Michael Bolton

American pop singer and songwriter
Quick Facts
Original name:
Michael Bolotin
Born:
February 26, 1953, New Haven, Connecticut, U.S. (age 72)

Michael Bolton (born February 26, 1953, New Haven, Connecticut, U.S.) is an American pop singer and songwriter with a voice covering four octaves and a popular appeal that extended his stay at the top of the music charts beginning in the 1980s.

Early life

Michael Bolotin was born in New Haven, Connecticut, to George Bolotin, a local Democratic Party official, and his wife Helen, a homemaker. He demonstrated an interest in music at an early age and learned to play the saxophone at age 7. By age 11 he had learned to play guitar, and a year later he began writing songs. After his parents divorced, he delved deeper into music as an escape. At age 14 he formed a group, the Nomads, that became so popular in the New Haven area that within a year they were signed to a singles contract by Epic Records. With his parents’ permission, Michael dropped out of school at age 16 in order to pursue music full-time.

Struggling rocker

Although Bolotin had grown up listening to Motown and blues, he spent the next eight years playing everything from heavy metal to Southern rock. On the basis of a demo tape, he signed a two-album deal with RCA Records. A legal battle over an advance soured the relationship from the start, and, after two unsuccessful albums, Michael Bolotin (1975) and Every Day of My Life (1976), he was released from his contract. In 1979 he took advantage of his rocker image to become lead singer for Blackjack, a heavy metal group, which released two failed albums for Polydor Records.

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By 1982 Bolotin was unemployed and living outside New Haven with his wife, Maureen McGuire, and their three children. He caught a break when he was released from his Polydor contract, and he soon signed a solo recording contract with Columbia Records. With the release of Michael Bolton (1983), a collection of rock songs, Michael Bolotin officially became Michael Bolton. While the album was not a big success, the single “Fool’s Game” was well received.

Songwriting and solo success

By the mid-1980s Bolton was appearing as an opening act for such hard-core rock acts as Ozzy Osbourne and Krokus, but it was his songwriting that eventually ignited his career. He penned songs for such diverse artists as Gregg Allman, the Pointer Sisters, Kiss, Kenny Rogers, and Laura Branigan. The ballad he wrote for Branigan, “How Am I Supposed to Live Without You,” became an adult contemporary hit in 1983. His second album for Columbia, Everybody’s Crazy (1985), did not sell as well as his first. Several years later he scored a hit with The Hunger (1987), which features the singles “That’s What Love Is All About,” “Walk Away,” and his rendition of Otis Redding’s 1968 soul classic “(Sittin’ on) the Dock of the Bay.”

Bolton scored another hit with Soul Provider (1989), which sold more than seven million copies and spawned five hit singles, including his own rendition of “How Am I Supposed to Live Without You.” The song reached number one on the Billboard Hot 100 and earned him a Grammy Award in 1990 for best male pop vocal performance. That same year Bolton joined saxophonist Kenny G for a sold-out tour of North America. He continued the momentum with Time, Love & Tenderness (1991), a compilation of romantic ballads that soared to the top of music charts three weeks after its release, eventually sold more than nine million copies, and brought Bolton his second Grammy, for his version of the 1966 Percy Sledge classic “When a Man Loves a Woman.”

Later albums

In 1992 Bolton released Timeless, a collection of songs made famous by such artists as Sam Cooke, the Bee Gees, Sam & Dave, and the Beatles. His recording of “You Are My Sunshine” was included on the compilation album For Our Children: The Concert (1993). Bolton cowrote all but two of the songs on The One Thing (1993). That album spawned the soulful Grammy-nominated hit “Said I Loved You…But I Lied.” His most complete work, however, is his Greatest Hits 1985–1995 (1995), which presents the highlights of his durable recording career.

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His later albums include All That Matters (1997), My Secret Passion: The Arias (1998), Only a Woman Like You (2002), ’Til the End of Forever (2005), One World One Love (2009 U.K.; 2010 U.S.), Gems: The Duets Collection (2011), Ain’t No Mountain High Enough: A Tribute to Hitsville U.S.A. (2013), and A Symphony of Hits (2019). He wrote an autobiography, The Soul of It All: My Music, My Life (2013).

Personal life, charity work, and cancer diagnosis

Bolton and McGuire divorced in 1990. He began a relationship with soap opera star Nicollette Sheridan in 1992, which ended five years later. The couple rekindled their romance in the 2000s and were engaged before splitting up again in 2008.

In 1993 he founded Michael Bolton Charities, which is dedicated to assisting women and children whose lives have been affected by domestic violence and sexual, physical, or emotional abuse.

Bolton underwent emergency brain surgery in December 2023 after being diagnosed that month with glioblastoma, an aggressive form of brain cancer. He announced the surgery and a break from touring to fans on Instagram in early 2024, and that year he had radiation and chemotherapy treatments and underwent a second brain surgery. In April 2025 he and his children spoke publicly about his cancer experience for the first time. His daughter Holly told People magazine, “He was in recovery [from the first surgery] in the hospital room singing within minutes. I remember one of the nurses had no idea who he was, and she’s like, ‘Do you know he sings like this?’ ”

The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by René Ostberg.

ballad, short narrative folk song, whose distinctive style crystallized in Europe in the late Middle Ages and persists to the present day in communities where literacy, urban contacts, and mass media have little affected the habit of folk singing. The term ballad is also applied to any narrative composition suitable for singing.

France, Denmark, Germany, Russia, Greece, and Spain, as well as England and Scotland, possess impressive ballad collections. At least one-third of the 300 extant English and Scottish ballads have counterparts in one or several of these continental balladries, particularly those of Scandinavia. In no two language areas, however, are the formal characteristics of the ballad identical. For example, British and American ballads are invariably rhymed and strophic (i.e., divided into stanzas); the Russian ballads known as byliny and almost all Balkan ballads are unrhymed and unstrophic; and, though the romances of Spain, as their ballads are called, and the Danish viser are alike in using assonance instead of rhyme, the Spanish ballads are generally unstrophic while the Danish are strophic, parcelled into either quatrains or couplets.

In reception, however, the ballad’s technique and form are often subordinated to its presentation of events—especially ones presented as historical, whether factually accurate or not—and their significance to the audience. The ballad also plays a critical role in the creation and maintenance of distinct national cultures. In contemporary literature and music, the ballad is primarily defined by its commitment to nostalgia, community histories, and romantic love.

Albert B. Friedman The Editors of Encyclopaedia Britannica

Elements

Narrative basis

Typically, the folk ballad tells a compact little story that begins eruptively at the moment when the narrative has turned decisively toward its catastrophe or resolution. Focusing on a single, climactic situation, the ballad leaves the inception of the conflict and the setting to be inferred or sketches them in hurriedly. Characterization is minimal, the characters revealing themselves in their actions or speeches; overt moral comment on the characters’ behaviour is suppressed and their motivation seldom explicitly detailed. Whatever description occurs in ballads is brief and conventional; transitions between scenes are abrupt and time shifts are only vaguely indicated; crucial events and emotions are conveyed in crisp, poignant dialogue. In short, the ballad method of narration is directed toward achieving a bold, sensational, dramatic effect with purposeful starkness and abruptness. But despite the rigid economy of ballad narratives, a repertory of rhetorical devices is employed for prolonging highly charged moments in the story and thus thickening the emotional atmosphere. In the most famous of such devices, incremental repetition, a phrase or stanza is repeated several times with a slight but significant substitution at the same critical point. Suspense accumulates with each substitution, until at last the final and revelatory substitution bursts the pattern, achieving a climax and with it a release of powerful tensions. The following stanza is a typical example:

Then out and came the thick, thick blood,
Then out and came the thin,
Then out and came the bonny heart’s blood,
Where all the life lay in.

Oral transmission

Since ballads thrive among unlettered people and are freshly created from memory at each separate performance, they are subject to constant variation in both text and tune. Where tradition is healthy and not highly influenced by literary or other outside cultural influences, these variations keep the ballad alive by gradually bringing it into line with the style of life, beliefs, and emotional needs of the immediate folk audience. Ballad tradition, however, like all folk arts, is basically conservative, a trait that explains the references in several ballads to obsolete implements and customs, as well as the appearance of words and phrases that are so badly garbled as to indicate that the singer does not understand their meaning though he takes pleasure in their sound and respects their traditional right to a place in his version of the song. The new versions of ballads that arise as the result of cumulative variations are no less authentic than their antecedents. A poem is fixed in its final form when published, but the printed or taped record of a ballad is representative only of its appearance in one place, in one line of tradition, and at one moment in its protean history. The first record of a ballad is not its original form but merely its earliest recorded form, and the recording of a ballad does not inhibit tradition from varying it subsequently into other shapes, because tradition preserves by re-creating rather than by exact reproduction.

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