Text and photos by Armando Gallo. Golden Globe winner Amanda McBroom is the writer of “The Rose,” one of the most beautiful original songs written for a movie. The movie of the same title showcased Bette Midler as a great dramatic actress, but it’s the song—with its timeless lyrics about love and the struggle to find and define it—that continues to win over audiences today. The line, “When the night has been too lonely, and the road has been too long, and you think that love is only for the lucky and the strong,” never leaves a dry eye in the house.
I met Amanda, a vibrant and creative lady, in Culver City on a gorgeous summer morning. The actress, singer, and songwriter has recently been busy promoting her latest Nashville CD, “Voices,” and she drove into town from Ojai, where she lives with her husband of 40 years, Broadway baritone George Ball.
Amanda was born in Burbank on August 9, 1947, the daughter of 1940s film star David Bruce and a drama teacher. She was destined to follow in her family’s footsteps, beginning her acting career at age 3. Writing songs was a hobby she pursued while acting in films and TV shows until her late twenties. “The Rose” was a miracle waiting to happen.
The Rose is now a classic, but it’s a song without a bridge or hook. How did you write it? I was driving down the Ventura Freeway, heading home to Woodland Hills when a song by Leo Sayer called “Magdalena” came on the radio. A songwriter named Danny O’Keefe wrote it, and the line, “Your love is like a razor, my heart is just a scar,” struck me as the sexiest lyric I’d ever heard. But then I thought, “I don’t think love is like a razor. What do I think love is?” Suddenly, words just started pouring into my brain. I don’t know where they came from.
While you were driving?
Yes! It had never happened to me before, though it’s happened twice since. I kept reciting the words because I didn’t have a tape recorder. When I got home, I rushed past my husband, who was watching football, and wrote it down in 15 minutes. I played it for him, and he said, “You just wrote a standard.” I thought, “Nobody’s going to hear this.” But he insisted something big would come of it, and he was right.
You got nominated for a Golden Globe and won?
Yes, I was nominated and won! I wasn’t really a songwriter at the time. I was an actress who wrote songs as a hobby. My friend Michelle Brourman, who’s now my pianist, told me they were looking for material for a movie called “The Rose.” She submitted my song, and I was stunned when they decided to use it.
I remember Paul Rothchild, who worked with The Doors, and Janis Joplin, who was the music supervisor for the movie. He had 3,000 songs to choose from. Yes. They weren’t sure about my song because they thought it sounded like a hymn, and the movie was rock and roll. But Paul Rothchild, bless his heart, insisted they listen to it again. It was between my song and “Let Me Call You Sweetheart.” I remember watching the film and thinking my song had been cut. Then, it started playing during the credits, and everyone sat down to listen. That’s when I knew something special had happened.
And then came the Golden Globe nomination?
Yes, and I had no idea how the music industry worked! They also asked me to perform the song at the ceremony when I was nominated.
What do you remember about the Golden Globe Awards in January 1980?
It was the most astounding evening of my life. My husband and I rented a limo. I bought a gown, and Suzanne Somers, who was supposed to present my award, was wearing the same dress! (Laughs) I was so nervous about performing because “The Rose” is hard to sing when you’re nervous. Debbie Reynolds grabbed my hands and gave me breathing exercises, which calmed me down. I walked out, saw Bette Midler, Paul Newman, and Kirk Douglas, and thought I was going to die! But everyone listened to the song, which was amazing.
Was writing this song like a miracle?
If miracles exist, this was one. It changed my life forever. At first, I didn’t think of myself as a songwriter. My husband finally said, “What’s paying the mortgage right now? Don’t you think you should take responsibility for this gift?” That’s when I realized I needed to embrace it.
Were you afraid of being a one-hit wonder?
Of course. But “The Rose” led to my recording career. Lincoln Mayorga, Bette’s keyboardist on the song, wanted to record me. He had a label called Sheffield Lab, and we recorded in one take with a full orchestra. It was an unbelievable experience.
You’ve been involved with “Jacques Brel Is Alive and Well and Living in Paris” for years. Are you still performing it?
Yes, I’ve been performing “Brel” for about 40 years, including national and European tours. His writing and honesty have influenced me deeply. His songs are dramatic monologues, much like mine.
You have a new CD called “Voices,” recorded in Nashville through a Kickstarter campaign. How did that happen?
I’ve been an independent label since 1980, and I didn’t have the money to record it myself. My producer Fred suggested crowd funding, and the response was overwhelming. We went to Nashville, and Fred said I should re-record “The Rose” as a duet. Vince Gill came to mind, and he agreed to do it. His voice added a beautiful, universal quality to the song.
What’s next for you?
I’m on vacation until September, and then I have concerts in London, Utah, and Costa Mesa. I’ll be performing with jazz singer Anne Hampton Calloway, who is an amazing friend and collaborator. Every time I think I’m done, the universe pulls me back in!