"Flash" - 1971 to Present

sherrynoland wrote: The only live Flash CD I'm aware of is one called "Psychosync".  It was originally a bootleg of performances from the TV show, "Midnight Special", and a WLIR radio concert in NY.  It was released in 1997 by Blueprint Records.  Don't know if it's still available.

That's right, I understand "Psychosync" was first released on vinyl, and a few of those may still be out there.

It's certainly not a good way to be introduced to Flash.  Their studio albums are definitely superior.  But for Flash fans, and hardcore proggies, it's a bit of an historical document, and a bit of fun to hear them chatting, hear Jerry Lee Lewis introduce them on "Midnight Special", and get the feel of the complexity, abandon and energy of Flash live.  Mind you, this was early in their short career.  They got even more proficient and 'tight' after a couple years touring.

There's a review here on PA by 'DAVE M'.  He liked all the studio Flash albums, but didn't like this CD much.

Here are the liner notes written by Peter Banks - a pretty forthright assessment: (by the way, for those who didn't know - like me - 'vindaloo' is a hot curry!)

"Psychosync" Liner Notes

What’s in a name? Flash was a lot more apposite than we could have ever imagined when I conjured it up over a mediocre vindaloo and warm lager after one of our first rehearsals. Like most new bands, we regarded the name as a slightly embarrassing, but temporary, handle. Eventually divine inspiration would strike to reveal in all its glory, the designated epithet appropriate to the gathering of four young, talented, good looking musicians; it never happened. We were stuck with Flash and seldom has a band so lived up to its moniker.

The music was fast and furious, edgy and seldom relaxed. We were Flash. In our live performances we came on loud and strong with a musical athleticism that sometimes resorted to decoration rather than expression. Our songs became lengthy Olympian events which probably puzzled and intimidated a few audiences, but we never let that distract us, the stage was our domain – some nights I felt John Coltrane, Jimi Hendrix and God were peeping out of the f-holes of my Gibson 335 guitar. We could take one of our compositions, celebrate every corner, angle and riff, and leave it squeezed dry and breathless, often leaving us in the same physical state.

What now strikes me whilst listening to these live cuts is the bizarre twists and turns, the convoluted arrangements, the groove that would suddenly veer off tangentially into yet another riff sounding like it was trying to bite its own tail – all of this sounded quite normal to us, which of course it was not.

We often played ten chords when three would have been better but we could never be accused of resorting to cliche or mediocrity. We were Flash. On a good night we blazed like our name with music that could shimmer and sparkle, twist, turn and dazzle; music that could inspire and agitate in equal measure. For a trio of guitar, bass and drums, we played like a five or six-piece and I still marvel at singer Colin Carter’s ability to sing over the top of music that sometimes had the subtlety and bombast of a world war. “We have no keyboard player; I can do it all on guitar”, was my war-cry, though I sometimes secretly wished for ‘The mighty swirling organ’ of Tony Kaye, who played on our first album.

On this CD live performances from U.S. radio and television show up all the flaws and cracks in our musical architecture. There are incidents when [we] sound like we are jumping through hoops instead of just grooving, or even relaxing. But leisure and blandness was never part of our agenda – we were Flash and we could make a riff stand on its head, walk a tight-rope and through fire – all in the name of rock music. Our songs were long and our trousers were tight. In the short space of two years we recorded and released three albums, had a hit single in the USA, I did a solo album; we toured Europe, America a lot, and even went to Australia for one gig – and still found time to do our laundry. In America we played to the biggest and smallest audiences, the best and worst venues; bars and stadiums. After two years of this we became a really tight musical unit. The performances and the songs got faster as did our tempers – we broke up for all the usual and wrong reasons. A disinterested record company and confused management infected our morale and Flash collapsed in true unspectacular Spinal Tap fashion in a Hilton Hotel in Alberquerque, New Mexico. It was a shame really.

Despite all the usual accusations of pomposity and self indulgence leveled at progressive rock, Flash has a vibrancy and optimism that transcended all the stereotypes of seventies rock music – we really loved our music and sometimes it showed. Our critics and detractors accused us of “sounding like Yes”. Of coarse we did. I was one of the founding members that helped to make (for better or worse – richer or poorer) the strange beast that band has become today. To those critics and fault-finders who expect a musician to re-invent himself every six months – I say f**k you!
We were Flash, our life was short but burned bright – we came and went in a Flash.

Peter Banks

January 1997



Edited by sherrynoland - February 16 2011 at 15:11

I posted the February Goldmine article on Flash here -

http://www.progarchives.com/forum/forum_posts.asp?TID=76154&FID=19

I was just listening to "in the can" last night. Question: I noticed Peter Banks has out other material (besides early Genesis), like "Empire" or some of his solo albums, anything of this similar to Flash or worth a listen?

kglenz wrote: I was just listening to "in the can" last night. Question: I noticed Peter Banks has out other material (besides early Genesis), like "Empire" or some of his solo albums, anything of this similar to Flash or worth a listen? Thanks, KG

You might want to give TheTwo Sides Of Peter Banks from 1973 a listen if you haven't already. Then Focus guitarist Jan Akkerman is featured as well as other members of Flash, John Wetton from King Crimson as well as Phil Collins. Very diverse musically. Flash without vocals sometimes.

Hi,

Edited by moshkito - March 31 2011 at 16:24

Vibrationbaby wrote: You might want to give TheTwo Sides Of Peter Banks from 1973 a listen if you haven't already. Then Focus guitarist Jan Akkerman is featured as well as other members of Flash, John Wetton from King Crimson as well as Phil Collins. Very diverse musically. Flash without vocals sometimes.

Steve Hackett also played on the album, and the Flash members were drummer Mike Hough and Ray on bass.  In my opinion, Pete never did as well on his own as when he played with Yes and Flash.  He's brilliant on guitar, but needs the writing, singing and arranging talents of others to help showcase his talent.  Which leads to a second point --

moshkito wrote: ....you have to stand up for yourself and not worry about the critics ... and in this case YES became the darlings because they got more famous, and your band and that other one (Badger?) ... could not get one iota of credit or respect.   And still don't.   Maybe there is a reason for the curse around Yes, and all the hatred and rip-offs and stories and problems and what not? Sherry? Peter? ... have you both not said ... good riddance a couple of times? ... I would have!   And to the critics? ... if you worry about the critics, your music is over ... turn out the lights!...

Cursed or not, Yes has done well to keep going all these years.  Chris Squire should get the credit for that.  As for their material, writing is always key and Anderson gets most of the credit (or blame in later years) for that.  In order to PROGRESS, Yes will need some damn good writing going forward.  We'll see...

You're right, Moshkito, there is a time to say, "Good riddance" and that's exactly what Flash said to Pete, as did almost everyone who has ever worked with him.  He's brilliant, and fiercely independent, which is admirable.  He's also so troubled that its impossible for him to deal with the conflicts that inevitably arise in any relationship.  He can be very mean and nasty, vindictive and treacherous.  Incredibly destructive.

As for Flash getting credit and respect, it was their own youthful, impetuous fault that they blew off Flash instead of valuing what they had done enough to buckle down, replace Peter and carry on (they should have talked to their friend, Chris Squire!).  It was a lesson hard learned, and is why I think it's so wonderful that Ray and Colin are together again making great music - sort of like Phoenix rising from the ashes!  A chance to redeem themselves.  And though they broke up too quickly to have established great fame, the fact that they're remembered at all and have had their albums reissued several times over the years is a measure of the credit and respect they've been given by loyal fans.

sherrynoland wrote: Happy New Year from Colin and Ray! Flash just signed with Cleopatra Records and the new CD is scheduled for a March release date.  At last!

 

It's been a while since I last heard 'Psychosync', but I seem to remember that they faded 'Dreams Of Heaven' out just when Peter Banks was just starting his guitar solo (in other words, missing out virtually all the second half of the track). Is there a version with the entire track included?

Precisely what I went and did - downloaded the album yesterday. I have to say I'm impressed - definitely like it!