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FLASH

Eclectic Prog • United Kingdom


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Flash picture
Flash biography
Founded in London, UK in 1971 - Disbanded in 1973

FLASH was formed when Colin CARTER (who served as a singer in the group led by Peter BARDENS before his CAMEL days) met YES guitarist, Peter BANKS, and soon after co-wrote the FLASH hit, "Small Beginnings" (#28 on Billboard). Ray BENNETT, who had known BANKS since early YES days, heard they were forming a band via his old friend and former bandmate, YES drummer, Bill BRUFORD, and was quickly recruited on bass. FLASH drummer, Mike HOUGH was found later after an advertisement was placed in the London weekly music paper, The Melody Maker. Tony KAYE, the first YES keyboard player, was a session player on their first album and not a permanent band member, as is often reported.

They released three albums with a sound much like early YES. The first FLASH album, a self-titled one, is a classic piece of 70's style Prog Rock, featuring long compositions, thick bass, twisty guitar, keyboard flash (hmmmmm), and complex YES-like arrangements."In The Can", released the same year, revolves around BANKS' guitar with a more dominant guitar sound. "Out Of Our Hands" is the last FLASH studio album and least good in comparison to its predecessors. There is also a live FLASH album called "Psychosync", that makes a nice addition to the collection. Though their three albums are still on the market after numerous reissues (most recently in 2009), they became equally noted and remembered for their phenomenal, high-energy live shows.

After two and a half years of successful touring, FLASH disbanded. All four members later reunited in various combinations during the 70's to early 80's and some of the recorded output appears on Ray BENNETT's 2001 archive CD "Angels & Ghosts". By 1982 the FLASH members went their separate ways.

Late in 2009 they reunited. Although initially interested, after talks and lengthy consideration BANK and HOUGH were unable to commit. The new line-up will feature FLASH's songwriters and original members, Colin CARTER and Ray BENNETT sharing lead vocals, with BENNETT moving from bass to lead guitar. New members are Mark PARDY replacing drummer Mike HOUGH, Rick DAUGHERTY on keyboards and Wayne CARVER on bass.

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FLASH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FLASH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.65 | 104 ratings
Flash
1972
3.38 | 85 ratings
In The Can
1972
3.20 | 61 ratings
Out Of Our Hands
1973
3.10 | 28 ratings
Featuring Ray Bennett & Colin Carter
2013

FLASH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

1.73 | 6 ratings
Psychosync
1997
4.25 | 4 ratings
In Public
2013

FLASH Videos (DVD, Blu-ray, VHS etc)

FLASH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.75 | 11 ratings
Flash (1972) / Out Of Our Hands (1973)
2003

FLASH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.31 | 4 ratings
Small Beginnings/ Morning Haze
1972
5.00 | 1 ratings
Watch Your Step/ Lifetime
1973

FLASH Reviews


Showing last 10 reviews only
 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by Progfan97402
Prog Reviewer

4 stars If it weren't for the Yes connections, I would have passed on this group because their albums were always graced with very tasteless and unprog-looking covers. I guess Peter Banks felt the group needed artwork that's the polar opposite of Roger Dean to show they're more grounded than Yes. This was their debut, released not too long after Fragile, and with not just Peter Banks, but Tony Kaye on board, it's little surprise this sounds not unlike how Yes may have sounded like had Peter Banks stayed on board. Colin Carter at times sounds like Jon Anderson, and gets help with Ray Bennett on bass and Michael Hough on drums as well. And to my ears, despite the very extended solos found throughout the album it's still more grounded than Yes. I was really surprised that "Small Beginnings" was actually a hit as I never heard this song on the radio, and I'm old enough to remember how FM radio was like, to be honest I was too young to remember when FM radio was something like progressive FM rock radio, as opposed to the much more familiar AOR format that I grew up on. But this song does have that Yes feel, and it's a bit obvious. "Morning Haze" moves away from the Yes-template to a more acoustic piece, more in tune with the likes of Crosby, Stills & Nash (well a little) than Yes. "Children of the Universe" starts off sounding not much like Yes, but then as it progresses, the Yes sound does return. I am rather baffled about the ARP synthesizer (likely 2600 as it was still too early for the Odyssey) as Tony Kaye seemed at that time resistant of playing anything other than organ and piano, and the reason Yes replaced him with Rick Wakeman who had no trouble also using Moog and Mellotron. "Dreams of Heaven" again shows a Yes influence, but this is a really lengthy piece where Peter Banks really shows what he's capable of on guitar. "The Time it Takes" closes the album, and I love this piece. Not quite as Yes-like here, it's a nice organ-dominated ballad.

This was obviously the only album with Tony Kaye, he would jump ship to Badger. Regardless, it's not a perfect album, some of the solos tend to go on longer than needed, but I love how it sounds like a more down to earth version of Yes. Worthy of your attention, especially if you're a Yes fan.

 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by SonomaComa1999

3 stars REVIEW #10 - "Flash" by Flash (1972). 07/08/2018

Guitarist Peter Banks was unceremoniously expelled from the band Yes two months prior to the release of their second studio album "Time and a Word". Despite playing on the album, its cover featured a picture of the band which included Banks's replacement Steve Howe, although he never appeared on the album at all. Over the next couple years Yes would become a household name and a leviathan of progressive rock, releasing seminal albums such as "The Yes Album", "Fragile", and "Close to the Edge" with their new and far superior guitarist, who brought a classical style which helped define their sound. At this point it might seem like Steve Howe had always been the guitarist for the band, especially considering he's the band's sole remaining "original" member to this day on tour. As for Banks, he became an afterthought, quietly passing away in 2013 with very little fanfare. He did release some material following his expulsion from Yes, but mostly with his group known as Flash.

Flash was formed in 1971 by Banks and vocalist Colin Carter, who did some work with future Camel keyboardist Peter Bardens. Banks added a friend of his in Ray Bennett who he had knew since his time in Yes to play bass guitar, and then recruited Mike Hough to play drums. Initially desiring to be a standard prog quintet, after signing onto Capitol subsidiary Sovereign, the label expressed their desire for the band to add a keyboardist, making the band's lineup very similar to that of the now-immensely popular Yes. Banks would further recruit former Yes keyboardist Tony Kaye, who had also been unceremoniously booted by the band following "The Yes Album" to make room for Rick Wakeman. Both exiled musicians represented a more mainstream and rocking sound than what Chris Squire and Yes were pushing for at the time, and naturally Kaye appears as a featured keyboardist (not a part of Flash itself) for the band's self-titled debut album. In typical Hipgnosis fashion, the album cover is abstract, this time being a rather shameless drawing of a girl's upskirt. All that aside, Flash presents itself as a rather unscrupulous Yes clone, but unlike blatant rip-offs such as Starcastle and the like, this band actually features past members of the band, while still retaining the original sound which Yes captured on their first two albums. Furthermore, Flash serves as an indicator of how Yes would have went given it kept Banks and Kaye in the band rather than acquiring Howe and Wakeman.

Flash's first album did see some surprising commercial success, largely thanks to the success of a edited single version of the opening track "Small Beginnings". In its original form it presents itself as a near ten-minute rocker, but for radio it was cut down to just over three minutes - both variants are good in their own respective ways. First impressions are pretty clear-cut; Flash sounds very similar to Yes, from the symphonic style all the way down to Colin Carter's voice, which is a slightly deeper clone of Jon Anderson's vocals. Musically it fuses the Yes album and Time and a Word into a concise hybrid, with a more rocking and accessible tone. "Small Beginnings" rose as high as #29 on the American Billboard Hot 100, while the album in its entirely followed close at #33. Given that the year of this album's release was 1972, it coincided with the popularity of Yes's "Close to the Edge" album, which took the world by storm and spawned several imitators. Listening to the single version of this song, it will omit the very progressive instrumental shifts and guitar escapades, opting rather to focus on Carter's vocals in a more succinct way that would work on the radio rather than on a deep cut. That being said, by listening to the edited version you are not missing much; while Banks does a lot of work on the guitar, none of it is particularly resonant, at least on this track. Kaye's keyboards are relegated to a backing act, reflecting the band's desire to follow the quintet style. Perhaps the greatest similarity to Yes comes at the end, when the wordless vocals come in alongside the synth, which provides that sublime sound similar to "Siberian Khatru".

Bennett takes over on acoustic guitar and vocals for the next song "Morning Haze", which apart from being a fine upbeat ballad, still retains that Yes acoustic tinge. It seems that Flash wanted to take Yes's more poppy sensibilities and use those entirely to compose their music. However, this album is still obviously progressive rock; if the three longer cuts did not already indicate that. "Haze" is only half as long as the album opener, and is a rather refreshing interlude, even if it hardly stands out as a takeaway on the album. We return towards more proggy and fast-paced tendencies with "Children of the Universe" which matches "Beginnings" at roughly nine minutes long. Here is where the album begins to pick up steam and allows itself to stand out; this piece features a rather comfortable tempo driven by the bass rhythm and Kaye's keyboards (he is allowed to do a Moog solo through the middle of this one). Just like the music, Flash's lyrics are like a watered-down version of Yes, with the band trying to retain the pretentious and philosophical lyrical style of Anderson. On "Universe" Flash emerges packing a punch with their music, combining the maritime guitar style of Banks with the symphonic vocals to make a song which despite approaching ten minutes, does not drag on like those written by obscure 70's prog acts.

Opening up the second side of the LP, Flash presents their strongest offering in the form of their longest piece, the nearly thirteen-minute epic "Dreams In Heaven" which I consider to be the biggest takeaway from this album. Opening up in a furor, the band shifts back and forth from outright rock to mellow acoustic passages before introducing the central musical themes of this song. Before exposing the lyrics, the band reveals a crescendo that reminds me a lot of the riff from Black Sabbath's 1973 song "Spiral Architect" off the album "Sabbath Bloody Sabbath", released a year later. I mean, it sounds remarkably similar, which wants to make me think that Sabbath was somehow influenced by Flash for that song, although it might be a trick of my imagination and/or pure coincidence. On "Heaven" Carter's vocals seem to diverge from those of Anderson's in terms of intensity, which is a promising sign given I can only handle so much of pure imitation. This is a pretty textbook progressive epic, with two lyrical sections book-ending a musically rich middle instrumental section that allows Banks to show off his refined guitar techniques. While I usually never go into obscure prog albums expecting to have legitimate takeaways that I could go back to far after I've made my review, "Dreams in Heaven" might very well last a decent amount of time on one of my playlists; the "Spiral Architect" motif and the intensity of the beginning and end serve as very listenable prog, which is very promising. My favorite part of this song follows the vocal bridge at around the eight-minute mark, when the tone of the song gradually grows sinister thanks to the heavy riffs of Banks, coupled with some jazz influences. Overall this is a track definitely worth giving your attention to. The album concludes with another mellow piece titled "The Time It Takes" which puts greater emphasis on the keyboards of Kaye than an acoustic guitar. The band makes use of the sound of crashing waves in order to conclude the album, which is a nice little touch that sort of salvages a rather weak closing track.

Flash's self-titled debut album is not bad at all; in fact it has a lot of good moments, something which surprised me given that solid obscure prog works from the 70's are few and far between. Nevertheless, this album is more mediocre than good, only being saved by the epic "Dreams In Heaven", and being hampered by the band's reliance on the Yes sound. Flash would release two more albums before abruptly breaking up in 1973, but even then those do not match up to the original in terms of innovation or commercial success. The band found a way to enter all their albums into the Billboard 200 album charts here in the States, which I found surprising - probably owing to the NSFW cover art. A fan of symphonic prog and Yes in particular should certainly give this album a listen, and even a more generic listener might want to give this one a go. As for my review, I will play it safe and give it a three-star (77% - C+) rating which is respectable for an obscure band. Basically a microcosm of the early Yes sound.

 Featuring Ray Bennett & Colin Carter by FLASH album cover Studio Album, 2013
3.10 | 28 ratings

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Featuring Ray Bennett & Colin Carter
Flash Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I'm guessing not too many bands have a forty year gap between albums but FLASH are back and yes it's been forty years since their last recording called "Out Of Our Hands" released in 1973. This 2013 release features two original members in Colin Carter and Ray Bennett. I must admit I was surprised at how good some of these tracks are, pleasantly surprised I guess you could say, but a few songs really drag this album down for me hence the 3 star rating.

"Night Vision" is a top three track for me and it's the one where the vocals sound the best. Like the album I find the vocals to be really inconsistent. This song is a symphonic piece with a good rhythm to it at times. An excellent start. The biggest surprise for me was hearing "Hurt" for the first time not expecting it to be THAT song as in the NINE INCH NAILS classic. This is the longest tune at 9 1/2 minutes and they do a pretty good job with it. "Something So Dark" has double tracked vocals at times but it's the vocals that do little for me and this song is the first letdown.

"Manhatten Morning" is a cover of their own song from their previous album "Out Of Our Hands" and I really like this one, in fact it's a top three as well. The lyrics are so meaningful as I can visualize what he's singing. A definite highlight. "Into The Sun" and "Grand Canyon" are the two worst songs in my opinion. I just can't get into either one at all and both are over 8 minutes in length. "Morpheum" is my other top three and it's an instrumental. Spacey synths to start as a heavy sound kicks in with some excellent bass. A calm follows with more spacey synths. The guitar sounds good here as well. "10,000 Movies" really reminds me of the band TILES even the vocals on the chorus. A pretty good tune. "Richerd Of Venice" ends the album and it's an instrumental with some rare piano leading the way. I like it.

A good comeback album that certainly has it's moments. FLASH fans should really check this out.

 In The Can by FLASH album cover Studio Album, 1972
3.38 | 85 ratings

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In The Can
Flash Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars With its rather suggestive cover, Flashīs second album was my first taste of this english combo led by ex Yes founder guitarist Peter Banks. Compared to their first full length early that year, this is almost a complete departure. If Flash (the album) sounded a lot like early Yes, this one is very different. Ok, guitar and bass still sound a lot like Banks former group, but vocalist Colin Carter stopped emulating Jon Anderson, which is great. The music here is much more jazzier and rockier than Yes. The backing vocals are also one of the highlights of the band, with excellent harmonies that developed very much since their debut. Itīs a pity that they didnīt use them as much.

They decided not to replace Tony Kaye when he left to form his own Badger band, and, to me, that was a fatal mistake. A great part of the album almost screams for keyboards (especially the 3 long tracks, all above the 10 minute mark which are the best). Banks handles well with only guitars (and a few ARP synthesizer lines, very few) but itīs clear that with a killer keyboards-man they could explore the songs structures much more and be a premier league band. As they were, the music is nice, but unmemorable. Technically very good, sounding pleasant but not really exciting. The production is also good for the time. The overall sensation is always that somethingīs missing. Small wonder the record made such little impact on me when I first heard them in the 70īs.

If you guitar-led prog is your thing, with some inventive jazz influences, you might like this album very much. For me itīs the classic example of a promising band that never reached their full potential, even if they were excellent musicians.

Rating: something between 2.5 and 3 stars

 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars As far as I can remember, Flashīs debut album was not released in Brazil. and therefore, only recently I could get a copy of this record to listen to. I really didnīt know that Tony Kaye (another ex Yes member) was playing in it (albeit credit as a guest). So, with two Yes members on board, a Jon Anderson sound alike singer and a bass player that emulates a lot of Chris Squire bass style, it is no wonder this CD sounds a lot like early Yes; a kind of a link between Time And A Word and The Yes Album. Even the vocal harmonies are very much like Peter Banks former band.

Itīs easy to see why Flash didnīt make a big impact on the music scene. With Yes at its peak, who would give much credit to a lesser version of the original? Please, donīt get me wrong: although derivative, the music in here is very good and sometimes they even produce a few original bits, like the acoustic Morning Haze (sung by bassist Ray Bennett) or adding a little King Crimson arrangement to one of the songs to spice things up. But again, with such competition (Howe and Wakeman having joined Yes by then) they stood no chance from day one and critics were not very kind.

However, I think that fans of Yes will like this CD far more nowadays, especially if you like their early stuff. Banks and Kaye did contribute to the "Yes sound" a lot more than they got credit for. Although hardly essential, this is a fine album to listen to and show potential for greater things.

Itīs only nostalgia, ok, but I like it.

 In The Can by FLASH album cover Studio Album, 1972
3.38 | 85 ratings

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In The Can
Flash Eclectic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars With ''Small beginnings'' reaching Billoboard No.28 and ''Flash'' selling over 100,000 copies, Flash lived the momentum and visited Holland, Belgium and Germany, while they even traveled to North America for some gigs.They returned to the De Lane Lea Studios to record their second album, again with Derek Lawrence as the producer, but without Tony Kaye, this time the only keyboards to be heard in the album was Banks' ARP synthesizer.''In the can'' was released on Sovereign in November 1972.

With three long tracks clocking at over 10 minutes each and two longer pieces, Flash sounded even more progressive than on their debut.A keyboard-less version of YES actually, the music is based on Banks' relentless guitar efforts with the satisfying solos and tireless rhythm changes, backed up by a solid bass/drum duo and an irritating vocalist.As YES dit at the time, Flash'es material was based on shifting climates, unexpected breaks, polyphonic harmonies and a mixture of smoky and more laid-back rock executions, of course the absence of keyboards affects the album's limited dimensions at some point.But the biggest flaw of this new work was that music did not sound as inspired as on their debut, the quartet seems a bit lost in the labyrinth of instrumental tricks and the chaotic thematic variations, certainly some synth leaks and interesting, jazzy-spiced moves are of great interest, but the final result is not particularly memorable.No doubt the band was pretty talented, each isolated section is trully superb in terms of technique and skills, but the combination of all these ideas doesn't seem to work very well.Still Banks' plays reach a mginificent level at times, a true magician of the guitar.

Not as good as ''Flash''.It's complex, guitar-driven Prog Rock with minor jazzy colors, maybe too chaotic for its own good.If you love YES, and I am sure there are millions of people who do, this is still a decent album of adventurous musicianship.

 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars After his departure from Yes in mid-1970 and some brief appearances with Blodwyn Pig and Chris Harwood, Peter Banks met with singer Colin Carter and decided to form his own band.It was found in London during the summer of 71' under the name of Flash and the line-up became complete with Ray Bennett on bass and Mike Hough on drums.Original Yes keyboardist Tony Kaye was sucked by the band around the same time and was asked to join Flash, but he only appeared as a guest in the debut's sessions, before forming Badger.Flash'es first, self-titled album was recorded in November 1971 at the De Lane Lea Studios in Wembley with Martin Birch and Derek Lawrence as sound engineer and producer respectively, both were long-time collaborators of Deep Purple.''Flash'' was eventually released on Sovereign Records in February 72'.

With ''The Yes album'' already out, having a trully captivating sound, you can only think that Banks was partially influenced by his former band's innovative work, as the debut of Flash draws resemblances with the legendary album of Yes.The sound is dominated by tons of electroacoustic interplays, irritating Jon Anderson-like vocals, multi-vocal singing lines and frenetic changes between tempos with the guitar in the forefront.On the other hand Flash'es debut was much guitar-oriented with supporting performances on keyboards with Tony Kaye as a guest and Banks even handling some ARP synth flashes.So expect a YES-like style with lots of complex themes and shifting moods, showered by light acoustic flavors and discreet psychedelic moves.Flash combined the poppy sensibilities and some intense organ and synth runs with the emerging power and charm of Progressive Rock, the result was captivating compositions, always highlighted by Banks' complicated guitar lines and the trully dynamic bass playing of Bennett.The long tracks are quite great with more keyboard emphasis towards a more balanced sound and lots of jazzy plays on guitar, maintaing the rock component in a high level but also delivering a unique atmosphere filled with tricky plays.

Great debut by Flash, on the same level as ''The Yes album'' to my ears.Dense, guitar-driven Prog Rock with minor Pop and keyboard-based stylings, very interesting and strongly recommended.

 Featuring Ray Bennett & Colin Carter by FLASH album cover Studio Album, 2013
3.10 | 28 ratings

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Featuring Ray Bennett & Colin Carter
Flash Eclectic Prog

Review by DrömmarenAdrian

2 stars Three star records have a wide extent; they could be very nice and also of course quite boring. This is honestly one of the late ones. Flash is an old band which made three records in the early seventies and was famous for feature Yes' first guitarist Peter Banks. This comeback is the first record in exactly fourty years and their fourth record for all. Banks now is dead and this record features Ray Bennett (guitars, vocals, bass, keyboards and percussion), Colin Carter (lead vocals, guitar), MArk Pardy (drums), Paul Pace(drums), Wayne Carver(bass) and Rick Daugherty(keyboards). It seems that this is almost a two men record with two "stars" and some other guys: is that the answer why I think the music is quite flat.

The record has nine tracks which all have got the ratings five or six from me so they are either okey or rather boring. For me it's very anonymous rock music with a sound too distorted to be appreciated(a common condition today). Instrumentally I think this music often works with especially good(but not unusual) guitar work. The vocals do not affect me much, in the first song for exemple I think they work when they're together but not when it's done solo. The best songs are "10 000 movies", a rather usual rock song with vocals that work, "Hurt" which has some instrumental ambitions and "Manhattan morning". Those songs are good(6/10), the others unfortunately feels inferior.

I have no idea of the old Flash, I should check that out, this is probably not typical for the band's old style. This music is okey, I have not arguments to give it two stars but I wouldn't recommend it.

Well I change my mind anyway, two and a half stars, rounded downward to two.

 Featuring Ray Bennett & Colin Carter by FLASH album cover Studio Album, 2013
3.10 | 28 ratings

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Featuring Ray Bennett & Colin Carter
Flash Eclectic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars 40 years after their last album!

Exactly 40 years after their previous album comes this new release from Flash! My first impression inevitably focused on the terribly unimaginative album title ("Featuring Ray Bennett & Colin Carter") and the equally unimaginative sleeve picture which just features two simple, black-and-white photographs of Ray Bennett and Colin Carter in the recording studio on a plain black background with white logo. With such a long time in the making one would have expected something more exciting (though, admittedly the first two Flash albums also feature awful sleeve pictures with half-naked body parts).

Still, it is the music that should count, not the title and cover art. But even here there were early warning signs. Out of the nine tracks one is a cover of a song by Nine Inch Nails (!) and another is a re-make of the band's own Manhattan Morning (originally from Out Of Our Hands). After such a long time in the making, it is a bit lame to do covers and re-makes.

Yet, knowing all of this, I still wanted to give this new album a chance. And with low initial expectations, I can't say I'm disappointed. But I'm certainly not very impressed either. It's rather okey, but not much more than that. The sound is instantly recognisable as Flash and surprisingly little has happened to the band's sound in 40 years! Fans of the bands 70's albums will probably be able to enjoy this one as well, as indeed do I to a moderate degree. The material is far from being up to par with the very good self-titled debut from 1972, but it is up to par with the weaker follow-up In The Can.

Recommended for fans of Flash and for those who feel they need to have everything even remotely related to Yes, but the average Prog fan need not bother.

 Featuring Ray Bennett & Colin Carter by FLASH album cover Studio Album, 2013
3.10 | 28 ratings

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Featuring Ray Bennett & Colin Carter
Flash Eclectic Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars I'm a sucker for good throwback prog. With my advancing age I adore any new album that brings me back to those days of buying a stack of used records and discovering that progressive (or art rock back in those days) gem. Wobbler, The Flower Kings, and a number of other groups give me that feeling now that most of the old bands, if they are even around any more, often are unrecognizable from their early sound. Well after a 40 year absence, Flash has returned to the scene (thanks go out to Sherry Noland, who has graciously kept us in the loop as Ray Bennett and Colin Carter were recording). And the album sounds very much like their 70s releases. Carter's voice has barely changed, only losing a slight amount of the upper registers - a good thing, in my opinion, as I'm never too pleased with the sound of men singing so high. Bennett, who plays guitars, bass and keyboards, is as good as ever. The album opens with an orchestral flourish on Night Vision, and then settles in to that familiar sound. Their sound still, to me, brings up images of what Yes might have sounded like had they not cast off Peter Banks and Tony Kaye, yet still advanced their progression into symphonic prog. The similarity is no coincidence, as the members of Flash and Yes came from the same scene, and some played together when forming their style. Other songs, to my ears, remind me a bit of Kansas, with some broad themes that bring up the American Midwest. Grand Canyon, with lyrics that don't seem to have anything to do with the title, sound quite a bit like Rush. And the next song, Morpheum, is the coolest on the album, a smoky jamming piece, much like Corvus Stone (a recent favorite of mine). Bennett does great work on the guitar, playing some great solos, and shines even more on bass, where he plays around the music like a young Chris Squire. And the music itself is great. Some tracks appear to be settling into familiar patterns, but never stay there too long, instead veering into unexpected twists and turns. My only complaint is in the production, where the drums, and often the vocals and even the guitars, sound too compressed, giving the music a slightly mushed sound, like it is being played on a 70s era radio. Otherwise, this is a grand comeback.
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