Peter Ames Carlin
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Peter Ames Carlin’s New York Times bestselling biography of one America’s greatest musicians is the first in twenty-five years to be written with the cooperation of Bruce Springsteen himself; “Carlin gets across why Mr. Springsteen has meant so much, for so long, to so many people” (The New York Times).
In Bruce, acclaimed music writer Peter Ames Carlin presents a startlingly intimate and vivid portrait of a rock icon. For more than four decades, Bruce Springsteen has reflected the heart and soul of America with a career that includes twenty Grammy Awards, more than 120 million albums sold, two Golden Globes, and an Academy Award. Peter Ames Carlin masterfully encompasses the breadth of Springsteen’s astonishing career and explores the inner workings of a man who managed to redefine generations of music.
A must read for fans, Bruce is a meticulously researched, compulsively readable biography of a man laden with family tragedy, a tremendous dedication to his artistry, and an all-consuming passion for fame and influence.
Rolling Stones (“[I Can’t Get No] Satisfaction” and “The Last Time”) the Kinks (“All Day and All of the Night”), Ray Charles (“What’d I Say”), and the Who (an instrumentally furious “My Generation,” with Bruce taking the lead vocal). They mostly steered away from the Beatles, unless you count the British group’s cover of “Twist and Shout,” to differentiate themselves from all the other teenage bands trying to scratch their way out of their parents’ garages and basements. Tex had his own
31 Woodstock, 61–62, 69 Woody Guthrie: A Life (Klein), 285 Wooley, Sheb, 21 Working on a Dream, 435, 455 tour for, 438 “Working on a Dream,” 434, 437 “Working on the Highway,” 295, 303, 307 “Worlds Apart,” 415 Wrecking Ball, 447, 448–56 “Wreck on the Highway,” 282 “Wrestler, The,” 435 Wright, Jeremiah, 426n Wynette, Tammy, 228 Yardbirds, 44 Yetnikoff, Walter, 167–68, 219n, 278, 279, 296, 306, 307, 348 “You Don’t Leave Me No Choice,” 96–97 “You Mean So Much to Me,” 95, 96, 152
West started talking about this incredible kid he’d been managing who needed to find a good, professional manager. Karwan mentioned a couple of industry pals who were, in fact, looking for a talented kid to take on. Mike Appel and Jimmy Cretecos were young contract songwriters at Wes Farrell’s Pocketful of Tunes publishing company, he said. They had written a bunch of songs for Farrell’s central project, the imaginary band at the center of ABC’s popular The Partridge Family sitcom, and were
musical core to understand. No one had wanted to believe him, but now the whole world would know that Bruce Springsteen, and the man who had discovered him, were the real thing. All that got thrown aside when Bruce called their hotel room at ten o’clock one night and told Appel that he had decided that the abstruse, seven-minute “Visitation at Fort Horn,” had to be stripped off of the second side of Greetings. It was too long, Bruce insisted. It dominated the end of the album and stole focus
drummer through the wild or return to the studio, where the rest of the band waited. Two days later Bruce knocked on Lopez’s door in Bradley Beach, where the drummer stored the guitarist’s stage equipment. When he came inside, he delivered the news in a chilly monotone. “Hey man, you’re fired.” Lopez shook his head. What did Bruce mean? “You’re not in the band anymore.” The drummer tried to bargain: he’d fucked up, he knew it. And if his drumming was a problem, he could practice more.