country Radio in Australia in the 1970s.

Download: Video Clip (Windows Media File 19MB).

Review:

QUILL-TOLHURST: This pair of transplanted Antipodeans celebrated the release of their new CD, so rudely interrupted (on True North), with a well-attended industry launch Oct. 23 at Nia/C'est What. Singer/songwriter GREG QUILL and ace guitarist/producer KERRYN TOLHURST assembled a stellar band for the gig. Opening tunes featured Quill, Tolhurst and legendary guest GARTH HUDSON (THE BAND) on fluent accordion. Greg recalled that the music of his and Kerryn's acclaimed Aussie band COUNTRY RADIO was "deeply informed by The Band," and he clearly revelled in the presence of one of his musical heroes. Both Quill and Tolhurst (also of roots rockers THE DINGOES) became influential musical figures Down Under, prior to both relocating to North America. Quill is a long-time arts journalist at the Toronto Star and plenty of his fellow scribes were in attendance. Later in the set, violinist ANNE LINDSAY, guitarist MITCH LEWIS, bassist DENNIS PINHORN and drummer BUCKY BERGER joined in, and the full-blooded rendition of the rousing "The Boys Of Narrabeen" was a real highlight.

— Kerry Doole, On The Beat, Tandem Magazine

A Ringing Endorsement:

"ADs should consider Greg and his band (Mitch Lewis on string things, Dennis Pinhorn on bass, Bucky Berger on drums, wonderfully named The Usual Suspects), for concerts, clubs, festivals and (to quote the name of a wonderful Oz band, now broken up), Weddings, Parties, Anything."

— Folk music promoter Richard Flohil

Fan Responses:

“What a wonderful evening of music. All those excellent musicians on that tiny stage. I am the biggest fan of The Band in Etobicoke and when I heard that Garth was going to be playing with you folks, I bought a couple tickets and picked up the new CD at Sam's. I really enjoy the CD, but last night the music came alive for me. Last night was the first time I heard 'Gypsy Queen'. Great song.”
— Mark Atkins

“It was a great night out and the band was a joy to behold. The intimate setting helped. It was fun -- didn't even get out of there until 2.”
— Eric Thom

“It was really a privilege to there... what a killer set... congrats!”
— Gregg Lawless

“We thoroughly enjoyed the performance. You were brilliant. The band was amazing. Together you were sublime. Thanks for a great show. We will always remember it. “
— Tarin Elbert

Radio:

The Quill•Tolhurst debut CD so rudely interrupted (True North Records) was one of the most regularly featured albums on Canadian folk radio on its release.

Among the programs and stations you're likely to hear cuts from
so rudely interrupted are:

ACOUSTIC ROUTES
CKLN-FM 88.1
TORONTO

FOR THE FOLK
CHRW-FM 94.7 RADIO WESTERN
LONDON

FREE RANGE RADIO
UMFM 101.5
WINNIPEG

WINDOW OF OPPORTUNITY
CKCU-FM 93.1 FM
OTTAWA

BACK TO THE SUGAR CAMP
CIUT-FM 89.5
TORONTO

REGINA'S MIGHTY SHORES
CJTR-FM 91.3 FM
REGINA

JUST US FOLK
CKPC-FM 92.1
BRANTFORD

FREEWHEELING FOLK SHOW
CFMU-FM 93.3
HAMILTON

RISMIX LIVE 365 INTERNET RADIO
www.rismixlive.com
TORONTO

BACK IN NORTH AMERICA…

True North Records, Canada's largest and most respected independent label, released the CD September 16. We've also secured a label deal in Italy, and soon so rudely interrupted will be available in Holland, Belgium, Germany and France… details to follow. We're also working on some festival dates in Canada later in the year… we'll keep you posted.

Kerryn has finished mixing and mastering the Jimmy Norman CD in New York, and performed in October 2003 with Jimmy at the famed Apollo Theatre in Harlem in a gala concert featuring Cassandra Wilson, Quincy Jones and Branford Marsalis, among other New York jazz and R&B legends. Kerryn has a busy performing and recording roster in New York, and was recently appointed A&R consultant/producer at a major independent studio in Manhattan.

Greg and bassist Dennis Pinhorn have been joined by veteran Toronto guitarist Mitch Lewis, and occasionally by Dennis Keldie on accordion and mandolin, Anne Lindsay on fiddle and Don Rooke on dobro, and are out and about playing as Greg Quill & The Usual Suspects. Check out: www.gregquill.com for dates.

FEEDBACK AND REVIEWS…

Veterans of the Aussie folk and country rock scene Greg Quill and Kerryn Tolhurst have collaborated on a thoroughly satisfying album — so rudely interrupted. There’s no filler here, just prime singer-songwriter craft backed with carefully blended instrumentation that fits each number like a glove. It is reminiscent of some of the finest moments of Tom Paxton, John Hartford and Jesse Winchester.

Obviously, Greg Quill still has the vocal qualities and timing of delivery that helped make Country Radio such a compelling Australian act. If anything, Quill seems to have broadened his range even more with additional vocal timbre and inflection. His highly successful career in journalism has ensured that his lyrics remain as insightful and creative as ever.

Playing virtually anything with strings attached (and all superbly!), ex-Dingo Kerryn Tolhurst creates a deceptively subtle backing for each offering. Though not overpowering in terms of volume, the real complexity emerges with additional listening. This is because he combines his talents as both a musician and a producer to maximum atmospheric effect.

Our program has always been proud to feature Country Radio and The Dingoes and this latest production has also easily earned its pride of place. The big question is … when will Quill•Tolhurst be touring again Downunder?

— Cool Bill McGinnis
    Woodstock Rock
    RTR Public Radio, Perth, Australia
    www.woodstockrock.iinet.net
    April 2004

"By no means newcomers to music as evident by the performances on this album, Australians Greg Quill and Kerryn Tolhurst, formerly of Country Radio, are writers of incredibly infectious country that is from the deepest south that you'll get! After almost 30 years in Canada, playing his own music and becoming an accomplished journalist (Toronto Star) Greg returned to Australia to eventually rekindle a long lost musical kinship that now sees them together in North America between Toronto and New York.

The resulting album, so rudely interrupted, is a sweet blend of mostly acoustic instruments and a strong mature voice that reminds me of Gordon Lightfoot or Leonard Cohen. The instrumentation is comfortably sitting behind the vocals all throughout this disc and combined they are a relaxed and familiar sound for any time or place. Kerryn Tolhurst’s talents as a multi instrumentalist are well represented in these 11 songs with tracks containing him on guitars, lap steel, dobro, mandolin, harmonium, banjo, tiple, percussion and bass. If it's your first experience with this duo, I believe that so rudely interrupted may be enough of an indication that anything these two produce together would be considered very collectible. Other than that it's simply a darned nice album! I can hardly wait to see what this fine duo will produce next."

— Ian Gifford
    For The Folk
    Radio CHRW 94.9 FM
    London, Ontario

"Dall’Australia, grazie alla canadese True North che di musica d’autore se ne intende, presentiamo un duo di songwriter di assoluto valore. Kerryn Tolhurst & Greg Quill, chitarra e voce, con So Rudely Interrupted ci regalano un grande disco di canzoni folk dalle belle e classiche sonorità elettro-acustiche che spaziano dal pop alla roots music. Un album dai ritmi e dai sapori d’altri tempi di una bellezza e una eleganza espressiva che ha pochi uguali."

— IRD Records, Italy
    Kerryn Tolhurst & Greg Quill - So Rudely Interrupted
    (due australiani, ex Dingoes, ci regalano un disco fi
    canzoni di rara intensità e bellezza. Disco canadese
    per questi due personaggi popolari negli anni ’70. feat
Neal Pawley, Anne Lindsay, Marco Giovino, Brad Smith,
    Adam Armstrong.)

“The pair’s creative empathy is apparent, as Tolhurst’s skills as a producer and multi-instrumentalist (lap steel, dobro, mandolin, banjo, electric and acoustic guitars) complement Quill’s talents as a folk-based songwriter… There is a rich, authentic quality to his voice that suits his lyric-driven compositions. He may have been a Canadian resident for the past quarter century, but the Australian landscape still permeates his songs. Of course, there are very real parallels between that and Canada, so these tunes translate well. ‘The Boys Of Narrabeen’ features the Aboriginal group The Pigram Brothers on backing vocals, but its rousing feel has echoes of Stan Rogers within. There’s an effective contrast of moods on so rudely interrupted, ranging from the gentle sentiments of ‘Come To Me’ to the more sinister ‘The Killing Heart’ (an album highlight). A solid piece of work.”

— Penguin Eggs, December 2003

"In 1999 I had the privilege of witnessing the event that ultimately led to the restoration of this interrupted illustrious Australian music partnership. Greg Quill addresses what this album represents on the opening track, 'Back This Way' - "never thought I'd see this day again/never thought I'd hear this song".

Greg Quill was "lost" to music. The former Sydney folkie and then leader of Country Radio had settled in Toronto, and slowly dropped out of making music for the career in journalism that had always been his second string. Before Country Radio took off and sent Greg around the country in the aftermath of the group's 'Gypsy Queen' and 'Wintersong' hits he was Sydney editor of Go-Set magazine. In Toronto that side of his life took over, and as the years passed so did the distance back to his music years.

1999 brought Greg back to Australia for a quick visit, and one special night surrounded by old friends. Inevitably the guitars came out, and song by song, tentatively at first, everyone present witnessed music begin to flow back through Greg Quill's veins from some untapped reservoir. Also armed with his guitar that night was Kerryn Tolhurst, Greg's partner in music in Country Radio's heyday, before Kerryn went on to join the Dingoes. That night encouraged Greg and Kerryn to consider making music again.

Greg returned to Toronto, Kerryn to New York. Through the marvels of modern technology they started the process which led to this "comeback" album, four new Quill songs, a loving reprise of his first recorded song 'Fleetwood Plain', five collaborations and a Kerryn instrumental. Greg's voice retains its familiar melancholy almost deadpan quality, a reminder of post-Dylan John Stewart and John Prine influences, the songs sometimes hinting of personal reflection sometimes plain story-telling. Kerryn sensitively weaves his multi-instrumental magic around the vocals, one of the most tasteful and talented musicians Australia has ever produced. The closing 'Lost In The Moment' is one of the few songs adorned by a full arrangement of instruments. The rest is understated and stark, live in the studio. 'The Game' and 'The Boys Of Narrabeen' offer a taste of traditional Aussie folk. Most of the record is Country Radio friendly. 'The Killing Heart' goes into different, Stan Ridgeway-like sinister territory.

The test of good songs is when after a few spins you think you've been listening to them forever, like rediscovered old friends. That's what this album offers. Also, a gentle. relaxed, assured rekindling of an old friendship between Greg Quill and Kerryn Tolhurst. It's a toe back in familiar water. Can we expect more? Or will we wait another 20 years?"

- Ed.Nimmervoll,
   HowlSpace
   www.howlspace.com.au

"COUNTRY RADIO were early 70s pioneers in Australia for the ever widening boundaries of country music and even scored a couple of mainstream hits ("Gypsy Queen", "Fleetwood Plain"), GREG QUILL was the front man and KERRYN TOLHURST the driving musical force in that seminal band. "Fleetwood Plain" reappears here 30 years later and its stark, impressionistic, downbeat tone also permeates most of the new songs Greg and Kerryn have come up with.

Recorded all over (New York, Toronto, Melbourne, Broome), with Tolhurst taking the lion's share of the instrumentation, Quill sings in a mid-Atlantic manner (he has lived in Canada for many years). For some reason, the work of LEONARD COHEN comes to mind, especially on such minor key songs as "The Killing Heart". Even the jaunty "The Game" has a world-weary quality. Quill makes his living with his pen and his word composition skills are considerable. As a quality folk/country re-entry to the world of performing, this is assured and overdue. As a demonstration of Tolhurst's grasp of what (and what not) to play, it is exceptional."

- Keith Glass,
   The Alternative Highway
   Country Music Capital News

"This refreshing collection of songs written by Greg Quill, together with a handful of collaborations with Kerryn Tolhurst and a short Tolhurst instrumental, is a welcome re-acquaintance with these two talented performers.

Both Quill and Tolhurst were members of the still very fondly remembered Australian band Country Radio, which performed and recorded back in the early 1970's. Tolhurst later joined The Dingoes. In 1975 Quill recorded a solo album called The Outlaw's Reply on which Tolhurst also performed. By the early 1980's Quill had left performing to pursue a career as a journalist in Canada, where he still resides.

so rudely interrupted is the result of the musical reunion of Quill and Tolhurst a few years ago. The songs on the CD have been recorded in various parts of the world and both Quill and Tolhurst are responsibe for the warm, intimate, acoustic quality of the CD's production. Most of the instrumentation is Tolhurst's and it is a real treat to listen again to this fine musician.

Quill's songs have more than a dash of the country and folk musical form and style to them. They build upon subjects like relationships, belonging and reflections about the past, in unique and interesting ways, gently challenging the listener to ponder further their meaning.

I found the opening song "Back This Way" a welcoming start to the CD. It reminded me so much of Country Radio, and Quill's familiar world-weary vocal added to this. The delicate melody of "Clever Lines" with its intriguing, wistful lyric and the striking Leonard Cohen feel of "The Killing Heart", quickly establish that Quill's song writing ability has in no way suffered despite being so rudely interrupted.

On two songs it's great to hear the Pigram Brothers from Broome providing additional vocals. Tolhurst produced and played on their last CD Jiir. All the songs on the CD are new, except for "Fleetwood Plain", which was first recorded by Quill back in 1970. It is an enigmatic little narrative about a journey, accompanied by a sweet, hypnotic melody. In my opinion it's the choice track on the CD. "Lost In A Moment", with its beautiful lilting melody, is a fitting conclusion to a wonderful collection of songs."

- Jim Low,
   Folk Australia
    folk.mountaintracks.com.au

"It's tremendous. It carries me back to my undergraduate days, when I spent countless evenings listening to great singer-songwriters like David Wiffen, Chris Kearney, Ian Tamblyn and David Bradstreet, huddled 'round wax candles dripping from Chianti bottles in Rooster's Pub at Carleton University.

"Some of the tracks recall the 'high lonesome' of the Burrito Bros., and elsewhere there's a finely shaded regret that reminds me of Willie Nelson when he's in reflective mode. The vocals are sweet and direct, and well matched to the easy lilt of the arrangements.

"Congratulations on a warm, affecting collection of songs. I'm going to go back out to the living room now and play it again."

- Craig MacInnis

"Unlike so many other albums I listen to for the first time, this one has a seamless flow from track to track, as if it had been written and programmed as a single composition.

"so rudely interrupted reminds me of many nights sitting around a kitchen table with friends and acoustic instruments, it's a morning with a cuppa and a newspaper in the garden album, or a curled up in a window seat on a rainy day album, or a late evening by the light of the fireplace album. It's that tattered, shelf-worn book of verse and stories that you keep going back to because it speaks to you in a comfortable language, and tells you more on each listening.

"It would appear to me that the interruption was well worth the wait."

- Richard Drumdee Patterson,
   Country Music News Canada, Aug. 2003.

"A fantastic roots record that already has a buzz surrounding it ..."

- Rismix Live Internet Radio,
   www.rismixlive.com

" … a strong set of rootsy originals. ***1/2"

- Mike Regenstreif,
   Montreal Gazette

"Australia calls. For one who spent much of his misspent youth grooving to Country Radio and wearing the vinyl off my Infinity copy of 'Gyspy Queen', I can't begin to tell you how much I dig the Quill/Tolhurst CD so rudely interrupted'!! The cliché 'All killer/no filler' really applies here... and I love the re-working of 'Fleetwood Plain'.

"It goes without saying Kerryn is the Chris Darrow of Australia... meaning he can play anything stringed with chops and soul. However, the real revelation is Greg's vocals. I'd really forgotten how good they were and are!! They have a similar resonance and warmth to Beau Brummels' Sal Valentino, and that is a compliment. The songwriting is also uniformly fine... non-dopey lyrics of life and love. Works for me."

- Michael MacDonald,
   Melbourne

"A key to the partnership between these two musicians with a shared past was the understanding each has of the other, and this was obvious on stage - Quill adding the voice (a little more mature now) and his Guild and Takamine guitars, while Tolhurst caressed, stroked and strummed his trusty mandolin, his Dobro and vintage Rickenbacker Electro lap steel guitar. Their sound was quite recognizable, gentle country/folk, as they selected tracks from so rudely interrupted. 'Back This Way' (suggests) Quill considered that he would never perform again. Ah, never say 'never'!

"As with this song, much of the content of the album expresses thoughts of home. The tracks, most of which were done on stage this evening, are mostly new compositions, with the probable exception of 'Fleetwood Plain', the first song Quill recorded, which has been given a re-working.

"Among their newer tunes - 'Clever Lines' a pretty, wistful ballad about longing, 'The Killing Heart' and 'The Game' (a gambler's tale) - was a John Stewart song, 'July, You're a Woman'.

"After the customary break in the set for refreshment, most of us were hanging out to hear 'Gypsy Queen' live once again, and Quill and Tolhurst obliged big time with a bouncy, slightly reggae version - just great - as was 'Wintersong.'

"Tonight then, the two veterans of the 1970s Aussie music scene chose to weave a fabric of delicately written new tunes, some carefully selected covers, with just a touch of nostalgia thrown in for good measure. Great! Let's do it again sometime!"

-Jeffrey Turnbull,
  Mentone,
  reviewing the QT show at The Armadillo in March
  on www.jeffscrossroadblues.com

"I sincerely hope you are both enjoying your tour back home (we are) and this is not a 'one off'. Thank you again for a wonderful night of entertainment at the Old Manly Boatshed on Wednesday night! I had waited 32 years to hear 'Wintersong' and 'Gypsy Queen', and I was not disappointed - the wait was worth it.

"I just had to e-mail you to say the CD is superb. Those of us who were there the other night have been spreading the word…

"Your songs are great, and having been to gigs by the 'really good' U.S. songwriters who grace our shores, you two are up there (in my book) with the likes of Kieran Kane, Kevin Welch and Guy Clark. I enjoyed the music so much I am taking some more friends to your next gig."

- Wendy Broome,
   Sydney

"Heard your interview on the car radio (3LO) on Monday evening (March 3). It's GREAT to hear that characteristic Country Radio/Dingoes sound (and oh, what a wonderful sound it is!), and learn about what's been happening to you over the years.

"Keep up the good work fellas, and I wish you the best of luck."

- Linda Moon,
   Melbourne

"Congratulations on the CD!

"I've added 'The Killing Heart' and 'The Boys of Narrabeen' to DIG Internet Radio as a starter, and will go for others when the CD is officially out.

"We're playing a few old Dingoes songs so I should hunt up some Country Radio things to keep the balance fair.

"Keep up the good work and good luck with so rudely interrupted."

- Stuart Matchett,
   Program Director, DiG Internet Radio,
   ABC Radio Australia

"'Lost In a Moment' made me weep…"

- Marnie Spencer,
   Bolinas, California

"Then you have Australian acts such as Greg Quill and Kerryn Tolhurst together again. It's great to be a catalyst to bring these legendary Australian names back into the spotlight and it's wonderful as a festival we can do things like that."

- Jamie McKew,
Artistic Director, Port Fairy Folk Festival,
quoted in DiG Internet Radio report.

"I REALLY love the album. I think it's fantastic, and I'm not just saying that. I've been singing the songs to myself ever since I got it. My personal fave is 'A Tale Too Plain' - something about the combination of the melody and the lyrics and the scansion and the beat and the arrangement - it really does it for me. But 'Come To Me' and 'Lost In A Moment' are absolute classics as well, and the new version of 'Fleetwood Plain' is beautiful and fits perfectly.

"No nostalgia trips here. The songs are superb, production and playing are A-1. "

- Duncan Kimball,
Rock 'n' Roll Scars, MILESAGO.

"The first show on the recent Australian tour was at the Port Fairy Folk Festival, during which Quill and Tolhurst invited Chris Wilson on stage to play the Chris Blanchflower harmonica parts on 'Wintersong' and 'Gypsy Queen'. The set for the tour ranged from most of the songs on so rudely interrupted to Country Radio classics, (including) 'Fleetwood Plain', from 'Almost Freedom' (on the criminally underrated The Outlaw's Reply album) to covers of John Prine's 'Speed Of The Sound Of Loneliness' and John Stewart's 'July, You're A Woman'.

"They were wonderfully relaxed affairs, with Quill's warm and assured voice always complemented by Tolhurst's sympathetic and astonishingly beautiful steel guitar, slide dobro and mandolin accompaniment.

"If you missed the gigs, search out the Quill-Tolhurst album so rudely interrupted for an exquisite listening experience."

- Ian McFarlane,
   Rhythms Magazine, May 2003

"I used to surf (really, really badly) at Narrabeen in the Olden Days. 'Send her down, Huey!'… my Dad used to say that whenever it looked like rain, and I haven't heard it since... who the hell IS Huey anyway, a Scottish rain-god?

"I think the geetar and mandolin pickin' is really great. May so rudely interrupted sell 10 million copies and make everyone rich (whilst retaining your musical purity and NOT selling out to The Man, of course)."

- Jim Fisher,
   Los Angeles, California

ONE LAST THING…

We'd really appreciate information about, copies of, quotes from, or links to press, radio or Internet reviews of so rudely interrupted… or your own impressions… just hit the "contact" button on this site, and drop us a line.