FLASH

The last and possibly the least of Flash's trio of albums(all of which where released in 1972) 'Out Of Our Hands' should nonetheless still satisfy those with a more than just a passing fondness for both 'Flash' and 'In The Can'. With the same line-up from both previous efforts still in place - guitarist-and-leader Peter Banks augmented by drummer Mike Hough, bassist Ray Bennett and vocalist Colin Carter - there is a nice sense of continuation about 'Out Of Our Hands', yet conversely this is also the album where Flash tried, with mixed results, to expand their sound beyond the metallic-prog framework that worked so well on both previous efforts. So, as a result, there are no ten-minute epics to be found here, the individual tracks feature a slightly more experimental texture, and Banks infamous guitar licks seem to have been muted by the group leader's own desire to seemingly mellow the overall Flash experience and thus push the group out of the looming shadow of Yes, the group that so unceremoniously sacked him after just two albums. There is also a kind of 'Chess' theme, though exactly why is never really made clear. Of course, doing away with a well-worked formula is always a risk and despite a couple of genuine corkers in the shape of bass-rubbed 'Dead Ahead' and album closer 'Shadows(Its You)' 'Out Of Our Hands' fails to live up to the group's high standards. That said, this is still an album well worth exploring for fans of 1970s progressive rock, the real disappointment being that Flash couldn't end their annoyingly-truncated career on a slightly grander note. STEFAN TURNER, ANGEL ISLINGTON, 2012

Whilst you can hardly criticise Steve Howe's work with Yes, one really does wonder how the British progressive rock stalwarts would have turned out if original guitarist Peter Banks hadn't been booted out mere months before the release of the group's orchestrally-flavoured second album 'Time & A Word'. A consumate axeman in his own right, Banks career would never quite reach the sky highs of Howe-Era Yes, though he would, with his own group Flash, release a trio of very decent guitar-heavy prog-rock albums. Remarkably all three - 'Flash', 'In The Can' and 'Out Of Our Hands' - would be released during 1972, with, even more remarkably, the same line-up present on each. Featuring Banks, drummer Mike Hough, bassist Ray Bennett and vocalist Colin Carter, the quartet's self-titled debut remains arguably their strongest offering, yet there is still much to savour on both this follow-up and the group's final release 'Out Of Our Hands'. Continuing the cheeky cover-art theme established on 'Flash'(this time it's a barely-concealed nipple replacing the rather risque up-close-and- personal knickers-under-the-skirt image featured on the cover of their debut) 'In The Can' is another febrile dose of joyful, semi-metallic power-prog. The ten-minute opener 'Lifetime' picks up very much where 'Flash' left off, with Bennett's rumbling bass trundles underscoring Bank's wildly flamboyant guitar licks, Hough's furious drum patterns and the Jon Anderson-esque vocals of the very rock star-looking Carter, making for a suitably epic opening that morphs nicely into the mid-paced follow-up 'Monday Morning Eyes'. Featuring a distinctly early Yes feel - though without the swooning keyboards - 'Monday Morning Eyes' is classic Flash, a multi-coloured sonic prog adventure that skips heartily through a jumble of expertly-performed moments that once again highlight each individuals powerful playing yet also finds time for the foursome to add surprisingly adept vocal harmonies to the mix. Thankfully, after this strong beginning there is still time enough on the album for two more ten-minute-plus epics, the chundering 'Black & White' and the sky-reaching 'There No More' sandwiching the percussive strains of the brief throwaway piece 'Stop That Banging'. Of course, there will always be the detractors who brand Flash as some kind of sub-Yes clone, but that's completely missing the point. Flash will always be the rockier cousins of Banks previous employers, yet their sheer vibrant energy and slick, metal-tinged edge sets them well apart. Maybe 'In The Can' lacks the grandiose feel attached to both it's predecessor and the very best work of Yes, yet nonetheless this is still a fine slice of fist-pumping prog-rock(with the emphasis here very much on the 'rock') all the same. STEFAN TURNER, ANGEL ISLINGTON, 2012

Oh well, my collaborator page says I've given this a rating without a review, which I at least never intended to do! So in order to straighten things up here's a review. Ex-Yes guitarist Peter Banks chose to continue his band without keyboards, though he later admitted having sometimes missed Tony Kaye's participation. He claimed to be able to do it all with his guitar. Certainly a gifted axeman he is too. Anyway, this continues in the same vein as Flash released earlier the same year. Perhaps this should have had a 'hit' as the debut's 'Small Beginnings', but overall it really can't be said that the compositions are weaker and less memorable this time - because they were quite unmemorable to begin with. Both have an emphasis on technical skill and as such are fairly good if unmemorable listening all the way, this slightly less interesting due to the lack of keyboards. Moreover, I don't much enjoy the drum solo 'Stop That Banging'.

Hipgnosis used female bodies in the cover art of the trilogy of Flash albums, first butt, then breast. I'm not blaming the (admittedly cheap) idea itself, but these are clearly among the worst by that team best known for Pink Floyd covers. The music is guitar oriented symphonic prog, three tracks longer than 10 minutes. The early Yes is naturally one comparison, but unfortunately there's none of the fresh gorgeousness of tracks such as 'Starship Trooper'. Still I think the two first Flash albums are better than the two first Yes albums featuring Banks.

I guess everybody expected too much from anything Yes-related at the time. So Peter Banks group had a kind of very demanding audience from day one. And I remember the group being more famous for the covers of the albums than for the music they produced. It was unfair, of course. For my part, I never heard Out Of Our Hands at the time of its release (I was 16, and it was the 70´s, so I had already too many interesting things to listen to). So I decided to give it a shot lately, after a friend brought up the subject of the group in a conversation. He kindly borrowed me the CD and I must say I was not initially impressed. However, with each spin I started to like it more and more. In the end I was enjoying it very much.

Their music is like a kind of very early Yes with a very different singer and without the keyboards. Ok, a few mellotron and synth lines can be found here and there, but nothing like any other symphonic prog band at the period. This is a concept album, but its running time is very short (only 33 minutes). And I must say that Banks guitar parts are really excellent, along with Ray Bernnet´s terrific bass runs (again, very Yes-ish, but they sound natural, not forced at all). So the guitar and bass playing are the highlghts of the entire CD. Colin Carter´s vocals are VERY diffeerent for the style, but once you get used to it, it works. The songwriting is not exceptional, but good and solid all the way. The tracks are varied and there are no fillers. The production is excelent for the time. You can hear everything very well balanced. The best song for me is Psychosync, an impressive tune.

Conclusion: a very nice record indeed. If you´re a fan of guitar and bass-led prog, go for it! Too bad the band broke up after this record, for they had enough talent to grow much more. Overall I wouldn´t say it´s essential, but Out Of Our Hands will please a lot of progheads, specially the fans of Yes. At the very least they sound way more honest than dozens of that group´s imitators. So, a fair rating would be 3.5 stars.

Since I heard FLASH for the first time, one question stay "hammering" in my mind; "Why Peter Banks was so limited in YES?... and I reply ... Is very difficult to understand !!! Although, I think which the progressive fans must be thanked for Steve Howe comes in YES, at the same time I recognize in Peter's work on FLASH a marvelous and skilled musician. Besides of this fact, he bring for his band other fantastic musicians, the bassist Ray Bennett ( with a style very similar to Squire ) and the drummer Mike Hough ( a Brufford's "apostle" ) , the vocalist Colin Carter ( a mix of Rod Stewart and Peter Gabriel) and Tony Kaye his "old partner" in Yes. In spite of this, the music of Flash is more close of jazz rock,. The great moments of this albun are in the track 1 "Small Beginnings", the track 3 "Children of the Universe" which presents a brief Kaye's moog solo and the track 4 "Dreams of heaven" the more progressive track in the disk. My rate is 4 stars !!!

After being unceremoniously booted out of Yes, guitarist Peter Banks licked his wounds and set to work forming a progressive rock band of his own. Having been an integral member of Yes during their formative years, when they produced albums such as 1968's eponymous debut and it's orchestrally-themed follow-up 'Time And A Word', Banks was therefore well- versed in the rhythmic complexities of prog-rock. His distinctive guitar style had helped form Yes' very own musical identity and still to this very day Banks is considered one of the genre's foremost axemen. Despite being dumped by the band he helped found and replaced by Steve Howe, he remained positive; Flash was the result. Featuring another Yes refugee in the shape of ex-Badger member and Hammond organist extraordinaire Tony Kaye, as well as bassist Ray Bennett, drummer Mike Hough and vocalist Colin Carter, Flash sparked into life with this vibrant, self-titled debut album in 1972, the same year that would unfortunately see Bank's former employers release one of progressive rock's greatest records - the sublime 'Close To The Edge'. One wonders what kind of legacy 'Flash' would have if, say, it had been released a year or so later, but the fact remains that 'Close To The Edge' completely overshadowed pretty much everything back in 1972, and for good reason. However, despite the spectre of his old outfit hanging over him, Banks did manage to produce the goods; 'Flash' is a colourful and skilfully-played album with searing guitars and Carter's semi-screeched lyrics combining to impressive effect, and the album's eclectic nature means that it is much more than just another Yes-clone(here's to you you Druid and England). Though the album features just five tracks, pretty much all of them rock. 'Children Of The Universe' is suitably epic, with Banks impressive playing to the fore, whilst the beautifully simple 'Morning Haze' eschews the prog in favour of the rock with spectacular results. Only the over-ripe 'Dreams Of The Universe', with it's 13-minute running time, fails to truly set the pulse racing, but it still contains enough instrumental verve to fill most 'rock' albums several times over, with Ray Bennett's throbbing bass-lines particularly noteworthy. When compared to the true big beasts of prog, 'Flash' does maybe seem slightly lightweight. It lacks the complex nature of Yes' best moments, and, at times, comes across as more of a rock album than a creation of prog, but that's the nature of the genre. 'Flash' probably belongs in that second tier of great prog albums, alongside the likes of Pink Floyd's 'The Wall' or Gentle Giant's 'Free Hand', which is certainly no bad thing. It may not be brilliant, but Banks and co came pretty close. Recommended.

Flash under the leadership of erstwhile Yes guitarist Peter Banks were always going to suffer comparisons with Jon Anderson and his latest line-up of merry men, but Flash make the comparisons pretty easy. It's almost as if the simpler more concise side of Yes went with Peter Banks when he was ousted from the group, and on hearing this one wonders if he maybe took a little TOO much. The Rickenbacker Bass style easily recalls Chris Squire's approach and sound, and indeed the kit itself also sounds uncannily familiar.

With hindsight of course, this makes a fascinating alternative to listening to Yes' debut and Time and a Word and it's most welcome to find out what Peter Banks did next in pursuit of his owm nusical vision. This is the second of three Flash albums and his guitar motifs are instantly identifiable throughout the five main compositions here. The album plays well as a whole and never fails to entertain and surprise, and as well as the obvious influence of Banks' previous band, there are indications that Fripp was on his turntable a fair bit too, there are spacious jazzy interludes which come straight out of the gentler side of King Crimson.

The album gamely struggles to escape the shadow of Yes, but when enjoyed for what it is, comes across well nevertheless. There are times when the arrangements come very close stylistically to many moments on `Time and a Word' but this is no bad thing, Banks had as much right as anyone else to take these elements and work with with them.

The playing is never too (ahem) flash, but instead sticks to tight extended compositions, with well sung vocal passages and dextrous instrumental breaks, as the opening ten minute tour de force `Lifetime' ably demonstrates. There's plenty of light and shade here and a good standard is maintained throught the album. This is good stuff, and easily worthy of your immediate attention if you are a Yes fan or enjoy investigating the unsung heroes of the early 70's.

Newly reissued by Esoteric (2010) and sounding better then ever.

I first heard this album at a USO in Washington, D.C. back in march of 1973. I immediately loved the music. Later I found out that the guitarist was a former Yes band member, by the name of Peter Banks. This made it even better! I was thinking that I could get 2 yes albums per year instead of one. The major difference was lack of keyboards, which I thought was ingenious. This was the major difference to me between Yes and Flash. I was glad that a prog band was finally getting away from depending on keys to fill out their sound. This band was a refreshing change. I felt that prog should be going that way anyway. This was where I believed prog was heading and I wanted to go along.

Peter Banks is a top notch jazz player. He just sounds so good and creative on this record. Especially on "Black and White." Any prog head should love all the ideas running round in this tune. His guitar sound is innovative and he makes great use of special effects to make this original sounding and fresh. I believe that "Stop that Banging" and "There no More" are connected. I wished that the band would have went ahead and connected "Black and White" to it. This would have made a nice epic tune that would have exceeded 23 minutes in length.

On the top of things, "Lifetime" is more of a jam number than it is prog, but it does have it moments. It is well worth listening to regardless. Peter is playing his heart out and it is very polished. He does some of his best soloing on this. The jazz element really comes out. One thing that struck me on this song was a riff that Peter did in the middle of his solo. It is exactly the same as the riff Focus used on "Hocus Pocus." I have always wondered if he copped it from them or they got it from listening to Flash. If anyone knows for sure drop me a line.

I have got to say that "Monday Morning eyes" is just beautiful. Especially the last part where Peter goes wild with some excellent jazz guitar. You have to hear it to really appreciate how great his touch is.

There is nothing weak on the record and it is very interesting to listen to. Let me add that you have to get use to the Colin Carter's voice. It is somewhat harsh. I would compare his voice to the singer on Quiet Riot, though not quite as harsh. Also, the only thing I didn't care for was that side one was only 15 minutes in length. I wished it would have been about the same length as side two.

I consider this music to be essential to prog because of the decided absence of the keyboards. Like I previously mentioned, This is a strong release, but because of the fret hand tap and other current techniques for guitar, Peter does sound a little dated. At any rate, I am giving this 5 stars.

Third album from 1973 named Out of our hands is the weakest one from the 3, somehow this album sounds like the band lost intrest in composing progressive rock music. Anyway not a bad album, some moments are realy good, but now the pieces are no more such long like on previous albums, all piece are under 6 min, the music keeping in places the Flash sound, but are less intristing and are no more that catchy. Still a good album to me, nothing realy impressive, but I know hundreds of prog rock albums that sounds less intristing then this album. 3 stars for sure less intristing then first one who I rated aswell with 3 stars. After this album the band disbanded and they fall into oblivion one way or another. Still a band to discover if you are a prog rock fan of the '70's .

Second album of Flash from same year 1972 named In the can is my fav from this band, here they found their sound, even in places is without keys. A very solid album in my opinion, one of the best from early '70's, pieces like Lifetime or Black and white are brilliant example of Flash greatness ideas and solid musicianship. I like very much Carter's voice, really keeping the same level with the rest. From up tempo arrangements to a more mellow ones, this second offer is a great album to be discoverd from Flash catalogue, better then both , first and last albums, with more catchy moments and brilliant songwritting. Even the Yes influences are still obvious, Flash manage not to become a copy paste band of the monster Yes, they developed a more edged progressive rock, without to many symphonic moments but catchy and well done. I will give 4 stars to this album, my fav Flash album and one of my fav albums ever, again I'm in minority here, giving such high rate, but I realy like it a lot. recommended.