Waiting on the Moon: Artists, Poets, Drifters, Grifters, and Goddesses

Published in 2025, Waiting on the Moon: Artists, Poets, Drifters, Grifters, and Goddesses is a memoir by singer-songwriter Peter Wolf, who was the frontman of the J. Geils Band. The memoir recalls many of Peter’s strange, serendipitous encounters with musicians, actors, and other celebrities and how these bonds shaped his career. The moments he shares create a unique picture of the music and entertainment industry and explore themes such as the impact of relationships, fame, and creativity. Other artists, such as Bruce Springsteen and Elvis Costello, have praised the memoir.

This guide refers to the 2025 Hatchette Book Group edition.

Content Warning: The source material and guide depict mental illness, substance use, addiction, sexual situations, and death, including death by suicide.

Summary

In the Prologue, musician and songwriter Peter Wolf explains that his memoir is less a story about himself and more a tribute to the people who shaped his life. Peter was known for sharing vivid stories about his encounters with remarkable celebrities and the relationships that formed from them, so others encouraged him to write them down and create a memoir.

Part 1 begins with a childhood moment in which 10-year-old Peter unknowingly shared a movie theater seat with Marilyn Monroe, who fell asleep on his shoulder. Peter then describes his mother, a fiercely independent woman who was politically active and the main breadwinner in the household. Her defiance drew FBI attention and made Peter grow up quickly. His father, on the other hand, was multitalented but reserved. Peter recalls how his father’s dream of singing on TV ended in embarrassment, which was the last time he heard him sing until many years later in a church choir.

As a child, Peter experienced his first heartbreak with a girl named Joyce, whom he tried to woo with a ring and an ankle bracelet—gifts she accepted before cutting him off. Later, when Eleanor Roosevelt visited his school, Peter was tasked with handling the microphone; he botched the job but left a lasting impression. A lesson in disappointment came next, when Peter and his father attended a Louis Armstrong concert and had front row seats but couldn’t see the stage.

Peter’s relationship with his first love, Edie, developed in art school, and the two faced many challenges together. Their bond, which Edie chose the song “The Wind” by the Diablos to symbolize, ended tragically when she died in a car accident, leaving Peter heartbroken and forever changed. The last chapter in Part 1 details Peter’s early encounters with Bob Dylan during the vibrant 1960s Greenwich Village scene, from jam sessions at a local record shop to philosophical conversations and backstage moments.

In Part 2, Peter Wolf shares how, after failing to graduate high school, he drifted through New England’s university art scenes, pretending to be a student so that he could access studio spaces. He eventually lied his way into the Boston Museum School of Fine Art, where he met future filmmaker David Lynch, his roommate for a brief but memorable time. Their stint as roommates ended when Peter’s missed rent payments led to an eviction—and a near-arrest when he was mistaken for the Boston Strangler.

Peter loved blues music and deeply connection with Muddy Waters and his band. Initially just a fan, Peter eventually became a friend, inviting the band over for meals and music listening parties. He built strong friendships with members like James Cotton, even hosting them in his home. The night of Martin Luther King Jr.’s assassination, Peter broke the news to Muddy. Later, Peter tried to arrange a tribute by getting Muddy on stage with Cream, but Cream’s drug foiled the plan. The last time Peter saw Muddy, he sensed it might be goodbye.

In Cambridge, Peter met Ed Hood, an actor and intellectual who taught him about literature. Through Ed, Peter met Andy Warhol and became involved in the underground art scene. Ed’s life experiences were largely defined by trauma, and ultimately a seizure took his life.

Peter also connected with blues legend John Lee Hooker after a poorly attended show. Peter and his band offered to help him reach a wider audience, which led to a series of collaborative concerts, and Peter later introduced Van Morrison to John Lee, which became a defining moment for Van, a big Hooker fan. Peter’s own friendship with Van Morrison was deep and complex. Van was battling a restrictive contract and frequently leaned on Peter for emotional support and encouragement before shows. Despite a falling out, their friendship endured. Next, Peter recounts the struggles of the J. Geils Band. Their aggressive manager, Dee Anthony, helped book a high-profile festival show, but tensions erupted into a physical altercation between rival band crews.

In Part 3, Peter describes his turbulent relationship with actor Faye Dunaway, a romance defined by travel, emotional extremes, and eventual heartbreak. He recalls moments like nearly working with Alfred Hitchcock, spending time on the set of Chinatown, and befriending literary geniuses like Robert Lowell and Tennessee Williams. Wolf encountered and befriended several musicians during this time, smoking with John Lennon and Harry Nilsson and drinking Guinness in Ireland with Mick Jagger. Peter’s marriage to Faye spiraled, particularly after he discovered that she was cheating with a photographer. Peter and Faye eventually divorced.

Part 4 recalls the J. Geils Band nearing the end of their long contract with Atlantic Records. Peter was frustrated by how little financial success and fame the band gained despite their hard work. Negotiating with the head of the label proved futile. Eventually, through a lawyer and some clever lies, the band landed a deal with EMI Records and its head, Bhaskar Menon, which finally gave them the major success they wanted. At the Pinkpop Festival in the Netherlands, The J. Geils Band was set to headline. However, before the show, Peter was violently mugged in London. In the chaos, he was arrested and badly injured, but he played the show anyway, numbed only by painkillers.

Peter reflects on his encounters with Sly Stone, an idol-turned-eccentric who became reclusive. Their studio encounters ranged from friendly to bizarre and terrifying, including an instance when Sly chased Peter down a hallway with a whip. Years later, Peter saw Sly perform for a nearly empty room, a stark reminder of how fame can fade. Peter then details the breakup of the J. Geils Band. The group eventually had disputes over creative direction: Peter wanted to stay rooted in their original sound, while others pushed toward synthpop. Peter found new strength in solo success.

In Part 5, Peter recalls how he connected with Don Covay during his solo career to cowrite “Lights Out.” Don’s passionate energy and musical philosophy—like his trick to “pink ‘em” (win over a crowd by wearing all pink)—left a lasting impression. Even after a stroke left Don wheelchair-bound and straining to speak, their friendship endured. Despite having little interest in acting, Peter was briefly considered for the role of Pontius Pilate in Scorsese’s The Last Temptation of Christ. The audition didn’t go well, and a bizarre run-in with a well-known director in the bathroom confirmed for Peter that Hollywood wasn’t for him.

A duet with Aretha Franklin challenged Peter’s perception of what a duet could be. Though she initially kept her distance through her signature humor and a British accent impersonation, the two soon bonded. They later shared the stage with several other performers at a 2005 tribute concert for Sam Cooke.

In addition, Peter shares the joys of collaborating, especially with Tim Mayer and Will Jennings. Tim helped elevate many of Peter’s ideas, and Will became a lifelong collaborator. A chance conversation with actor Rod Steiger inspired their song “It’s Too Late for Me,” which Merle Haggard eventually agreed to record with Peter. The result was a beautiful and moving track. The session took place during a tour stop, and afterward, Peter found himself in a cloud of cannabis smoke among legends like Willie Nelson and Ray Price. Peter’s memoir ends with a remark about the connections between musicians throughout history and how they come to inspire one another.