Flash Flash

The first new Flash album in 40 years finds original members, Ray Bennett and Colin Carter, picking up where they left off, after three critically acclaimed studio albums and a Top 40 hit, Small Beginnings, with this new set of progressive melodic tunes! Flash was originally formed in 1971 by Peter Banks, first Yes guitar player, and Colin Carter, who was the singer of the first Camel line up, before they started to record. Ray Bennett joined them and Flash was born. They released 3 albums between 1972 and 1973 and then disbanded around 1974.

After his days in Yes and a very brief stay in Bloodwyn Pig, Peter Banks started Flash together with lead vocalist Colin Carter, soon to be joined by bassist Ray Bennett and drummer Mike Hough. Former Yes-colleague Tony Kaye agreed to play keyboards on this one, more as a special guest than as a proper member. So, the final result turned out to be pretty similar to "The Yes Album", regarding the melodic sensibility and the sense of excitement portrayed in the performances, but with a major presence of jazz swing and a general tendency toward working on a more concise number of musical themes. These elements make the listener aware of the caliber of Bank's input for the forging of the Yes sound: something that should be more acknowledge than it usually is…

After his days in Yes and a very brief stay in Bloodwyn Pig, Peter Banks started Flash together with lead vocalist Colin Carter, soon to be joined by bassist Ray Bennett and drummer Mike Hough. Former Yes-colleague Tony Kaye agreed to play keyboards on this one, more as a special guest than as a proper member. So, the final result turned out to be pretty similar to "The Yes Album", regarding the melodic sensibility and the sense of excitement portrayed in the performances, but with a major presence of jazz swing and a general tendency toward working on a more concise number of musical themes. These elements make the listener aware of the caliber of Bank's input for the forging of the Yes sound: something that should be more acknowledge than it usually is…

A loosely organized concept album - an otherworldly prophet is institutionalized, befriends a fellow inmate, and escapes back to his home world - this release is primarily of interest today to Peter Banks fans. Too often the songs appear to be formed around the lyrics, rather than the other way around, and they only really get rolling when Colin Carter steps aside to let the band kick out the jams. "None the Wiser" has some tearing leads by Banks, and "Man of Honour," their strongest track, moves from a phased banjo introduction to fine interplay between acoustic guitar, bass, and tight drumming. But waiting for the four or five worthy instrumental passages on this album may try the patience of most listeners.

A loosely organized concept album - an otherworldly prophet is institutionalized, befriends a fellow inmate, and escapes back to his home world - this release is primarily of interest today to Peter Banks fans. Too often the songs appear to be formed around the lyrics, rather than the other way around, and they only really get rolling when Colin Carter steps aside to let the band kick out the jams. "None the Wiser" has some tearing leads by Banks, and "Man of Honour," their strongest track, moves from a phased banjo introduction to fine interplay between acoustic guitar, bass, and tight drumming. But waiting for the four or five worthy instrumental passages on this album may try the patience of most listeners.

Esoteric Recordings continue their series of reissues by Flash with "In the Can". Upon his departure from Yes following the release of the album "Time and a Word", guitarist Peter Banks formed this excellent Progressive outfit featuring Ray Bennett (bass, guitar), Colin Carter (vocals) and Mike Hough (drums). Signing to the Sovereign label in the UK, Flash recorded their eponymous debut album in 1972, enjoying much popularity in the USA. In The Can was the band’s second album offering from the group and was released in 1972, featuring such excellent material as "Lifetime", "Black And White" and "Monday Morning Eyes".

Flash was the DJ and the Furious Five were the best multiple rappers around, moving from the music's low-rent dance origins (it was Flash who began cutting in repeated portions of other records) and party spirit to the "message" approach that took over in the mid 80s, prefigured in "The Message." Much of what came later, started here.

Weighing in at 19 tracks, Repertoire's 2005 collection Ayla: The Best of Flash and the Pan is the most generous compilation yet assembled of Harry Vanda and George Young's impish post-Easybeats new wave creation, Flash and the Pan. Not only is it four tracks longer than the previous best F&P comp, 1994's plainly titled Collection, but it's more carefully assembled too, boasting good liner notes from Chris Welch and eye-catching comic book artwork. If F&P didn't have any other song as immediate or memorable as "Hey St. Peter," their gloriously ridiculous new wave novelty, they did have a number of good oddities and robotic new wave pop before sinking into coldly slick anthemic pop at the end of the decade.

After the fluke success of "Hey Saint Peter" made Flash and The Pan's first album into an international hit, this side project from Harry Vanda and George Young had to contend with a follow-up. Vanda and Young, best known as the core of 60's hit makers The Easybeats and producers to AC/DC (George Young is family to Malcom and Angus), were already no strangers to hit song-writing. The result was "Media Man" charting in several countries, and the album expanding on the band's cult audience. The formula remained pretty much the same. Heavy new wave synths paired to either dance-beats or down tempo gloominess, along with monotone, processed vocals. This doesn't click quite as often as it does on the debut album, and there's nothing here as memorable as "Hey St Peter" or "The Band Played On/Down Among The Dead Men." But more than half the album clicks, with "Media Man" being the dance-hit and the title track being the best of the bummers. It's also worth pointing out that, despite the minimalist trappings, these guys were pretty incredible musicians. Give a listen to the piano solo on "Welcome To The Universe" for proof on that one.