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Michael Bruce

 
Quotes By: Michael Bruce

Quotes:

"In every pang that rends the heart the Man of Sorrows has a part."

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Artist: Michael Bruce
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Similar Artists:

Followers:

Performed Songs By:

Ben Tankard, Tyrone Dickerson

Worked With:

Neal Smith, Bob Ezrin, Dennis Dunaway, Glen Buxton

Formal Connection With:

  • Born: March 16, 1948, Phoenix, AZ
  • Active: '70s, '80s, '90s, 2000s
  • Genres: Rock
  • Instrument: Keyboards, Guitar
  • Representative Albums: "Halo of Ice," "In My Own Way," "Rock Rolls On"

Biography

The main focus of the original Alice Cooper band was understandably the group's shock rock singer Alice Cooper. But it was the group's guitarist/keyboardist, Michael Bruce, who was the main musical force behind the group, co-writing the majority of their tracks. Born on March 16, 1948, and raised in Arizona, Bruce took up the guitar during the early '60s after catching Elvis on the Ed Sullivan Show and discovering such British Invasion acts as the Beatles, the Rolling Stones, the Yardbirds, and the Animals. After doing time in a local cover outfit, the Duels, Bruce hooked up with another local band, the Spiders, who would later morph into the Alice Cooper band. The band (singer Vincent Furnier, bassist Dennis Dunaway, guitarist Glen Buxton, and later, drummer Neal Smith) relocated to Los Angeles in 1968, changed their name to the Nazz, and focused on more a more psychedelic rock sound (à la early Pink Floyd). But when they found out there was another group going by the name the Nazz (featuring a then-unknown Todd Rundgren), they changed their name to Alice Cooper, with Furnier assuming the role of a deranged and macabre figure and assumed the name Alice Cooper.

The newly renamed group issued a pair of underappreciated albums for Frank Zappa's Bizarre label (1969's Pretties for You and 1970's Easy Action), which followed in the same spacy, early Floyd style. But soon after, the group began gravitating toward a more theatrical-based, glam look while their musical style became more hard rock anthem-based. The Alice Cooper band grew even stronger after hooking up with producer Bob Ezrin, who helped focus the group's sound and approach even further. After a switch to Warner Bros., the Alice Cooper band quickly became one of the world's leading hard rock groups on the strength of such hit albums as 1971's Killer, 1972's School's Out, and 1973's Billion Dollar Babies. Bruce also established himself as the band's chief songwriter, either co-writing or solely penning most of the group's most renowned tracks, including "I'm Eighteen," "Ballad of Dwight Fry," "Under My Wheels," "Be My Lover," "Desperado," "Billion Dollar Babies," and "No More Mr. Nice Guy," among others.

But nonstop touring and hard living quickly burned out the group and they came to a crossroad after two more releases, 1973's Muscle of Love and 1974's Greatest Hits. Bruce wanted to take some time off to concentrate on recording a solo album, while Cooper wanted to press ahead with the group, albeit in an even more theatrically based direction (while the rest of the band wanted to focus more on the music). This led to the group's breakup and Cooper carried on as a solo artist and Bruce completed work on his solo debut. Issued only in Germany during 1975, Bruce's In My Own Way failed to attract the attention of Cooper's large audience and sunk from sight upon release. Bruce then reunited with a few other ex-members of the original Alice Cooper band, Dunaway and Smith, forming the group the Billion Dollar Babies and issuing a lone album in 1977 with Battle Axe. Although one of the reasons for the Cooper band's split in the first place was the theatrics, Bruce's new outfit launched an over-the-top stage show based on the 1975 futuristic James Caan movie Rollerball. But the stage was too large to fit into the mid-sized theaters and the tour was cut short after only a handful of shows, leading to the album quickly disappearing from the charts and the split up of the Billion Dollar Babies.

Bruce and his ex-Cooper bandmates kept a low profile afterward, as several attempts at possibly writing for and/or rejoining Alice proved unfruitful. In 1983, Bruce issued another obscure solo release in Europe only, Rock Rolls On, and by the dawn of the '90s was playing out live again with such East Coast bands as the Josiah/Bruce Band and a new version of the Billion Dollar Babies. Bruce also appeared on a recording by a project called Ant-Bee, 1998's Lunar Muzik, which was led by rock biographer Billy James and featured members of several classic psychedelic rock outfits (the Grandmothers, Hawkwind, Gong, and the Alice Cooper group). Around the same time, Bruce penned an autobiography, No More Mr. Nice Guy: The Inside Story of the Alice Cooper Group (with Ant-Bee's James lending a hand), which proved to be an interesting and insightful read (although Cooper himself subsequently questioned the validity of some of the stories).

In October of 1997, Bruce joined Smith and Glen Buxton on-stage for an informal reunion of sorts (sadly, Buxton passed away just a week later). In December 1998, Bruce joined Smith and Cooper on-stage for several songs at the opening of the singer's Phoenix sports bar/restaurant, Cooperstown, which proved to be the first time Bruce and Cooper performed together on-stage in nearly 25 years. Bruce continues to play live, forming the Michael Bruce Group in 2001, issuing such albums as I'll Never Forget Old What's His Name and Billion Dollar Babies -- Early Studio Tracks, and even toured England in May 2001 (to coincide with a tour Cooper was doing there at the time). A second printing of the No More Mr. Nice Guy autobiography was issued too, with a new cover and an added chapter. 2002 saw the release of an expanded two-disc reissue of Bruce's solo debut, In My Own Way: The Complete Sessions. ~ Greg Prato, All Music Guide
Wikipedia: Michael Bruce
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You may be looking for Michael Owen Bruce, a guitarist for the Alice Cooper Group

Michael Bruce (March 27, 1746July 15, 1767) was a Scottish poet.

He was born at Kinnesswood in the parish of Portmoak, Kinross-shire. His father, Alexander Bruce, was a weaver. Michael was taught to read before he was four years old, and one of his favourite books was a copy of Sir David Lyndsay's works. His attendance at school was often interrupted, because he had to herd cattle on the Lomond Hills in summer, and this early companionship with nature greatly influenced his poetry. A delicate child, he grew up as the pet of his family and friends. He studied Latin and Greek, and at fifteen, when his schooling was completed, a small legacy left to his mother, with some additions from kindly neighbours, enabled him to go to the University of Edinburgh, which he attended during the four winter sessions 1762-1765.

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Overview

In 1765 he taught during the summer months at Gairney Bridge, receiving about 5s a year in fees and free board in a pupil's home. He became a divinity student at Kinross, with a Scottish sect known as the Burghers, and in the first summer (1766) of his course he was put in charge of a new school at Forest Hill, near Clackmannan, where he led a life marred by poverty, disease and loneliness. There he wrote "Lochleven," a poem inspired by the memories of his childhood, which shows the influence of Thomson. He had already been threatened with consumption, and now became seriously ill. During the winter he returned on foot to his father's house, where he wrote his last and finest poem, "Elegy written in Spring."

As a poet his reputation spread, through sympathy for his early death; and also because of the alleged theft by John Logan of several of his poems. Logan, a fellow-student of Bruce, obtained Bruce's manuscripts from his father, shortly after the poet's death. For the letters, poems, etc., that he allowed to pass out of his hands, Alexander Bruce took no receipt and did not keep any list of the titles. Logan edited in 1770 Poems on Several Occasions, by Michael Bruce, in which the "Ode to the Cuckoo" appeared. In the preface he stated that "to make up a miscellany, some poems written by different authors are inserted." In a collection of his own poems in 1781, Logan printed the "Ode to the Cuckoo" as his own; the friends of Bruce did not challenge its appropriation publicly. In a manuscript Pious Memorials of Portmoak, drawn up by Bruce's friend, David Pearson, Bruce's authorship of the "Ode to the Cuckoo" is emphatically asserted.

This book was in the possession of the Birrell family, and John Birrell, another friend of the poet, adds a testimony to the same effect. Pearson and Birrell also wrote to Dr Robert Anderson while he was publishing his British Poets, pointing out Bruce's claims. Their communications were used by Anderson in the "Life" prefixed to Logan's works in the British Poets (vol. ii. p. 1029). The volume of 1770 had struck Bruce's friends as being incomplete, and his father missed his son's "Gospel Sonnets," which are supposed by the partisans of Bruce against Logan to have been the hymns printed in the 1781 edition of Logan's poems. Logan tried to prevent by law the reprinting of Bruce's poems (see James Mackenzie's Life of Michael Bruce, 1905, chap. xii.), but the book was printed in 1782, 1784, 1796 and 1807.

Dr William McKelvie revived Bruce's claims in Lochleven and Other Poems, by Michael Bruce, with a Life of the Author from Original Sources (1837). Logan's authorship rests on the publication of the poems under his own name, and his reputation as author during his lifetime. His failure to produce the "poem book" of Bruce entrusted to him, and the fact that no copy of the "Ode to the Cuckoo" in his handwriting was known to exist during Bruce's lifetime, make it difficult to relieve him of the charge of plagiarism. John Veitch, in The Feeling for Nature in Scottish Poetry (1887, vol. ii. pp. 89-91), points out that the stanza known to be Logan's addition to this ode is out of keeping with the rest of the poem, and is in the manner of Logan's established compositions, in which there is nothing to suggest the direct simplicity of the little poem on the cuckoo.

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Bibliography

Additions to Poems on Several Occasions (1770) were made by Dr McKelvie in his 1837 edition. He gives (p. 97) a list of the poems not printed in Logan's selection, and of those that are lost. See the "Lives" of Bruce and of Logan in Anderson's British Poets (1795); a paper on Bruce in The Mirror (No. 36, 1779), said to be by William Craig, one of the lords of session; The Poetical Works of Michael Bruce, with Life and Writings (1895), by William Stephen, who, like Dr AB Grosart in his edition (1865) of The Works of Michael Bruce, adopts McKelvie's view. A restatement of the case for Bruce's authorship, coupled with a rather violent attack on Logan, is to be found in the Life of Michael Bruce, Poet of Loch Leven, with Vindication of his Authorship of the "Ode to the Cuckoo" and other Poems, also Copies of Letters written by John Logan now first published (1905), by James Mackenzie.

Hymns

Three of his hymns were chosen and printed in The Church Hymn book 1872 (n. 1064, 1356 and 1393).

  • As Jesus died, and rose again n. 1393 in The Church Hymn book 1872
  • Where high the heavenly temple stands n. 1064 i The Church Hymn book 1872 (1765). This hymn is translated into Swedish by Erik Nyström I himlens tempel, högt och stort.
  • The hour of my depature's come n. 1356 i The Church Hymn book 1872 (1766)

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