New Flash CD excerpts

If you're a fan of Flash, Yes, or prog rock in general, this is a solid bet. I saw the duo Flash at Baja Prog a few years back and I'm so glad that the energy they showed then has finally been translated to a record. Ray Bennett now occupies the guitar chair that Peter Banks (RIP) has eternally vacated, and it's no surprise that his style is both excellent and firmly in the Banks/Steve Howe vein. Colin Carter still sounds like the poor man's Jon Anderson, but his voice has certainly aged, having lost much of the shrill bombast of his youth. No complaints in some quarters, I imagine, but love it or hate it, that was a hallmark of the original Flash sound.

So to the music. The first track, Night Vision, is firmly in the Yes West territory (90125 onwards) and with that in mind you can enjoy what comes, namely guitar-heavy prog with a constant rock beat, Squire-style bass, and soaring leads. Best overall comparison: the Keys to Ascension studio material, especially on Grand Canyon, with that same level of blazing guitar and strong vocals over a driving rhythm section. Some standouts: Something So Dark, which is a great start for those who want to see what these guys have accomplished without Banks and Mike Hough; the lovely Richerd of Venice (sp?), with new keyboardist Rick Daugherty's tasty piano; and the expertly focused 10,000 Movies, which could be latter-day Rush. The cover of NIN's Hurt is as good and different as the Johnny Cash version, which just shows how resilient the original song is. And the remake of Manhattan Morning (from the third Flash album) is completely different. Instead of trying to trump what is arguably the finest vintage Flash moment (melody, lyrics, the band's controlled yet fierce performance), we get a bluesy prog ballad that adds a whole new verse and showcases Colin Carter's changing pipes. Echoing the latter-day Jethro Tull, it's a worthy addition to this topnotch comeback. Nice touch to resurrect the original Flash logo, too. Well done, boys!