5 Stars *****
Peter Banks was relieved of his position as lead
guitarist with the formative “Yes” after two albums. Not because of
his abilities, but because of a penchant for rather overdoing the Rock
‘n’ Roll life style and tending to have a bit too much of a good time,
unlike some of his more studious band mates.
When Steve Howe replaced Banks he had to firstly learn
how to play Banks’ parts, and like all “Yes” guitarists, had to play
in that style to this day. However, Steve Howe throws a terrible wobbly if
Banks’ name is even mentioned in his hearing, scotching any chance of
any further collaboration between Banks and any of his old colleagues.
That is pretty ironic considering that over the years everybody in the
band has left and re-joined at some point, an exception being bass player
Chris Squire, who seemed to have managed the devious waters of being in a
band rather well.
Bill Bruford, acknowledged as the drummer’s drummer,
left out of sheer boredom. Rick Wakeman, the keyboard wizard and champion
of the draughts table and skittles, was once fired for eating his curry
and chips dinner washed down with a few pints of Kilkenny, while still
playing the more tedious parts of the extremely overblown epic “Tales
from a Topographic Ocean” in front of a packed Wembley Stadium.
When lead vocalist Jon Anderson and Wakeman (again)
left in 1980, they simply incorporated pop duo The Buggles (Trevor Horn
and Geoff Downes, famous for their one hit wonder “Video killed the
Radio Star”, which was eventually to lead to Howe and Downes clearing
off to form the money spinning “Asia”) into their ranks.
Perhaps at this stage “Yes” should of been known as
“Yuggles”, but to be fair the record buying public never seemed to
mind buying each new release as long as the name “Yes” was on it and
it had a nice Roger Dean designed cover, so the album looked good
nonchalantly lying on the coffee table.
So what did the bad boy of Progressive Rock do after
leaving “Yes”? Form a Punk band? Well, not quite, but certainly as
close as Punk Rock ever came to Progressive Rock. “Flash” was the name
of the band, a name thought up over cold pie and chips with a couple of
warm lagers after their first rehearsals. Flash by name, Flash by nature.
Peter Banks had found himself the perfect lineup to
replace his old colleagues, but thereby hangs a tale as by the time they
got into the studio, Peter’s old drinking buddy from “Yes”, Tony
Kaye, had also been tossed aside as the others coveted the multitalented
skills of Mr. Rick Wakeman and his many assorted keyboards. They were
whisked from those laid back folks with ‘The Strawbs’ and positioned
in all their glory taking up the whole left hand side of the stage at
every “Yes” concert. Far more prestigious than Tony Kaye’s simple
Hammond organ. More is not necessarily better.
So Tony Kaye was rushed out of one door straight into
the door marked Flash. Tony Kaye never actually toured with the band
although his playing here is nothing short of stunning. This was always
going to be Peter Banks’ band. To be fair to Tony Kaye he had been
rather caught on the rebound and decided to take a bit of a break from
playing in a band before forming his own. He did so later and formed the
keyboard oriented fabulous “Badger”, which suited his playing.
On lead vocals was Colin Carter, who looked like an
action man doll with long curly blonde hair, and with a talent for singing
Peter’s songs and smashing tambourines at the end of each song. Indeed,
he sounded a lot like Peter Banks’ previous singer, but didn’t insist
upon singing his own non-functional lyrics.
On bass guitar was Ray Bennett, one of Rock ‘n’
Roll’s most inventive bassists, running out fluid bass lines that not
only underpinned all of Banks’ solos, but laid down their own stories as
well. One listen to opening track “Small Beginnings” will leave you
gasping as his bass is all over the song, while not taking anything away
from the lead guitars or keyboards. He was also the owner of a very clear
pair of pipes enabling the band to incorporate soaring harmonies amidst
even the heaviest sections of the music, and, as in the second song on
this collection, take over on lead vocals to leave Carter to his
tambourine smashing.
Next we have the gentleman with the sticks in his hands
behind the drum kit, Mr. Mike Hough, an exponent of his skills of rare
talent and violence, probably the find of the band. His live drum solos,
though thankfully brief, used to leave audiences gasping.
There are five songs on this debut album and they come
in two varieties, two relatively short ballads (about five minutes each),
and three longer, well-structured pieces with room for each element of the
band to show off their skills, the pick of which has to be “Dreams of
Heaven”. (Actually the gem of an idea for a song that Peter Banks had in
his last days with “Yes”. They changed it into “Perpetual Change”,
but here you get it in its full rocked out glory.) “Dreams of Heaven”
clocks in at just under thirteen minutes; however, it often used to be
stretched out to thirty minutes when they used it as a closure to their
live sets. The music is fast and furious, edgy, and seldom relaxed. They
often played ten chords when three would of done. What the heck. If
you’ve got it, flaunt it. But they could never be accused of being clich้,
gauche, or mediocre.
After touring all over the world for two years, three
albums by the band, a solo album from Peter Banks, a disinterested
management, a confused record label, tempers shortening, and morale
dropping, the band imploded in true Spinal Tap fashion after a show in
Albuquerque, New Mexico. It really is a shame.
Despite all the usual accusations of pomposity and self
indulgence leveled at Progressive Rock, “Flash” had a vibrancy and
optimism that transcended all the stereotypes of seventies rock music.
They really loved their music and it always showed.
Definitely some of the classiest music to come out of
the early seventies and a great addition to any CD collection. Even
cooler, it has an album cover anybody would like to have draped across
their coffee table, but it definitely isn’t by Roger Dean.
They were Flash - their life was short, but burned
bright. They came and went in a Flash.
Musicians
Peter Banks - Guitars, Electric, Acoustic, and Spanish,
Ole’, Hooter A.R.P. Synthesizer, and even a little backing vocals
Tony Kaye - Organ, A.R.P. Synthesizer, Piano
Colin Carter - Tambourine smashing and lead vocals
Mike Hough - Drums, Hard Knocks and Badinage
Ray Bennett - Bass Guitar, backing vocals, lead vocals on ‘Morning
Haze’
Due
for imminent release is the new thriller from Dean Barrett called Skytrain
to Murder (ISBN 0-9661899-6-5) which is published by Village East Books in
Florida. Despite author Dean Barrett being a long established writer in
Thailand, this is not such a paradox as you might imagine, as I am sure
having an American publisher will get the book on more shelves around the
world. His previously reviewed book, Memoirs of a Bangkok Warrior, was a
most enjoyable read, so I was looking forward to this one.
This
is yet another of those movies that makes you wonder at the makeup,
hairdryers and curling tongs available in bygone days that allowed women
to look so perfectly groomed in such adverse conditions. Keira Knightly is
gorgeous and enviably manages to maintain it throughout her kidnap by the
walking dead!
Mott’s CD review: Flash
by Mott the Dog