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37 had as its core, the Fataar brothers (Steve, Brother and Ricky) on guitar (and vocals), bass (and vocals) and drums respectively. Other band members included Eugene Champion (guitar and vocals) and Blondie Chaplin (guitar and vocals). Eugene Champion was later replaced by Edries Fredericks, with Fredericks being replaced by Baby Duval when he left the band in 1966. The Flames recorded their first single in 1964 (<strong>'N</strong>obody Tells Me [What To Do] '), and another twelve by 1969. They also recorded three albums, and appeared on two other compilation albums during this time. Initially The Flames only played rock'n'roll covers of such songs as those by The Rallies, The Beatles, and Elvis Presley (refer to cassette, Ex. 2). In 1968, The Flames were so popular that they went to England where they appeared on television shows (e.g. The Donovan Show) and live shows in London's Blaises and Revelation rock clubs. Carl Wilson (of the Beach Boys) saw the band at one of these shows, and was so impressed that he invited them to Los Angeles to record at their studio. The Flames spent two and a half years under his wing, and produced the album Flame in 1971 on The Beach Boys' record label, Brother Records. The album was produced by Carl Wilson, and 'See the Light' (a song from the album), reached the American charts. A Flames fan in England gave The Flames full credit as a professional band after seeing them in a concert in England. Re had the following to add: the full, well-balanced sound that they produced was as good as any top group I have seen since coming to England. It was at this moment that I began to realise why Mick Jagger was raving about them, and Paul McCartney has been quoted more than once as saying that they were one of his favourite groups. After a delightful mixture of rock, blues and good old-fashioned pop, The Flames closed their act with their first British single, 'I See the Light' which has been released only in the last few days yet is already getting the rave write-ups it so richly deserves. With just enough plays on the radio it could easily become a hit and just imagine the boost that it
38 would give to South African pop music. 19 Between 1970 and 1971, The Flames, now known as Flame, did a concert tour of South Africa, and then toured The United States as a support act for the Beach Boys. It was during their concert tour of South Africa, that Flame received a high profile in the South African press, and their Durban concerts at Westridge stadium were sell-outs, albeit marred by a high police presence during their performances: [Flame] have something which is absent in many local groups. They get through to their audiences. Their communication is incredible. Seldom have I seen a pop group get the audience to their feet and dancing. Flame did -- twice ... The only blemish on the evening was the unfortunate fact that in terms of the government permit to play before White audiences, as a Non-White group, they had to appear on stage first and then leave immediately after playing. 2o In 1972, Flame broke up and Blondie Chaplin and Ricky Fataar were invited to join The Beach Boys. The two did so, and remained members until 1973 (as bassist and drummer respectively) when they left to pursue successful individual careers as session musicians in the United States. Of all the members of Flame, it is perhaps Steve Fataar that has the most prominent place in Durban rock. When Flame dissolved in 1972, he returned to Durban where he has played with various combinations of local musicians such as Kenny Henson, Roger Lucey and Richard Ellis. In 1978, he formed his own group with his younger brother Issy Fataar, and they later formed the group Smack. 19 Quo t e d f rom Stephen Close (of Cheshlre, . England), letter to the editor Trend, 24th of December, 1970. 20 Quoted from Carl Coleman, Trend, 14th of January, 1971.
Page 1 and 2: Lindy van der Meulen FROM ROCK 'N '
Page 4 and 5: ABSTRACT This thesis introduces the
Page 8: INTRODUCTION Reasons for Research T
Page 11: Thus, my twenty year period spans a
Page 16: Theoretical Perspectives Broad Theo
Page 20: 13 rock musicians. Although I never
Page 25 and 26: 18 a culture not different from my
Page 27 and 28: Chapter 5 20 Chapter Five addresses
Page 29 and 30: 22 The line-up of the band went thr
Page 31: 24 Africa. Although South Africa (o
Page 35: 28 venues opened up in Durban which
Page 38 and 39: 31 'sessions', and therefore were i
Page 40 and 41: 33 bills. The separation of populat
Page 43: 36 a 'golden decade' of opportuniti
Page 56 and 57: 49 have caused Durban rock bands to
Page 59: 52 During this period, the scope fo
Page 64: 43 57 If you make a jigsaw puzzle,
Page 69: 62 members. This did not seem to af
Page 78: 71 Durban Rag concert in early 1984
Page 82: 75 Usuals played mainly reggae and
Page 85 and 86: 78 The streetrockers played a comme
Page 87: 80 greatest gift to song - the orga
Page 90 and 91: Figure 3. 83 The Mods From left to
Page 92: Figure 5. 85 Young Fan in a Paper F
Page 95:
Figure 8 (please turn over). 88 Cro
Page 98 and 99:
Figure 10. 90 Wild Youth and Fans i
Page 101 and 102:
Figure 13. 93 Powerage From left to
Page 103:
95 CHAPTER 3 ROCK MUSIC IN DURBAN I
Page 107 and 108:
99 government and big business were
Page 109 and 110:
101 Britain, Durban youngsters stro
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106 changing. We were lucky. We cam
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110 Nothing really changed I'm glad
Page 123:
11 5 The Workers' resistance moveme
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11 9 a final attempt to regain cont
Page 129:
121 Another song entitled 'System'
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125 use of a maskanda-like guitar r
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130 CHAPTER 4 WOMEN AND ROCK IN DUR
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132 relationship of women to the ge
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134 in the workplace [or band] .dO
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137 family and band life. In practi
Page 153 and 154:
145 music and bitterly resented the
Page 156 and 157:
148 participate more actively in ro
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..' 151 played by men (bass, electr
Page 161 and 162:
Conclusion 153 This chapter has exp
Page 164:
and when 156 less formally organize
Page 167 and 168:
159 South Africa). Durban record co
Page 169 and 170:
161 of Warner Brothers) and EMI. Th
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163 Independent Record Companies an
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165 local rock was inferior. Accord
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170 strike one as particularly ente
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CONCLUSION 173 CHAPTER 6 This thesi
Page 185 and 186:
2 Cullen, J. 'Bruce Springstein's A
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4 Martin, D. (tiansl V. Morrison),
Page 189 and 190:
Newspapers and Magazines The Daily
Page 191:
8 ________• 'Love You A Little Mo
Page 194 and 195:
Interviews 11 Baney, Brian, A Stiff
Page 196 and 197:
13 11. Leopard, 'Underestimator', f
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