Sixto Diaz Rodriguez is a name you won’t recognise – yet.
Rodriguez was born 71 years ago in Detroit, and from 1967-1972 would release two unsuccessful albums. He disappeared, and became a manual labourer in Mexico.
Whilst he was out of the public eye, and living a modest life, the popularity of his albums exploded in South Africa. He became an icon for freedom and righteousness in an apartheid ridden South Africa. It was during this time that rumours began to circulate of Sixto’s death, in which he supposedly set fire to himself on stage. It became widely accepted that he had taken his own life.
Until, in the 90’s, a small group of fans, determined to find out the truth, began filming ‘Searching for Sugar Man’. The film crew eventually found out that Sixto was alive, and working as a demolition labourer in Mexico. It was through the soundtrack to the film, this album, that Rodriguez has finally reached the success he deserves.
The album itself is a beautiful thing. A contrasting orange and black image of the man himself adorns the front cover. The record is 14 tracks long, an eclectic mix of psychedelia and folk rock, which has received impressive sales figures across the globe.
The album begins to play, and the stuttering strums of ‘Sugar Man’ break through the pops and crackles of the studio. Rodriguez’s voice sings for the first time, totally enveloping the audience with silky warmth. The lyrics are gorgeously emotive; the addicts sigh of vulnerability. Whimsical wheezes of distortion and synth are layered over the bass line and a bout of brass builds Sixto up to the chorus, which is a swing inducing two liner.
The velvet tones echo, and slowly fade.
The momentary silence is broken by the first wavering note of ‘Crucify You Mind’. Sixto’s soulful resonance and lackadaisical bass line translate into a subliminal grin. Xylophone rings between lines, where mellow poetry is offered by Rodriguez. He sings of political injustice and exploitation, which is trilled passionately, through his irresistibly grainy vocals.
The last note of trumpet slips away. Next comes the intricately plucked guitar of ‘Cause’, and then the upbeat synth and bass lines of ‘I Wonder’ – a brilliant track, which is impossible not to sing along to.
‘Like Janis’ is the alluring fifth track, an affectionate tribute to Janis Joplin, which speaks of the ideas of materialistic wealth, conflict and false love. The acoustic beat disappears, and the Dylanesque ‘this is not a song… it’s an outburst’ creeps into play. A soul scraping, empowering story teller, with heart beat drums and the lyrics of a politically spurred outcry.
And with the ironic line – ‘Well, frankly, I couldn’t care less’ and a slow, reverberating strum, a moment of silence follows, and is quickly broken.
Guitar, flute, violin. ‘I Can’t Get Away’ opens.
After an opening reminiscent of Dusty’s ‘Spooky’, Rodriguez begins his velvet vocals. He sings of growing up in a bad neighbourhood, with no prospects or hope of achievement. The track has the distinct sound of the 70’s, a rolling, enveloping wave of percussive samba accompanied by Sixto’s voice, slicker than a BP oil spill. The lyrics are powerful, but what’s really special is the way Rodriguez delivers such a beautifully emotive tale in such an alluring way.
“Born in the troubled city
In Rock and Roll, USA
In the shadow of the tallest building
I vowed I would break away
Listened to the Sunday actors
But all they would ever say
That you can’t get away from it
No you can’t get away”
Sixto rattles through the next tracks ‘I Think of You’ and ‘Inner City Blues’. Both are relaxed, brilliantly composed, and ideal bedmates of a hammock and bare-back sunshine. Rodriguez’s resonant tones continue, as he sings of undying adoration and societal issues. The tenth track of the album is ‘Sandrevan Lullaby’ – a beautiful and heartfelt song, with a music-box style opening. It’s hollow bongo and streaming violin are finished with an emotive, soul wrenching line of orchestral musings. In contrast, the next song, ‘Street Boy’ opens with a samba beat and a up beat bass line. Exotic beats and rhythmic riffs make you feel like you’re walking across the warm, sandy banks of a Mexico beach, watching glassy waves flicker and sway in the wind.
As with most albums, there is a low point. The twelfth song of ‘Searching For Sugarman’ is the aptly named ‘A Most Disgusting Song’. It opens strongly, the first twenty seconds sound something like The Rolling Stone’s ‘Sweet Virginia’. Unfortunately, it soon turns into a bitter rant of frustration at Sixto’s unsuccessful early career, with crass lyrics and lazy vocals. The song itself isn’t terrible, but in comparison to the rest of the album is not of the same standard, lyrically or musically.
Rodriguez soon makes up for this, and with a few strums of a guitar, begins the penultimate track, the irresistible ‘I’ll Slip Away’. He sings of his thoughts previous to his disappearance, and how he has begun to lose himself in attempts to become successful. The track is gorgeous.
The final song of the album, ‘Jane S. Piddy’ is introduced with three lone notes. Beautiful, emotive lyrics create vivid imagery, and the echoing vocals are the texture of velvet. Sixto sings of the pity he feels towards another, a tale of sympathy and devotion. A truly brilliant song.
“Drifting, drowning in a purple sea of doubt
You wanna hear she loves you
But the words don’t fit the mouth
You’re a loser, a rebel, a cause without”
The final song comes to an end and the rest, as they say, is silence.
All in all, ‘Searching for Sugar Man’ is a beautiful album, full of imagery, supplied through incredible lyrics. It tells the story of a gracious, intelligent, poetic man, with an incredible story surrounded by mystery. Rodriguez became an icon in South Africa, and has now begun to reach the success he deserves elsewhere. If you buy this album, you will not be disappointed. An eclectic mix of styles, along with the smooth silk of Sixto’s vocals creates a brilliant record that will leave a lasting impression – you will not forget it.
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