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Rodriguez 8/2023

Sixto Rodriguez 8/2023 (81) was born on July 10, 1942, in Detroit, Michigan. He was the sixth child of Mexican immigrant working-class parents Ramon and Maria Rodriguez.  They had joined an influx of Mexicans who came to the Midwest to work in Detroit’s industries. Mexican immigrants at that time faced both intense alienation and marginalization.  In most of his songs, Rodriguez takes a socio-political stance on the difficulties that faced the inner-city poor. His mother died when he was three years old. Growing up in a single parent, working class environment, Rodriguez first got turned onto music after hearing his father play Mexican folk songs. They often moved him to tears. “My father’s night would usually end with a couple of drinks, and a few songs. I would always listen to his heart-breaking songs. He loved music, and I picked it up through him.”

Growing up in a single parent, working class environment, Rodriguez first got turned onto music after hearing his father play Mexican folk songs. They often moved him to tears. “My father’s evenings would usually end with a couple of drinks, and a few songs. I would always listen to his heart-breaking songs. He loved music, and I picked it up through him.”
 
Turned on by music’s emotional power, he taught himself how to play guitar, imitating the chops of Jimmy Reed and Ray Charles. Dropping out of school as soon as he turned sixteen, Rodriguez was refused entry to the army and found himself drawn to Detroit’s Wayne State University campus, mingling amongst Vietnam draft dodgers and artists.


In 1967, using the name “Rod Riguez” (given by his record label), he released a single, “I’ll Slip Away”, on the small Impact label. 

“My early career happened through introductions,” he says with an easy laugh. “Someone introduced me here, someone took me there. I eventually met Harry Walsh who ran a label called Impact Records. He wanted to record me and sign me up for a sixty-year contract. That was fine. I knew I could out live that.”
In April 1967 they cut his debut single, “I’ll Slip Away” b/w “You’d Like to Admit It”. Credited to Rod Riguez to avoid any potential racial stereotyping, it disappeared without fanfare. The label folded after just one more release. He did not record again for three years, until he signed with Sussex Records, then an offshoot of Buddah Records.
 
Surviving by playing gigs at local gay bar The In-Between, Rodriguez customised his classical guitar with an electric pick up and played it through an Ampeg bass amp. He wanted his music to echo the fuzzy wall of confusion, unemployment and racial tension that characterised Detroit. Eyes closed, with his back to audience, he debuted “Crucify Your Mind”, a song that would re-emerge on Cold Fact.

 
“When times are good music goes down, and when times are bad music goes up, because people need art forms,” he recalls. “My goal was to make a couple of bucks, and when you’re solo you get paid each night. That was my reward. That and the social activities. I over partied a little.”
Inspired by strong weed and incendiary local acts like The Stooges, MC5 and the Bob Seger System, Rodriguez found his groove, writing a clutch of politically charged songs that brought the hard knock streets of Motor City to life. Anyone who heard his lyrics were instantly captivated. Local hipster Clarence Avant saw Rodriguez’s crossover potential and signed him to his fledgling label, Sussex Records. 
 
Sussex Records set him up in a studio with some of the finest musicians in Detroit, including Dennis Coffy on guitar, Mike Theodore on keys and second wave Funk Brothers Andre Smith and Bob Babbitt on drums and bass. However Rodriguez wasn’t comfortable recording with anyone else, so he laid down his parts separately and then the band played around his mater track. After 30 late nights in 1969, Rodriguez finished his debut album.
 
Featuring ten tracks in 32 minutes, Cold Fact was a short sharp shock, an angry rant from a dissatisfied young father of two plagued by society’s ills. On “Hate Street Dialogue”, his ironic take on the fallout of flower power, he lays his cards clearly on the table; “The inner city birthed me / The local pusher nursed me / Cousins make it on every street / They marry every trick they meet.”
However it was the opening track that became and remained, his signature tune. Entitled “Sugar Man”, he once again addressed the same subject matter, but from the point of view of a disillusioned junkie. Opening with the lines, “Sugar man, won’t you hurry / ‘Cos I’m tired of these scenes / For a blue coin won’t you bring back / All these colours to my dreams”, he followed it up with a typically short, but imaginative chorus; “Silver magic ships you carry / Jumpers, coke, sweet Mary Jane…”
 
Like his debut single, the record didn’t do big business when it was released in March 1970, with Sussex lacking the power to get it playlisted on underground FM radio. Rodriguez did himself no favors either, bringing political activists onstage at industry showcases, and smoking too much cheeba to concentrate on promoting himself.
He was however given a second chance, and Sussex bankrolled a second album – recorded over a month in London. Released in 1971 and entitled Coming From Reality (later renamed After the Fact), it sold even less albums than Cold Fact. He was dropped by Sussex two weeks before Christmas, and Sussex itself closed in 1975.
While Searching for Sugar Man implied that he was in the process of recording a third album when Sussex dropped him, in 2013 Rodriguez told Rolling Stone magazine that he unsuccessfully lobbied filmmakers to cut a reference to his unfinished third album. He told the magazine, “To me it distracted. It almost cheapened the film, like it was a promo film.… I’ve written about 30 songs, and that’s pretty much what the exposed public has heard.”

“I really thought Cold Fact was going to make it,” he later stated. “There was a lot of work done, and I thought there was a big chance for it, but it didn’t happen. I went into the second album, but again a lot of other things happened and the place went bankrupt. Nothing beats reality. But the revolution never stops. Power to the people. It’s a real political kind of thing.”

Being a 29-year-old, who had two daughters to look after, Sixto walked away from the music business, turning his attention to odd jobs in construction and demolition to pay the rent.
“I renovated homes and buildings and residences in Detroit,” Rodriguez said. “That’s what I was doing. I basically went back to work.”“I continued to play. It’s something that I don’t think I can stop. I went to work and did restoration and demolition of buildings. I learnt another trade. That’s the pattern of my career. It’s kind of all mismatched, but that’s the way it went. Life isn’t chronological. Some people are older at a younger age.” Rodriguez says he was past any dreams of rock ‘n’ roll fame by the time he got that call to tour Australia in 1979.
He even turned his hand to politics, running for city council and Mayor. Both campaigns ended in defeat.
 
Relatively unknown in his home country, by the mid-1970s his albums were starting to gain significant airplay in Australia, Botswana, New Zealand, Zimbabwe and later South Africa. Unbeknownst to Rodriguez or any of his friends, his luck was changing in faraway places. It wasn’t until the start of radio station Double J in Sydney, Australia giving the albums airplay in 1976 and later years, that Rodriguez, without him knowing, started to develop a cult following. The Rodriguez momentum was enough for an Australian promoter to bring Rodriguez to Australia to tour in 1979 and 1981. Cold Fact had become a huge word of mouth hit in Australia and New Zealand. His southern hemisphere fans demanded a live appearance, so in 1979 and 1981 he left the building site behind and toured Australia, supporting hometown heroes, Midnight Oil, backed by The Break, featuring members of Midnight Oil with Violent Femmes Brian Ritchie.
Both albums had thereafter been licensed by a small independent record company in Australia, Blue Goose Music. They had run out of Sussex produced copies, while Rodriguez’ fame had been rising. They then released a compilation of his two albums called ‘At His Best’ in Australia that featured unreleased recordings from 1973 – “Can’t Get Away”, “I’ll Slip Away” (a re-recording of his first single), and “Street Boy”.
Blue Goose stated they paid royalties to Sussex, even though Sussex went down in 1975. It later was suggested that former Sussex owner Clarence Avant had pocketed the payments without paying Rodriguez a penny. In an ironic twist of fate, Avant passed away 5 days later than Rodriguez on August 13, 2023.
 
Regarding the tours as nice escape from reality, when he returned back to Detroit he plunged back into work, spending his spare time studying for a degree in philosophy. But then….again silence.
 

In the meantime At His Best went platinum in South Africa, which at one stage was the major disc-press source of his music to the rest of the world. Rodriguez was compared to contemporaries such as Bob Dylan and Cat Stevens. Many of his songs carry anti-establishment themes, and therefore boosted anti-apartheid protest culture in South Africa, where his work influenced the music scene at the time and was also a considerable influence on a generation drafted, mostly unwillingly, to the then whites-only South African military. Reportedly, anti-apartheid activist Steve Biko was also a Rodriguez fan.

In 1991, both of his albums were released on CD in South Africa for the first time, which helped preserve his fame. However, few details of his life were known to his fans and it was rumored that he had killed himself during a concert in the 1970s. Probably the reason why it stayed quiet around him until 1997,  when his eldest daughter, Eva, came across a website dedicated to him. After contacting the website and learning of his fame in the country, Rodriguez went on his first South African tour, playing six concerts before thousands of fans. 28 years after Cold Fact’s release, Rodriguez got a call from a South African journalist who had spent years trying to track him down, initially to see if all the wild rumors of his on stage death were true, and secondly to see if he was interested in playing some shows. It transpired that Cold Fact had become a huge seller across South Africa during apartheid, going platinum. Rodriguez had no idea his anti-establishment blues had become a beacon of hope for so many people. A documentary, Dead Men Don’t Tour: Rodriguez in South Africa 1998, was screened on SABC TV in 2001.
 
Even though he didn’t see any of the money from his record sales, in 1998 he flew over and played a series of sold out shows in 5,000 seat arenas. He was mobbed everywhere he went. “One guy came up to me and said, ‘I’m from Namibia. We make love to your music, we make war to your music.’ That really struck me. I’m for peace, but I’m not for peace at any price.”
He also performed in Sweden before returning to South Africa in 2001 and 2005.

In April 2007 and 2010, he returned to Australia to play at the East Coast Blues & Roots Music Festival, as well as sell out shows in Adelaide, Melbourne and Sydney. His song “Sugar Man” was featured in the 2006 film Candy, starring Heath Ledger. Singer-songwriter Ruarri Joseph covered Rodriguez’s song “Rich Folks Hoax” for his third studio album. Irish singer-songwriter Darragh O’Dea mentions Rodriguez and references “Inner City Blues” in his 2020 single “Lost Dog Loyal”. Rodriguez continued to tour in various countries until his final show in 2021.

Rodriguez’s albums Cold Fact and Coming from Reality were re-released by Light in the Attic Records in 2009. They were rereleased again on CD and vinyl in 2019 by Universal Music Enterprises, the current rights holder of the material.

In January, 2012, the Sundance Film Festival hosted the premiere of the documentary film Searching for Sugar Man, by Swedish director Malik Bendjelloul, detailing the efforts of two South African fans to see if his rumored death was true and, if not, to discover what had become of him. The documentary Searching for Sugar Man, produced by Simon Chinn and John Battsek, went on to win the World Cinema Special Jury Prize and the Audience Award, World Cinema Documentary. Sixto Rodriguez finally received the attention he should have gotten early in his career when the documentary received the Best Music Documentary Award at the International Documentary Film Festival in Amsterdam and the Academy Award for Best Documentary Feature at the 85th Academy Awards in 2013. Rodriguez declined to attend the award ceremony as he did not want to overshadow the filmmakers’ achievement. Upon accepting his award, Chinn remarked on such generosity, “That just about says everything about that man and his story that you want to know.”

In 2014, the French deep house and electro music producer The Avener released a new version of “Hate Street Dialogue” originally appearing on Rodriguez’s album Cold Fact. The version by The Avener features Rodriguez’s vocals. The release charted in France.

The Searching for Sugar Man soundtrack features a compilation of Rodriguez tracks from his albums Cold Fact and Coming from Reality, in addition to three previously unreleased songs from his third unfinished album. The album was released on July 24, 2012. To allay possible concerns raised in the film about how Rodriguez was apparently cheated by his previous record label, the back cover bears the statement “Rodriguez receives royalties from the sale of this release.”

After the cinematic release of Searching for Sugar Man in 2012, Rodriguez experienced a flush of media exposure and fan interest in the United States, as well as Europe. He appeared as a musical guest on the Late Show with David Letterman on August 14, 2012, performing “Crucify Your Mind” and performed “Can’t Get Away” on The Tonight Show with Jay Leno on January 11, 2013. Prominent news coverage put Rodriguez in the uncomfortable spotlight of being re-discovered so may years later.

In addition to concerts in Australia, South Africa, and New Zealand, Rodriguez’s tour schedule for 2013 included his most highly attended U.S. concerts to date, such as a stint at the Beacon Theatre in New York City in April and a spot at the 2014 Sasquatch Music Festival at The Gorge Amphitheatre, as well as other concerts in Europe. He played on the Park Stage at the Glastonbury Festival, U.K., in June 2013. On July 5, 2013, Rodriguez opened the Montreux Jazz festival. On August 10, 2013, he headlined at the Wilderness Festival in the U.K. In 2015, he opened for Brian Wilson’s tour with Wilson, Al Jardine and Blondie Chaplin of the Beach Boys.

Rodriguez received additional exposure in 2014 as the Dave Matthews Band often covered “Sugar Man” in their summer tour. Matthews would often preface the song with his experience as a fan of Rodriguez growing up in South Africa and his surprise at Rodriguez’s lack of popularity in the United States.

The film Searching for Sugar Man strongly implied that Rodriguez had been cheated out of royalties over the years, specifically by Clarence Avant. Rodriguez first expressed indifference to these “symbols of success” but then filed a lawsuit in 2013. In 2022, the year before his death, the lawsuit was reported to have been settled with no amount disclosed.

Rodriguez headlined a tour in August 2018, ending with a hometown show at Detroit’s Garden Theater. His final North American concert tour in late 2019/early 2020 culminated on February 20, 2020, at Nashville’s City Winery.

In March 2013, Rolling Stone wrote that Rodriguez was suffering from glaucoma and was going blind. The disease had by then dramatically limited his vision and forced him to walk very slowly and often clutched to someones else’s arm. They quoted Rodriguez as saying, “I’m still able to make out some people in the crowd at my shows”.

In August 2022, Le Monde reported that Rodriguez had become blind, and that he was still living in the same house in Detroit he bought for $50 in 1975.

In February 2023, Rodriguez suffered a stroke, then had surgery in March to repair stroke damage, followed by post-operative physical therapy. But his condition later worsened and he was placed in hospice care. He died on August 8, 2023, at the age of 81. A genius singer-songwriter, who had learned early in life that it isn’t fair.

A concert celebrating his life was held on August 12, 2023, at Detroit’s Majestic Theatre.

This man’s music, it tears you apart and so repairs you. So beautiful it breaks your heart and drives the best you have in you in every direction you move and think and dream. Sixto, you will never leave us. Be in peace. ” The sweetest kiss I got, was the one I never tasted” – Shakespeare is smiling somewhere. Listening to the words you understand why corporate America did not want him to be heard by the masses. He was a challenge to the system. Truth always is. A talented poet and most admired songwriter of the rock and roll era, Dylan came nowhere close to that. His most activist song, Blowing in the Wind, has questions but no answers. Not only that but he gave it to others to launch it. Because it had success, he decided to sing it himself. Rodriguez describes a world others, the media included, did not want to admit existing, and in doing so he really exposed the problems with a capitalist system that generates that kind of world.

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