For these series I based my information mainly on the thesis of South African born and Durbanite Lindy van der Meulen, in fulfillment of the degree of Master of Music at the University of Natal. Lindy van der Meulen was also the only woman in a Durban rock band (The Remnant) for a four year period (1989-1992). She currently lives in Durban.
I have also used parts of previously published articles. A lot of information came from the liner notes of records and collected magazines and news papers as well. See the sources and notes
All music files come from my own collection of the original released vinyl.
a 24-hour beat festival was held at Milner Park, Johannesburg in October 1970. A local newspaper article reported the following:
There were pop fans with long hair, pop fans with short hair, there were girl pop fans and boy pop fans, and they all make up the kaleidoscope of colour which boarded a luxury bus in Durban last night bound for Johannesburg’s first 24-hour beat festival. The beat cult was strangely subdued when they climbed into the bus but they were obviously saving up their enthusiasm for the thundering music which assaulted their eardrums when they arrived at Milner Park – scene of Johannesburg’s ‘Woodstock’ .
The fad for rock festivals (especially the open-air variety) continued into the mid ‘seventies, and seemed to die with the death of the hippy dream in Durban in about 1974. It should be noted that, due to the entrenchment of apartheid policies, rock bands of different races did not play on the same bills. The separation of population groups under the Group Areas Act resulted in a very segregated residential pattern. Thus, interaction on a cultural basis between population groups was a logistical problem: availability of transport to the city centre at night was difficult unless one owned a private vehicle. Only the whites, who had their own transport, could effectively traverse to areas outside their own communities. Besides this problem were the laws which forbad bands to play to racially mixed audiences, and forbad dancing in a racially mixed group. Such laws were forcibly enforced when necessary, and often this was effected by a large police presence at concerts.
Despite the mentioned in stifling conditions, Steve Fataar of The Flames reports that a vibrant rock scene flourished in the hotels and clubs of the “coloured” and Indian residential areas of Wentworth, Sydenham, Red Hill, Chatsworth and Phoenix. Although these bands rarely mixed with white bands in public, musicians from these race groups certainly gathered to ‘jam’ and exchange ideas.
one of those Durban colored bands was a guitar-based group performing in the style of The Shadows, the English hit makers who hugely successful in South Africa. In part 5 of these series I will focus on more local colored bands from Durban. Check it out!
The Raiders Go Latin -RAJ 100 released in two cover versions with same track-listing. South Africa 1967
Another band which is fondly remembered by all who were teenagers in Durban in the late 1960s and early 1970s was The Gonks. The band was formed in July of 1965, and stayed together in various combinations for a period of ten years. The band was named after an ornamental doll, known as a ‘gonk’ which was popular in Britain. This again demonstrates the conscious attempt on the part of Durban youngsters to identify with the British youth culture, rather than forge their own.
The Gonks were probably one of the most popular bands, and within two months of forming, landed a three year contract with Gallo Records. The following quote from lead singer Craig Ross demonstrate the popularity of the band, albeit from a biased perspective, as well as the infectious enthusiasm which pervaded the early Durban rock scene:
“ I can remember playing in the city hall. We played four numbers. It was frightening … there were two thousand people stamping like that in the city hall shouting ‘Gonks! Gonks!’ They didn’t want any other bands. But it was a different vibe man, not like today … the whole thing was like it was busy with bands, it was exciting… Every weekend there was a session, sometimes a Friday and a Saturday, and Tiles was open on a Sunday. Even as an amateur I can remember that at Tiles we used to rush down to the car and turn on to the airplay to see if we had got onto the hit parade. And the night we got on at [L.M Radio] number 20 we rushed upstairs and announced it. “
The line-up of The Gonks which recorded their first single (‘You Can’t stop Me Loving You’ and on the flipside, ‘Crying My Heart Out’) in early 1967 was as follows: Craig Ross (lead vocals); Barry Cline (bass guitar); Peter Gilder (drums); Howard Schachat (rhythm guitar); and Mervyn Gershanov (lead guitar) . This single reached Number 1 on the local record charts (L.M. Radio) and Number one on the then Rhodesian charts. It also reached number three on the South African national charts. ‘You Can’t stop Me Loving You’ was followed by the recording of another single in May of 1967, (‘Nobody But Me’ and on the flipside ‘Woman Yeah’) recorded with the same line-up.
Still later in 1967, The Gonks released another single (‘Aint I Met You’), and in 1968, Graeme Beggs produced their last single ‘Hard Lovin” . The Gonks, like most of the popular local bands, played mainly cover versions of chart material. In fact, as far as their singles are concerned, only the flip side numbers were original songs, the A-Sides being reworked covers of songs by other bands. Craig Ross (lead vocalist) was responsible for the writing of their original material during the height of the band’s popularity from 1965-1967. In August of 1967, The Gonks were featured in Teenage Personality with a glowing article:
So far, helped by a legion of loyal supporters, the Gonks have been placed high on the South African Group Hit Parade on L.M. Radio and have now reached the L.M. Top 20 Hit Parade … To hear the Gonks in action is to be hit by a youthquake. Lights play on the boys, glittering on the solid row of four mikes and the tall, serious line-up of Gonks. They don’t seem to kid around much and they don’t go for freak-outs or distortion stuff. For them it’s music that counts, beat that matters, and the presentation must be right if the kids are to have fun. They have big ideas. They won’t remain stock-still letting the world swirl by them. They want to swim upstream to the big fish in the pool of pop and we think they’re going to make quite a splash.
Source; Teenage – Personality, – 31st of August, 1967. Teenage Personality was a weekly supplement produced by Personality Magazine.
Teenage Personality also released vinyl 45 singles to promote the magazine while launching new South African artists.
The Gonks’ Fan Club
Unique to The Gonks was the formation of a fan club which was run by Helen Trombas and June Elgin, two girls who were fans of the band.
The annual fee for joining the fan club was a mere 20 cents and members of the fan club were issued with GONKY membership cards; a photograph of the band, and a special autograph card. They were sent monthly newsletters and were allocated cheaper rates for concerts and band get-togethers. Lourenco Marques Radio personality, Gerry Wilmot was the honorary president of The Gonks’ Fan Club, which boasted over a thousand members – a remarkable number of fans for a local band. Lead singer, Craig Ross left The Gonks in 1967 to join another well-known Durban band, Freedom’s Children, which was playing at the 505 Club in Johannesburg at the time. Freedom’s Children was a professional band, and the prospect of earning a living by singing in a band was the main draw card for Craig.
His stay with Freedom’s Children, however, was short lived, and within eight months, Craig was back in Durban as a member of The Gonks, which, during his time away had made some changes in personnel. The Gonks now consisted of Rob Clancy (drums), Roger Johnson (bass guitar), Rodney Aichetson (bass guitar), Howard Schachat (rhythm guitar and band leader), and Craig Ross (lead vocals).
The Gonks -released few singles between 1966-1967, and in collaboration “Lazy Life” with Quentin E. Klopjager aka Billy Forrest in 1968 after which the band disbanded.
All music files come from my own collection of the original released vinyl.
For this series I based my information mainly on the thesis of South African born and Durbanite Lindy van der Meulen, in fulfillment of the degree of Master of Music at the University of Natal. Lindy van der Meulen was also the only woman in a Durban rock band (The Remnant) for a four year period (1989-1992). She currently lives in Durban.
A lot of information came from the liner notes of records and collected magazines and news papers as well. See the sources and notes
In part 4 of this series I will focus on the origins of ROCK MUSIC IN DURBAN 1963-1985.
to end this terribly unexpected bad year 2020 -annus horribilis- I chose a topic that will seem strange to some readers. The music of Durban, South Africa. Why Durban?
Especially important to me since Durban was my very first encounter with South Africa when I visited the country in 1996. It was also the first time ever to play in South Africa as a DJ at “Mission To Mars”. A big rave held in the Sugar Terminal, in the port of Durban, organised by Dutch and local promoters. Date; November 30th 1996. Location; Sugar Terminal, Maydon Wharf, Durban.
The line-up featured many local DJs like Tich, Mataz from Durban Radio 5FM a.o. Together with other Dutch DJs Remy and Martinez we played for thousands of ravers all night long. To see the sunrise through the doors in the majestic Sugar Terminal, surrounded by thousands of happy smiling dancers, was an incredibly positive experience.
After the change of power in 1994, it was possible in 1996 againto party on such a large scale and to receive foreigners safely in the country, years ahead of major electronic dance festivals such as Ultra today.
The egg shaped building of the enormous Sugar Terminal and the cosmopolitan atmosphere of the city were magic. The crowd of all colors and races, the peaceful atmosphere, a receptive party audience and DJs getting to know each other’s music, the positive impact, have made me fall in love with Durban and South Africa ever since.
Since then I have dived deeply into South African music. I even started this blog to try and understand the unexplored history of South African music. I clearly say try, because there is still so much to discover. Also in the modern contemporary music of the southern part of Africa.
The history of music from Durban, Kwazulu Natal is quite complex to say the least. The city is not only one of the popular seaside resorts and the largest port in South Africa, Durban is best known as the birthplace of Rock in South Africa. Rock music in many guises, from 60s beat, to the hybrid forms in which Indian, English and African musicians created the music that shaped the sound of Durban up until now.
There is so much to report after an enormous amount of research on the music of the past that I decided to make a series of it. Which will appear as five episodes to complete the story. Not a definitive story for sure, but my own interpretation of a unique and little-known sound.
For this series I based my information mainlyon the thesis of South African born and Durbanite Lindy van der Meulen. I have also used parts of previously published articles and photos from various websites that are experts in the genre. A lot of information came from the liner notes of records and collected news papers as well. See the sources and notes
All music files come from my own collection of the original released vinyl.
A thesis by Lindy van der Meulen in fulfilment of the degree of Master of Music at the University of Natal. Writer and the only woman in a Durban rock band (The Remnant) for a four year period (1989-1992). Lindy van der Meulen currently lives in Durban.
FROM ROCK ‘N ‘ROLL TO HARD CORE PUNK:
AN INTRODUCTION TO ROCK MUSIC IN DURBAN 1963 – 1985
This study is broadly situated within an historical framework. From the outset, however, I have endeavored to look further than the purely musical aspects of the topic and to attempt to contextualize the music within a broader socio-political framework. Therefore, this thesis examines rock music in Durban within its social, political and cultural context. It also attempts to provide reasons for the changes evident by considering the historical setting which provided the backdrop for life, as well as rock music, in and around the city. Issues such as the effect of apartheid on the local rock scene, the militarization of South African society (the conscription of white males in particular), as well as the transfer of popular subcultures (such as the hippy and punk subcultures) to Durban are specific examples. The musical encoding of these concerns as they are represented in the rock music of the period was also one of the aims of my research.
This thesis has been submitted in fulfilment of the degree of Master of Music at the Universityof Natal. It does not pretend to be a comprehensive study of rock music in Durban. It is merely a start
G. Chilvers and T. Jasiukowicz, History of Contemporary Music of South Africa (Braamfontein’ Toga Publishing) 1994.
Durban is South Africa’s biggest port and a famous holiday resort since the early 50s. This gives the city a cosmopolitan flavor. In a sense, Durban embraces foreign cultures and people on a daily basis, especially considering that in the 1960s, passenger liners were still popular as transport between continents. In those days Durban was considered a fairly liberal city which, without the influence of national television, still remained relatively unpolluted by a wide scale acceptance of apartheid policies.
finding an own identity
The transfer of the Hippy subculture to South Africa was also most enthusiastically embraced by the youth of Durban. This again points to the overwhelming influence of ‘overseas’ movements/subcultures on South African youngsters, and their desire to be identified with the youth in Britain. Its message of peace, love and human rights were especially pertinent to a militarised, segregated and undemocratic South African society, and the 1969 Woodstock festival inspired local music organisers to set up similiar events.
The Hippy scene in Durban occurred on a fairly large scale. One of my informants can remember the existence of a shop which sold Hippy memorabilia, and which was the central meeting point for the ‘flower children’, who lined the passage from wall to wall in various degrees of drug-induced states. According to Syd Kitchen, a prominent Durban songwriter and guitarist who was a teenager in Durban in the 1960s, the shop was located in Murchies Passage, an arcade in the center of Durban. In the early 60s 28 venues opened up in Durban which allowed the buying, selling and taking of drugs. An example of such a venue was “Mumbles”. Many band members can recall taking drugs at one stage or another, but admit that it was more to create a certain image than anything else.
This driving desire to present an image which coincided with the ‘overseas’ scene is another example of how important it was to Durban youngsters to look and feel part of a worldwide movement, even when South Africa had been isolated from the world. It is painfully obvious that the youth of Durban (at this stage) did not want to find their own identity or create their own ‘scene’. They wanted to be accepted by the world and appropriating the Hippy movement was one way of showing solidarity with youth all over the world, and particularly, with British youth.
the Durban Rock Scene 1965-1970
Perhaps one of the biggest indications of the growth of rock music in the city was the mushrooming of new venues to cater for the bands and audiences which played and supported rock music. Venues such as Journey’s End (in Durban North), Tiles, and Scene 70 opened up, and ‘sessions ‘held at these venues are fondly remembered by fans and band members alike as the highlight of their youth.
There were, in fact, more clubs flourishing in Durban from 1965 to 1972 than there are at present. Furthermore, live (as opposed to recorded) music was the order of the day. It has been reported that it was not unusual for as many as a thousand young Durbanites to pack into a venue for a ‘session’ which would feature only local bands.
Durban has been the center of rock music in South Africa at various stages in the time period 1963 – 1975. Many famous rock bands and musicians emerged from Durban especially in the mid 1960s and the early 1970s. The chosen time period to consider is another issue which is necessary to discuss. The starting point, 1963, was the year in which important early Durban rock bands began to come to prominence – bands like The Flames, The Gonks, The Third Eye, and The Mods, The Wild Things. Most of these bands formed in the early and mid-1960s and were well-known on the local scene. Here are a few of the most famous and influential that managed to release records on local and major labels.
The Raiders were a very popular local band, hired for private functions in the Indian, Colored and African communities of Durban. Their music was mainly guitar-led instrumental pop in the style of The Shadows with some Bollywood type influences. The band released 3 known LP’s and a few singles on the RAJ label between 1967-1969
The Third Eye was a psychedelic rock band that released few albums between 1968-1970 and a handful singles. Produced by Billy Forrest
The Mods -not much is known about this obscure band, other then their only released single in 1967 on the South African Parlophone label.
The Wild Things was a popular South African rock/soul/rhythm & blues group performing mainly in the Durban area. The group consisted of Lincoln (Ballie) Abrahams, Rudy Johnson, Peter (Pluto) Davids, Tony Joseph (Joe) Fynn and Edwin (Tich) Jean-Pierre. Blondie Chaplin performed with the group before joining The Flames. The Wild Things recorded two albums “Soul” and “Suddenly”in 1968 and 1969