THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,893) The Flame — “See the Light”
Here is an A-side from a South African band so Beatlesque that it “had people wondering aloud” as “it certainly sounded like the Beatles from their ‘Daytripper’ period and the vocals were a little McCartney-like. . . . [I]n the absence of much information people speculated.” (Graham Reid, https://www.elsewhere.co.nz/fromthevaults/3306/the-flame-see-the-light-1970/) This “up tempo rocker in the mould of . . . “Sgt. Pepper’s Lonely Hearts Club Band” [has] a killer George Harrison style guitar sound, especially on the riff during the outro. [It] was chosen as the single to promote the album in the USA [where it reached #95] and UK (Peter Gough, https://biteitdeep.blogspot.com/2012/05/flame-flame-1970.html?m=1) The “effervescent” song was “reprised at the conclusion of the effort in a slower, slinkier, and definitely funkier interpretation”. (Lindsay Planer, https://www.allmusic.com/album/the-flame-mw0000404758)
The South African Rock Encyclopedia tells us:
Formed in 1962, The Flames featured core members Steve Fataar, Edries “Brother” Fataar, Ricky Fataar, and later Blondie Chaplin. Their multicultural background and genre-defying style made them stand out in apartheid-era South Africa, where they gained popularity with covers and original material that fused R&B, rock, and soul. Their 1968 chart-topping hit “For Your Precious Love” became a defining moment, showcasing their vocal harmonies and emotional depth. In 1970, the band relocated to London and caught the attention of Beach Boys member Carl Wilson, who produced their final album, The Flame, released on the Beach Boys’ Brother Records label. Ricky Fataar and Blondie Chaplin later joined the Beach Boys, contributing to their early 1970s work. Though The Flames disbanded shortly after, their legacy endures as one of South Africa’s most influential and boundary-pushing musical acts.
https://sarockmusic.com/rock-legends/rock-legends-artists/the-flames/
Peter Gough tells us more:
[The band] was formed in 1963 by brothers Steve and Brother Fataar on guitar and bass respectively. . . . [V]arious members came and went until 1967, when third Fataar brother, Ricky (drums) and friend Blondie Chaplin (guitar, vocals) completed the ultimate line up. The band released several soul/pop covers albums in Africa and became one of the country’s most popular acts. In 1968 South Africa was becoming more segregated and made it impossible for the band to play to a white audience, so with Ricky still only 16 years of age, they left their home land, seeking success in the UK. Whilst playing in London they were spotted by Beach Boy [see #667] Carl Wilson (on a tip from Al Jardine) who liked the band so much that he signed them up to the Beach Boys new record label Brother. The Flame would be the only band, other than the Beach Boys to release music on Brother. The band moved to LA to record an album, with Carl Wilson taking the role of producer. The self titled LP was released in 1970. . . . [T]he whole album is comparable Badfinger at their best. “Don’t Worry Bill” and “High’s and Lows” are pure Abbey Road . . . . Following the album’s lack of big sales, Ricky Fataar and Blondie Chaplin were asked to join the Beach Boys replacing Dennis Wilson who had broke his hand putting him out of action for a while and Bruce Campbell who had just departed. They are present on Carl and the Passions and Holland and contribute vocals and even songwriting credits on both albums. Ricky Fataar went on the play the role Stig O’Hara in the Rutles then moved into session work playing with artists like Ian McLagan, Bonnie Raitt and Crowded House. Blondie Chaplin released three solo albums and has played as a session guitarist with the likes of Rick Danko, David Johansen and the Rolling Stones [see #382, 298, 537, 579, 1,098, 1,403].
https://biteitdeep.blogspot.com/2012/05/flame-flame-1970.html?m=1
Lindsay Planer adds:
[T]he Flames (they’d soon drop the “s” to avoid confusion with James Brown’s backup band) emerged out of the rich South African/Malaysian pop scene as a superb cover combo. They even scored a number one with an update of the Impressions’ [see #118, 285, 1,347, 1,544, 1,848] R&B classic “For Your Precious Love.” . . . [A]fter the quartet . . . had moved to England and were gigging around London that Al Jardine convinced fellow Beach Boys co-founder Carl Wilson to sign the Flame to the[ir] Brother Records label. The eponymously monikered platter would become their best-known thanks to Ricky and Chaplin’s association as part-time members of the Beach Boys circa the mid-’70s. During the drawn out legal and political processes that would allow them to earn a living Stateside, the Flame collaborated with Wilson (producer) and Beach Boys’ engineer of choice Steve Desper to craft this ten-song collection, which reflected the overwhelming similarities and obvious inspiration to the Beatles’ post Rubber Soul . . . period. Particularly, Lennon and McCartney’s progressive and keenly developed compositional style, which surfaces here as a running motif throughout the whole work.
The one “dislike” is probably from Mike Love.” (lukehixon724, https://www.youtube.com/watch?v=R8MmosnYn4s) Ha, ha, ha . . .
Here is the reprise on the LP: https://www.youtube.com/watch?v=ZmL1EBHEZqw (starting at 37:05)
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