“…the stuff that dreams are made of…”
- March 15 – Dallas Brooks Hall, Melbourne
- March 17 – Regent Theatre, Sydney
- March 18 – Regent Theatre, Sydney
- March 20 – Festival Hall, Brisbane
- March 23 – Regent Theatre, Sydney
- March 24 – Canberra Theatre, Canberra
- March 26 – Festival Theatre, Adelaide
- March 28 – Concert Hall, Perth
- April 3 – Dallas Brooks Hall, Melbourne
- April 6 – State Theatre, Sydney
- April 7 – Civic Theatre, Newcastle (2 shows)
- April 8 – Regent Theatre, Sydney
RODRIGUEZ ALIVE, RELEASED IN 1981
Rodriguez: Vocals, Acoustic guitar
Steve Cooney: Guitar, mandolin (from Australia)
Doug McDonald: Drums (from New Zealand)
Jake Salazar: Bass
José Guadiana: Flute
Jake and José were Americans who left three-quarters of the way through the tour and were replaced by an Australian Joe Creighton on bass. The local boys all came from the Mark Gillespie Band who were the support act.
…his aussie tour in 79 was an awesome experience…Stuart, Australia, May 1998
We will never forget the atmosphere and power of Rodriguez first Australian performance at Melbourne’s Dallas Brooks Hall on 15 March, 1979. (We have the “Alive” record released here and treasure it)Jason and Anne, Australia, April 1998
Sydney Morning Herald, 19th March 1979
Rodriguez – 10 years after
by Ted Robinson
Rodriguez Regent Theatre
Rodriguez’s first Sydney concert was the stuff that dreams are made of. A man lost in time and space he reeled on to the stage to pick up the threads of a 10-year old career. A generally young audience on Saturday embraced both the myth and the man supporting his every move with astonishing warmth. He was theirs and they were his. Not such an unusual occurrence or at least until you know the Rodriguez story. A decade ago he made a couple of records in the United States. They went unnoticed and he turned his thoughts to other things: an academic life, social work; and unsuccessfully running for both local and State office. Unbeknown to him, his records continued to sell… and sell in Australia, where until recently his background has remained a total mystery and the subject of much conjecture. He has long since passed the cult stage with gold records, a published anthology of his writing and now nationwide sold-out concerts. This huge success has something of the fairy tale about it. Not only for Rodriguez, but for the two young Australian promoters who have seemingly pulled off an enormous gamble… to play Svengali to his Trilby.
Rodriguez writes (or wrote) simple but often dark songs of street life, drug culture and street life love. His neon-lit world celebrates characters that would be equally at home in Damon Runyon or William Burroughs. Some songs take the form of powerful commentaries and some are merely musings, most seem to somehow, almost inexplicably, touch the emotional pressure points of a young middle-class white Australian audience. Technically the night was sometimes shaky but more sound than you might expect from someone who virtually hadn’t performed for eight years. Someone plucked from innocent obscurity and delivered to the pressures of expectation and anticipation that surrounds the living legend. Whoops of joy and recognition greeted the introduction to each song, often a chord, feel or broken arpeggio was enough for the identification.
Even when he faltered in the introduction to a song and had to start again the spell remained intact. Ovation poured on ovation. Rodriguez sang his songs, hunched over his guitar and drank nervously from empty cups. Finally he told his audience “after ten years you gotta be kidding… I’m just an everyday person”
Rodriguez has several more Sydney concerts at the Regent and State theatres.
The Australian, 19th March 1979
by Karen Hughes
Rodriguez was nervous. On Saturday night the house lights of the Regent Theatre dimmed and the band began to play but there was no sign of the tall, enigmatic Mexican singer. Suddenly from the wings he appeared, looking frail in a beige suit and open neck blue shirt carrying what appeared to be a student’s briefcase and a handful of music sheets. Hard core fans screamed, shouted and gleefully exchanged knowing smiles as Rodriguez, eyes downcast, but beaming excitedly, sat on his stool, turned side-on to the audience and after a sip of something soothing began the familiar opening to Street Boy. There was a collective sigh of relief as the phrases tumbled out with the same intensity that had enamoured listeners of his two solo albums. Obviously his talent had survived the changes of a decade completely intact.
Unused to playing large concert halls, Rodriguez managed to transform the Regent Theatre into a smoky intimate club. A kind of holy communion which only cult performers inspire was taking place…The only thing wrong was the singer’s own continuing nervousness — though he did eventually manage to move around the stage, face the audience and exchange jokes. Rodriguez sang and played his guitar with great authority and presence. The thunderous applause which greeted every number was modestly directed to his musicians. With him from America were Jake Salazar on bass guitar and José Guadiana on flute, though it was the Australians, guitarist and mandolin player Stephen Cluney (actually Cooney) and drummer Doug McDonald (both from the supporting Mark Gillespie Band), who provided the music’s real push.
Apart from a rare and strong empathy between performer and audience the music was the most important factor in the Rodriguez concert, a not insignificant fact in these days of glittering stage and lighting extravaganzas.
Perth 1979 I remember going to his Perth concert in 1979 because I loved Cold Fact. The concert was pretty disappointing and I said so in a review I wrote for the local evening newspaper, the Daily News. Rodriguez appeared to be right out of it, mumbling and carrying on like more excessively than Dylan in 1966. I wrote a scathing review which his daughter may have shown you. In hindsight, I should have been more tolerant. I look back on his music with great affection. I’m astonished and pleased to hear he is still on this earth and singing.Arthur Hanlon, May 2000
Steve Cooney Fair play to you! I played guitar/ mandolin on the Australian tour in 1979 and my name is Cooney not Cluney! I was amazed at the Perth reviewer’s ‘repentence’!Steve (in Ireland), March 2001
My abiding memories of Rodriguez are his sensitivity and vulnerability. I particularly remember a delicate moment when a gentle breeze blew his lyric sheets around, but he caught them so delicately; he and the wind seemed to be really at one…
My name is Jake Salazar. I am the bass player who went to Australia with Rodriguez the first time around in 1979. What an experience it was for all of us. I am ecstatic although not surprised that Rodriquez is still making music and doing well as an entertainer. I got an email from someone who stumbled upon my name while visiting a website pertaining to Rod.Jake Salazar, USA, April 2001
It has been many years since that tour. I have nothing but admiration for him and feel honored to have worked with Rod. The thing we went through to prepare for that tour and the events leading to each concert were ritually rock and roll. Rod is a phenomenal song writer and composer. A composer who creates melodies that establishes lyrical visions.
I remember the afternoon José Guadiana who was on the tour asked me if I would join him and return back to the US on account of him and Rod having a fall out. I tried to change José’s mind and I also tried to talk to Rodriquez but to no avail so we were both asked to leave. Basically, Rodriguez fired us both in the middle of the tour. I have always regretted what happened. I enjoyed being around Rodriguez, Connie and the kids.
José Guadiana has since passed away and I haven’t done so bad after 3 Grammy Nominations as a record producer (1986, 1997 and most recently in 1999). I really hope that Rodriquez continues writing and performing his great songs. I will always be a fan and a friend. I would enjoy to someday jam with him again.
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