Flash

Small Beginnings (Banks-Carter) 9:23

Morning Haze (Bennett) 4:32

Children Of The Universe (Bennett) 8:55

Dreams Of Heaven (Banks-Carter) 12:57

The Time It Takes (Banks-Carter) 5:48

Peter Banks – Guitar, Synthesizer, Vocals
Ray Bennett – Bass Guitar, Vocals
Mike Hough – Drums, Percussion, Badinage
Colin Carter – Vocals, Percussion
Tony Kaye – Organ, Piano, Synthesizer
Engineer – Martin Birch assisted by George and Hulk.
Producer – Derek Lawrence
All songs arranged by Flash.
Recorded at De Lane Lea Studios, Wembley, between 11/8/1971 and 11/21/1971.

Album Chords

Album Reviews

by Tommy Schönenberg
Excellent progressive rock band formed by former Yes-members Peter Banks and Tony Kaye. It would then may not come as a surprise that the music of Flash sounds quite much like Yes. This was their debut-album and their classic release. Cheerful and energetic progressive rock in the vein of “Yours Is No Disgrace”. Any lover of Yes will eat up tracks like “Small Beginnings”, “Children of the Universe” and not at least the fantastic “Dreams of Heaven”. The latter is just as good as any of Yes’ best moments, and that’s not a joke! There’s also some shorter and relaxed tracks here, but it’s of course in the long tracks the group really shines. The performance is great, and besides the excellent playing of both Kaye and Banks you’ll also notice the powerful bass- playing of Ray Bennett. Wonderful stuff for all fans of progressive rock.
Source http://www.ajudavirtual.com.br/hard/fff.htm

by Bob Eichler
Flash was one of the first branches off the Yes family tree, with Peter Banks and Tony Kaye banding together after getting the axe from Squire and Anderson (who apparently wasn’t all peace, love and brotherhood in his younger days). Unsurprisingly, Flash’s first album sounds a lot like Yes from around the same time. In fact, with its extended composition, thick bass, flashy guitar and swirling organ work, “Small Beginnings” sounds like it could be a lost track from The Yes Album. “Morning Haze” has a more laid-back acoustic guitar and percussion sound and focuses heavily on the vocals. “Children of the Universe” returns to the early Yes sound, but unfortunately has lyrics that are so goofy (“Ya hoo cha hoo cha!”) that they make Jon Anderson sound downright rational. After a chaotic opening section, “Dreams of Heaven” also settles down into a fairly Yessy song. “The Time it Takes” is a quiet, somewhat ambient song that washes away the end of the album on simulated ocean waves. The only real downside to this album is Colin Carter’s nasal and nondescript vocals – they just grate on me for some reason. Fortunately, there are a lot of lengthy instrumental sections. After this disc, the band would lose Kaye, and their sound would drift a little further from the Yes sound on their second and particularly their third album. Those who think Banks and Kaye were “throwaway” members of Yes should give this disc a listen. It might have been interesting to see where the band would have gone had the original line-up remained intact.
Source http://www.progreviews.com/reviews/flash-flash.htm

by Joe McGlinchey
Flash approximates what a more overtly proggy release from the very first line-up of Yes might have sounded like. Released in 1972 with ex-Yes members Peter Banks on guitar and Tony Kaye on keyboards, this is a decent, under-recognized prog album. Every extended piece, “Small Beginnings” and “Children of the Universe” have some great playing (especially by Banks, who definitely makes his presence felt), energetic hooks, and enthusiastic harmonies. “Dreams of Heaven” is a bit more unbalanced, relying primarily on its harmonic-laden, anthemic chorus. The other two tracks are more laid back efforts. “Morning Haze,” the one track with (frail) lead vocals from bassist Ray Bennett, is a short, interlude number that sounds at points like Crosby, Stills & Nash or the Grateful Dead around American Beauty. It has an informal jam-at-a-picnic feel, with Banks inserting playful acoustic guitar passages all along the way. The closer, “The Time It Takes” is soft and fades the album out with a whisper. One drawback of the album is the poor sound (and it definitely sounds of the period), but the material and performances are quite good.
Source http://www.progreviews.com/reviews/flash-flash.htm

by Clayton Walnum
If you like Yes’s early sound, then you’ll surely go bonkers over Flash, because there is no other band on the planet that better had that Yes sound down. That Flash should sound so much like early Yes is no surprise when you realize that two members of the band — Peter Banks and Tony Kaye — were members of the original Yes lineup.

The story goes like this: Sometime after the recording of Yes’s second album, A Time And A Word, Peter Banks left Yes and was immediately replaced by the now legendary Steve Howe. (This fast switcheroo is why, although Peter Banks played on the A Time And A Word album, Steve Howe’s picture is on the cover. Another prog mystery solved!) After recording The Yes Album, keyboardist Tony Kaye was unhappy with the band’s direction (it’s been said that the other members of Yes wanted Kaye to experiment with more electronics, while Kaye was perfectly happy with his Hammond organ, thank you very much) and so he left the band, too. Peter Banks and Tony Kaye teamed up, and Flash was born. The Banks/Kaye partnership was to last only one album, though, after which Kaye quit Flash to form the band Badger. Banks and Flash went on to record two other studio albums, but each was a step further in the wrong direction, although each had its moments.

The first Flash album, however, is a great piece of 70s style prog rock, featuring long compositions, lots of guitar and keyboard flash (hmmmm), and complex Yes-like arrangements. The first track, “Small Beginnings,” which clocks in at almost 10 minutes, is very reminiscent of the Yes composition “Yours Is No Disgrace,” starting with a speedy, trademark guitar riff and featuring some hot organ playing by Kaye. The high-octane verses give way to the requisite prog changes, including a mellow centerpiece, before roaring back into gear for a final verse. If it wasn’t for the vocalist — who sounds nothing like Jon Anderson — you would swear this cut was performed by Yes itself. Great stuff!

The album includes a couple of less Yes-like tracks, such as the acoustic “Morning Haze” (nice background harmonies on this one) and “The Time It Takes” (a relaxing closer for the album). Still, tracks like the nine-minute “Children of the Universe” and the 13-minute “Dreams of Heaven” feature plenty of those cool unison guitar and keyboard riffs, as well as happy, infectious, bouncy beats and arrangements that tread back deep into Yes territory. On these other long tracks, you’ll hear jazzy, cooking guitar interludes that sound very much like Banks’ style on the first Yes album. Kaye’s piano comping in these sections is outstanding. Kaye was (and is) such a talented player, one has to wonder why he has always been content to stay in the background.

Bottom line: No fan of Yes can be without at least the first Flash album. For all intents and purposes, this is Yes circa 1969-70. You may ask yourself, though, how such a great album ended up with such a terrible cover.
Source http://www.progressiveworld.net/flash.html

by Marco Rossi
Lightning strikes again for Yes founder

Where one branch of 70s prog was rooted in a mulch of dark portent and spiritual unease (King Crimson, Van Der Graaf Generator), there was another which instinctively grew towards the light. The early Yes albums are often derided for their simplistic hippy sentiments, but they radiate a fierce, heart-bursting euphoria.
One of the chief architects of that sound was guitarist Peter Banks, who formed Flash in 1971 following his contentious departure from Yes. Comparisons are tiresome but inevitable: Flash is a riot of fervid extrapolations-on-a-theme, cockily juggled time signatures, rattling Rickenbacker bass and Gordian Knotted guitar runs. With two very significant fifths of the original Yes on board – keyboardist Tony Kaye guests throughout – there’s no reason why anyone should have any problem with that.
Furthermore, the band’s contagious joie de vivre and we-set- sail vigour – particularly prevalent on the glorious cartwheel of Small Beginnings and Children Of The Universe – renders criticism meaningless. This album hoses fresh hope lesser and unforced goodwill directly into your synapses. Buy it right now – but don’t play it until the first bright sunny morning thereafter, so as to fix it in your mind with the appropriate setting. Alternatively, play it anytime to banish the clouds within.
Source http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=125170454&blogId=530220020