with a strangely moving evocation of 1950s London, but thereafter descends into a (to some, boring) litany of drug busts, clean-up attempts, rows with Jagger, and so on. Manzanera, on the other hand, shows that it is possible for a rock star to be reasonable, kind and thoughtful. In its unfussy way, there is a quiet sagacity to this book. Manzanera says (p. 167): It takes a lot of time, as well as a lot of accumulated experience and wisdom, before any of us can get much of a handle on who we are, and how we’ve become the person we turn out to be. Truism this may be, but this reviewer at least is impressed that the observation is made by the very same person responsible for some of the moments of the magnificently unhinged camp that so distinguish Roxy Music. It’s that doubleness again. ◉
Floyd. Remarkably, these friendships continue through adulthood: Manzanera rarely falls out with anyone, at least for very long. Even when Roxy Music falls apart, he remains on good terms with the big egos of Bryan (Ferry) and Brian (Eno), and at various times works separately with both. Manzanera is humble enough to admit that his contribu- tions to Roxy Music remain the basis of his fame. And, no doubt, some will not be so interested in the vari- ous, occasionally dangerous, projects that Manzanera initiates or joins when not playing with Roxy Music. But, while the guitar remains a constant, these projects reveal Manzanera as a musician of extremely eclectic tastes, willing to engage with a wide variety of musical styles (unusual in a rock star of his era). Manzanera is especial- ly interesting about South American music and, fluent in Spanish himself, often explores the music in its locale. Another impressive feature of the life that Manzanera describes is that so little of it relates to excess. Compar- ison with Keith Richards’ autobiography is instructive. The Rolling Stone’s book certainly provides a reader
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