Unrequited Infatuations: A Memoir

Yep, that's me with the man, in Dublin some years ago. He was doing a radio thing for his underground garage series. I was passing and he was getting into his hotel. I stopped him, he was very polite. "Thank you for all that music", I said (or something like that). "Thank you", he said smiling. Some other guys spotted him and started to surround us. I said something like "keep on rocking" and motioned to shake hands and leave. He smiled again. It was the smile he's surely done a million times to followers: tired but sincere. My girlfriend called me. We both looked at the camera and she snapped for posterity. It was a small event indeed for someone who's been following Van Zandt, one way or another, for 30 years. And there I am posing and shaking hands with the musician, the actor, the producer, the activist, the rebel, Bruce's sideman.... And now: the writer.So I'm biased with this book. Like so many others, I waited eagerly for it. I think I actually liked it before I read it (it happens). But, how really good is it?It's good, no doubt; and also disperse, incomplete, chaotic, cocky, angry, biased, careless with the words. But it is good, a fun ride for all rock lovers - never mind E Street fans. And by "good" I mean it is worthy, a joy to read. But (this "but" was a long time coming) it could have been a couple of notches better. It should have been excellent, the definite music tale of one of the most loved rock stars (or as Clarence Clemons called him in his own autobiography: a man impossible not to like). This book should have been five stars. Yet it isn't. Why? A few minor reasons, and then a big one.First, it doesn't settle completely with a style, it tries to be many things at once but it doesn't find the right tone. It changes it too often, to the point that many times we do not know if the author means what he writes or is simply trying to be funny or sarcastic. To compare it with just two recent and very well known autobiographies of as many singers, Bob Dylan chose brief fragments of his long and varied career, and reflected on those for pages, creating small chapters magnificently written. Springsteen went for a full an organized tale of his life, complete and lineal but never forensic. His book is very very warm and frank, and also very well written. But in Van Zandt's book the prose is not very good. It's ever changing and careless, as if to write about rock 'n'roll one has to write poorly or in a disorganized way. Then sometimes it seems that whole parts - many parts - where written in a hurry, not caring what was before or coming next. The book could have used a thorough read and edition. (Talking of editing the text, someone before printing it should have spotted that the correct spelling is "Ruben Blades", not "Reuben Blades".)Other "but" is that "Unrequited..." is lineal (of sorts) and then it jumps a bit too much, and without advise, back and forth. It's 1979 here, and 1983 two lines below. Mix this with the mentioned lack of care for the prose (an extended malady these days) and it becomes somehow chaotic, to the point that at the end of some sentences the reader does not know who is "she" or "him" anymore. And add to this a prologue and an ending in which Van Zandt suddenly goes for an odd and almost Napoleonic third person.And then the major problem, to these eyes, is at the very core of the book and it's the relation of the author with Bruce "the Boss" Springsteen. The book tries too much, Van Zandt insist way too often, in convincing the reader of the author's own career and its worth, making clear that he's a composer, a producer and a lead singer on his own account and merit and aside the E Street Band. Yet the career of Little Steven does not substantiate that. Without the E Street Band, i.e. Steve’s career before 1975 and after 1984, would have been a foot note (if that) in the history of Rock'n'Roll - fact. As a solo artist he hasn’t reached enough sales or prestige to be considered as a star - actually he ends up admitting in the book, he struggled to bring 1,000 people to a concert in a major European city with his own band between tours with Springsteen, who filled large arenas all over the world in said tours. This notion keeps on coming and makes the author to be unfair, and it shows. Key moments of the E Street Band are reffered to just by passing: for instance, the recording of the superb and very successful "The River", a monumental work in two LPs, is dealt with three paragraphs (the last one to mention that two singles of this work failed at the charts); the tour for that LP, a smash success in sold-out venues in America and Europe for a solid year, simply does not exist in the book; but then the author fills four pages in telling the filming of a videoclip for one of his songs, both now forgotten. And finally, the E Street Band, arguably, and often considered, the best American band, if not of the world, from 1975 to 1985, is barely mentioned as such band, never mind praised. The readers and followers of the Boss and his Band could do with a bit less of the author's ever present frustration with his own solo career - it's a subtle but tangible feeling along the book.But in the end..., again: it's a good book, good enough to carry its own flaws. Funny in many parts, revealing in many others. And then there’s lots of music of Golden eras (the late sixties, the seventies), lots of big names (a tad too many of those), lots of recording sessions, lots of concerts, lots of soul. A true feast for any lover of good music.

Stevie Van Zandt's book starts off well, and he's obviously a highly driven and direct character, and comes over as likeable. However, for me the book lost something (as did Stevie!) when he left the E Street band in 1984 to pursue other interests (a move you feel he secretly regrets).He's thereafter a mass of contradictions - helping the anti-Apartheid movement via the 'Sun City' project, and getting involved in helping Nicaragua's Daniel Ortega in the battle against the US-backed Contras - yet seeming to have a love of the Italian mob culture that he embraced during 'The Sopranos' and 'Lillyhammer'.It's a life full and well lived, but by the end he's just dropping the names of nearly everyone he knows in the record industry and it's hard to stay as interested.

Don't let the first few pages put you off. These pages are the most ego-maniacal bub- James Bond. hinting later that Steve is second only to Nelson Mandela in ending Apartheid. Once you do get over his overweening ego you can enjoy some interesting anecdotes about the music industry and The Sopranos. A positive is that there is an index at the back so you can look up Springsteen and The Sopranos and avoid his political preening.

Steve Van Zandt has a tale to tell, and he tells it well. I only got into him, and Springsteen, and latter day Gary US Bond, through Southside Johnny, a great singer and writer who gets either ignored or insulted in everyone else's accounts of their past....he should write his own version of events.

Really interesting auto biography, if you only really know Miami Steve the life after Bruce is an interesting revelation. Lots of learning about the period of his political activism. The style in which it is written can be a challenge to read ,but stick with it. A good interesting read.