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The Last Word from Peter Banks -- "FLASH--in Public" a Live Recording

10/23/2013

14 Comments

 
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Peter Banks, the respected and beloved “Architect of Progressive Music,” passed away on March 7, 2013. At the time of his passing, he had been at work producing a live FLASH album from a 1973 concert at Kansas City’s famed Cowtown Ballroom.

As most progressive rock aficionados will know, it was indeed Peter Banks who created and developed the progressive approach to guitar. Robert Fripp of King Crimson learned from Peter, Steve Howe of YES would lift outright from him and even confessed to doing so. However, it was not only in guitar performance that his progressive understanding was revealed but in composition and arrangement.

Peter brought a Jazz influence into the burgeoning genre and while with YES he and drummer Bill Bruford gave free rein to those Jazz tendencies. The Banks-Bruford sound continued to inform progressive rock, especially in King Crimson and especially when Bruford left YES for Crimson.

What Steve Howe brought to YES was a more classical approach with structure and form and soon progressive rock was divided into two approaches. The classical side was evident in YES, Emerson, Lake & Palmer, and Genesis while the Jazz intuition was easily seen in Frank Zappa, King Crimson and Peter Banks’ new band, FLASH.

After Peter’s merciless removal from YES, fellow musicians who had been listening to YES simply stopped. Pete Townshend of the Who commented, “I don’t like YES at all. I used to like them when Peter Banks was in the line-up because, apart from being extremely visual, he also played excellent guitar.”

Steve Hackett of Genesis said “Phil Collins and I were fans of Pete and his band FLASH. Pete’s talent extended way beyond the work he did with YES.” Unfortunately, however, Peter seemed stuck in the quagmire of his history with a band he helped create and who threw him over (as Pete would say: “The Struggle Continues”).


PictureThe Syn
Peter’s post-YES work with Jan Akkerman (on “Two Sides of Peter Banks ) or with Empire in the late 1970s, his solo work or his collaborations with Oliver Wakeman and Clive Nolan and, recently, the “Prog Collective” with Billy Sherwood was always brilliant. He still amazed and impressed musicians of the highest order.

The last recordings of Peter was on the album “In Extremis” by the duo Days Between Stations. On the track entitled “Eggshell Man,” three ex-YES members collaborated together with the duo. Peter was joined by Billy Sherwood and Rick Wakeman and the results were everything a musician or music aficionado could ever hope to hear.

A previous FLASH concert release was “Psychosync” which was a 1972-73 live recording released in 1997. Only two songs--“Dead Ahead” and “Psychosync”--were recorded in ‘73 and taped off NBC's “Midnight Special,” a late-night TV concert series. Even though the aired program was listed as being hosted by Jerry Lee Lewis, Lewis was not there for the October 9 taping of the show which included only FLASH and Eumir Deodato, the brilliant Jazz composer and performer. The other songs on “Psychosync”are from a show that was actually recorded for Long Island radio station WLIR on July 18, 1972.  

“FLASH-In Public” was going to be Peter’s definitive portrait of the band performing live. He was producing it himself when he passed and the project has now been lovingly and exactingly completed by Peter’s longtime friend and manager, George Mizer. George says “We began work on it as far back as 2004, as reported on the bands website http://psychosync.info as far back as May, 2004.

It was George who came to rescue Peter’s remains and effects after Peter’s unexpected death in March, 2013. It was George who flew to London to claim Peter’s body with the help of Peter’s ex- wife, Cecilla Quino.  George saw to the cremation and memorial service--all from love and devotion.

Two other members of FLASH--Colin Carter and Ray Bennett--have recorded an album of new material and are going by the name FLASH. They had been using the name “the Bennett/Carter Band” but stopped using it before Peters death.  Many have persuasively criticized the effort as capitalizing on the death of Peter Banks but this, according to others, was an issue of the timing of the release. Their efforts were recorded about 4 years earlier but they couldn't get a deal until January, 2013. This, however, was after the label had already inked the deal for “Flash--In Public.”

Whatever the intent or motivation, without Peter Banks and Mike Hough (who gave his blessing on the release of "FLASH--In Public"), it is not the FLASH that is so well-loved and so well-remembered. In fact, one finds it difficult to imagine Paul McCartney and Ringo Starr collaborating on a project and having the audacity to call it the Beatles.

To hear FLASH the way Peter Banks wanted them to be heard, the best choice is the October 29th release of “FLASH--In Public.” It is the original line-up of Peter Banks (guitar), Colin Carter (vocals), Mike Hough (drums) and Ray Bennett (bass) that is heard in this full-length concert recording from January 21, 1973. George Mizer reminds, “The very next day Peter would fly to San Jose , CA to give a deposition regarding the Flash name. Judge Edward Brady would rule in favor of Banks and Capitol Records on June 8, 1973.”

Ironically, the name on the “FLASH--In Public” album is listed as “FLASH featuring Peter Banks.” It is this particular item that appears the be the biggest bone of contention for Bennett and Carter, who are demanding that “featuring Peter Banks” be removed from the album cover. Ironic, in that the last FLASH studio album “Out of Our Hands” calls the band “FLASH featuring Peter Banks.”
PictureFLASH featuring Peter Banks
The album opens with a recorded introduction and the sounds of a cow and crowds (Incidentally, the cow on the cover and in the opening and the end is just a tip of the hat to the Cowtown Ballroom and nothing more, according to George) before breaking into the blistering arpeggios that preface FLASH’s magnum opus, “Small Beginnings.” That sound from Peter’s brilliant guitar takes the listener right back to the eponymous first FLASH album. Mike Hough joins in with the drums before the addition of Carter and Bennett.

Colin Carter’s vocals are strong and clear here. This was not always the case in earlier recordings but this is very complimentary here. Mike Hough is recorded beautifully, as well.

The pacing is furious and Peter indulges himself in a couple of bars from the “William Tell Overture.” It is easy to hear Peter’s use of pedals in the guitar interlude.

The interesting side-note to that is that Peter was probably the very first to use a pedalboard. It was built for him by YES’ roadie Michael Tate who had watched Peter struggling with the various effects pedals in the gigs leading up to YES’ first album. The make-shift pedalboard nailed it all down in one immovable place. After the departure from YES , Peter took his Pedalboard idea to Pete Cornish. and between the two of them, Pete's proper pedalboard was made, thus placing Pete Cornish in the history books as the creator of the first pedalboard.

“Small Beginnings” was one of the very first pieces written by Banks and Carter. The original track was almost 22 minutes long but was shortened for the LP. This 8:36 version is sterling.

The audience was appreciative and enthusiastic as Carter makes comment about the crowd “braving the snow” to come out for the concert. He introduces the next song as just having been released in the U.S. just the month before. That song, “Black and White,” was written by Ray Bennett “with a little help from Pete.” This was one of the nice features of the album, hearing Carter ‘s introductions and comments between the music.

As one might expect, the track carries a heavy-laden bass line. Peter’s pizzicato guitar joins with a splendid lead line. It is easy to hear the Wes Montgomery stylings before the vocals kick in. There are excellent changes and the vocal arrangement is exciting with the harmonies so clearly recorded.

Although Peter Banks is clearly the main attraction, the democratically distributed solos and spotlights make clear what was one of FLASH’s many strengths. The play between Peter and Bennett, however, is only slightly reminiscent of that between Peter and Chris Squire in the early days of The Syn, just a few years before.

This was 12:23 of fun and challenging music. Bennett is vivid. Hough is electric. Carter is having a great time and Peter is exploring every avenue that is available. It seems that it was important for Peter to preserve that sense of fun and camaraderie in all that he included on this album.

Sadly, though, that feeling is now 40 years long gone as shown by the wrangling over this very release. Colin Carter is quoted in one interview as saying that “somebody has a bootleg of a FLASH gig from a few years ago and wants to put it out.” He then goes on to claim that he was not consulted.


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However, in an exchange of emails between Colin Carter and George Mizer, dated March 18, 2013, and specifically concerning the “FLASH--In Public” project, Carter asks George about the FLASH tapes, thus proving that he knew who had the tapes as well as Peter’s plans for release of the live recording. This is further shown in a June 14, 2013 email to George wherein Carter writes: “When you’re done [with cataloging Peter’s effects], send me the list in case I’ve found anything out you don’t have. I know this is your deal now (the live album) but is there any chance to see what you have graphics wise, so far, just in case I see anything needing correction or if I might have a suggestion for you.”

Not only was Carter aware of the album, not only did he know who had the tapes, he was cooperative, having known about the project for years. In the interview, Carter expressed concern over the quality of the recording. He should rest assured that the quality is remarkable.

The quality is proven once again in Mike Hough’s composition “Stop That Banging,” the fourth track on the album. Of course, it features Hough on drums and he turns in a solo as jazzy as Elvin Jones. It is melodic as well as percussive; it is extremely tonal. And it leads right into…“There No More” by Ray Bennett. The Bennett bass lines are delicate and harmonic. Carter’s vocals are again distinct and clear.

FLASH was a band without a keyboardist, despite the auditioning of Ian McDonald and Patrick Moraz, after Tony Kaye guested on the first album. Peter’s playing often takes on a keyboard quality that is exquisite. “There No More” may be the best example of that where the instrumentation is astonishing and the vocal harmonies are so very well represented. Peter’s fade-out is a thing of beauty.

Another Bennett composition from the first album follows next. “Children of the Universe” is another jazzy rocker from the band that did it as well as anyone. Bennett’s bass gives the feeling of sheer propulsion as Peter’s guitar surges forward from it. Hough’s drums are straightforward and that Peter Banks guitar gives clear evidence of just how much Robert Fripp was influenced by Peter. Peter also sticks in a nine-note quip from “Le Marseillaise.” There are good changes, quirky riffs and moments of sheer loveliness.

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Carter introduces the final song of the set and the band breaks into “Dreams of Heaven” from the first album with Peter’s delicate guitar work alongside Bennett’s steady bass-walk. Peter gives a nod and a wink to “Whistle While You Work” and Carter can be heard chuckling about it.

A steady rock-jazz riff develops while Bennett and Hough hold down the rhythm line. There are long guitar improvisations with Bennett and Hough never far behind. These were four musicians in harmony with each other, even when Peter breaks into “Something’s Coming” from West Side Story. Was that a YES-tease?

On the studio album, “Dreams of Heaven” is 12:59 but the live album with all it’s improvs and vamps comes in at 24:54 and is worth every second of it. The band is synchronous and innovative and Peter Banks leads the way. He is imaginative and daring and whimsical with a quick break into “Mama’s Little Baby Loves Shortnin’ Bread” followed by epic exchanges with Bennett. Peter is still crafting his sound finer and finer with greater definition and flair. That sound is carried farther than ever before with the sound and fury that was FLASH.

When “Dreams of Heaven” ends, the band gives a warm farewell to the audience. This was a band that was truly so well-loved. Thanks to George Mizer, who finished what Peter began, FLASH sounds as fresh as they did 40 years ago.

It is not just nostalgia that makes this album so appealing. It is not simply completing a collection of FLASH recordings. This is a landmark recording from a guitarist that changed the music work, who created a sound that has continued from the early days of The Syn to the recent days of Transatlantic or I Know You Well Miss Clara.

More than anything, it is good music whose time has not run out.

Thanks again for the music, Peter. But “the struggle continues” indeed...



"FLASH--In Public" can be ordered at: www.peterbanks.net


Visit and "Like" the Facebook page: https://www.facebook.com/PeterBanksFlash



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George Mizer and Peter Banks
14 Comments
Sherry Noland
12/28/2013 01:54:19 pm

Travis,
Just a few notes about your article:
After three years of work, the new Flash CD was completed Feb. 2013. No attempt had been made to find a record co. before Cleopatra offered a deal unsolicited and scheduled an official release date of May 21.

Peter's work on the In Public recording without the participation of the rest of Flash, and his contract with Voiceprint years ago, and then Cleo, to release it, was illegal. Pete told everyone he owned the rights exclusively, and people took him at his word. It wasn't true. The copyright holder in perpetuity of all Flash recordings during that time period was EMI, now Universal Music Group. Colin and Ray tried to stop Pete and his cohort, George, over the years, and recently concerning In Public, but especially when he made a deal in 2009 to reissue all three Flash studio albums, taking a substantial advance for himself and paying the rest of the band nothing--all illegal and unconscionable. EMI was in a shambles with bankruptcy and unresponsive at the time, but current copyright owner, UMG, has been notified and now has their legal dept. on it. All this is verifiable for anyone who wants to know the truth.

Pete treated his band mates, and anyone who came into conflict with what he wanted, badly. It's what caused the band's breakup, what caused him to be excluded from the reunion, and it continues even after his death.

Flash was always a 4-way partnership, with Ray and Colin writing most of the material and Ray and Pete contributing equally with arrangements. For those who only admire Pete, it may be hard to accept that Pete NEEDED Ray, Colin, and Mike, just as he needed the other talent in Yes. For those who appreciated the whole band, it is good news that in spite of everything, Flash still lives through Ray and Colin - honorably and legally.

Reply
Travis Rogers, Jr.
12/29/2013 04:41:01 am

Ms. Noland,

How very charming of you to come onto my web site and speak ill of the departed Peter Banks!

I concur that a band needs each other, otherwise it is just a solo project. Certainly, Peter needed the other members to create that fantastic sound that I admire so much. Therefore, I think that you would concur that they needed him just as much or else it would not be that great Flash sound.

And it would then follow that, without Peter Banks, the current Flash album with Ray and Colin (whom I both admire as musicians!) is simply...not...Flash. At least, according to the "4-way partnership" framework you just established.

So, thank you for making my point.

Reply
Sherry
12/29/2013 04:58:55 am

You may be right—it IS different without Peter. But we'll have to see if it still sounds like Flash; that is, is there enough of what was their sound to warrant the name. Many reviewers and fans have already accepted that this band still sounds like Flash. "further on up the road." Just as Yes was still Yes without Banks. Bands change and evolve.

But MY point was the illegality and immorality of what Peter, and George Mizer have done. Pete selfishly disregarded the work of the rest of the band and their record company, for his own gain. Dead or alive, that's not right.

Reply
Travis Rogers, Jr.
12/29/2013 07:53:40 am

And while I have no intentions of a protracted debate with you, I will say that I hope for the success of the remaining Flash members, even should they carry on with the name in the absence of half of the band. Banks and Hough are absent from the line-up and while one is understandable, the other remains a mystery to me as to the motivations for his exclusion.

But none of that is my business. I am simply very happy that we have a fine live recording of a band I loved and still love in memory. Ray, Colin, Mike and Peter were in great form that night and I'm glad we have this memorial of that. They ALL sounded splendid and TOGETHER made wonderful music.

Reply
Sherry
12/29/2013 10:54:43 am

I appreciate your kind words and good wishes for the band. That's very nice to hear.

Mike initially joined the reunion in 2005 with the enthusiasm and encouragement of Ray and Colin. He decided to withdraw of his own accord before Flash's first appearance at the Baja Prog Festival in 2005. No one but Mike can say why. He wished the band well as he withdrew. It's assumed it was for very personal reasons.

Something you should also know is that Flash and Capitol Records LOST their court case against a local California band also using the name. Ray says Capitol was over-confident and ill-prepared for the court challenge. It was because they lost that Capitol took the easy solution (without consulting the band), and distinguished the Flash name by adding "featuring England's Peter Banks," and also to help promote Pete's solo album released at the same time on Capitol. It was for no other reason and the band (including Pete, I believe) voiced complaints about it at the time.

Since the release of "In Public," Ray and Colin have been unjustly maligned on all accounts, when the fact is that their music is being exploited by others illegally and without compensation. Colin's good-faith efforts to work with Mizer to make the "In Public" release legal and a joint effort are now being misconstrued unkindly as some sort of tacit approval. And the fact that Mike doesn't seem to care about the injustice of this bootleg release doesn't change the fact that it is illegal. Very little money is involved. But it's wrong. It could have been done with the approval of the band and UMG. Apparently, Pete, George, and Cleopatra Records were all betting that rights holder UMG would look the other way and let them continue to exploit what doesn't belong to them. I wouldn't count on it. Stay tuned. And thanks again for the good wishes.

Michael R.Hough
7/7/2014 11:54:44 pm

Thanks Travis for review. I just wanted to add and uncover the truth here. I didn't join Bennett and Carter BECAUSE OF SHERRY. She doesn't tell the truth, I read recently that she publically stated 'Small beginnings' as my husband wrote that. All one has to do is look @ the songwriting credits and Bennett DID NOT write that song, Again ANOTHER SHERRY NOLAND F...in lie. I was consulted about 'In Public' release and gave it my blessing, why the F... wouldn't I? She DOES NOT SPEAK FOR ME SIR, and the album IS NOT A BOOTLEG neither was it stolen. Again She is full of shit like a Christmas duck....don't trust her words ...thanks Travis

Reply
Kyle Melancon
8/7/2014 05:03:17 am

Mike Hough for the WIN!

Reply
Sherry Noland
8/8/2014 09:11:19 am

Mike's right about one thing: On my personal Facebook page (not the Flash page), I accidentally confused two videos recently found and posted from the same TV show taped in 1973. One was "Children of the Universe", which Ray wrote, the other was "Small Beginnings", which Pete and Colin wrote. I just corrected it. (Thanks for pointing it out, Mike.) It was an honest mistake, however, not a "lie."

Again, I say, the fact that Mike doesn't care about not being included in the preparation of, and proceeds from, this release, doesn't change the facts. Permission was not granted by the band or the copyright holder, UMG. It's a bootleg.

Reply
Sherry Noland link
8/25/2014 11:26:59 am

I'd like to say something in response to those who have expressed concern about "speaking ill of the dead"—Peter.

Over the years, Ray and Colin were silent about problems with Pete that led to the band's break-up. Those old problems and the new ones (planning the "In Public" release, and illegally selling all of Flash's vintage work to Esoteric and Cleopatra on his own) would have also gone without mention if the matters could have been rectified privately. But when the parties involved, including Mr. Mizer, were contacted, they carried on without licensing the material properly, and therefore left Ray and Colin no recourse but to quietly allow their music and performances to be exploited, or to advise their fans and the copyright holder, UMG, about what was happening. They chose to make a public statement. If it were your music, you might have chosen differently. But then, you might not. *(Esoteric has since made some effort to comply.)

I agree with the band's choice and respect them for making it. Artists have a right NOT to be exploited at will by others—even other band members, or by those who consider themselves friends.

It's a sad ending for Peter. He's not served well by "friends" who continue to exploit past misdeeds in his name. Ray and Colin always wished Pete well, no matter what, and would like to have put these matters to rest with Pete's passing. But not at the expense of their own sense of fairness, and the truth.

Reply
Travis
8/25/2014 11:37:43 am

Ms. Noland,
Please discontinue use of my blog site as a forum for "your side of the story." I think I have been courteous. I let you speak your piece but, seriously, enough is enough.

I am an admirer of Peter Banks. I am also an admirer of Mike Hough. I was an am a fan of FLASH. I am friends with George Mizer.
This is all just so you understand my setting.

So...cut it out.

Travis

Sherry
8/27/2014 05:40:13 pm

I appreciate that you've allowed me to correct the record for those who care. I'm even surprised. But if your intention is to be a good music writer, you've let your friendship with Mizer and your admiration for Peter cloud your vision in writing this article.

The music on this release is one thing, and you're entitled to your opinion. As a reviewer, however, you're remiss in not even mentioning the the bass guitar wasn't recorded and is almost completely inaudible throughout. But most important, your article is full of inaccuracies and even some oft-repeated intentional distortions from Mizer. You made no attempt to fact-check first, but swallowed them, and passed them on. Whole sections sound as though they were written by Mizer. This is irresponsible writing.

You make no attempt to explain why George Mizer should be allowed to sell Flash material without the involvement of Carter and Bennett. (THIS is the primary bone of contention, not the title.) Or why Banks should have sold Flash's vintage studio albums to Cleopatra Records, disregarding the rest of the band and copyright. Copyright holder, UMG, has put a stop to it.

There is absolutely no justification for this kind of behavior, which is still going on, and yet you condone it and tell ME "enough is enough." How much truth is "enough"? Which of these facts should I "cut out" saying? How long should stealing be permitted before you say "enough is enough"? Maybe Mr. Mizer feels justified in ignoring Ray and Colin and UMG because he would like some recompense for shelling out lots of cash over the years to help Peter personally, and to buy this tape from someone who did not own the copyright. That was his doing. It doesn't justify selling music you don't own.

I've been polite here, even when wrongly called a liar, without apology. ANY of that slanderous talk is not just "enough," it's too much. How about commenting on that? Since you haven't, I did.

People who care about Flash—all of Flash—have a right to know about this on-going rip-off. I speak for no one but myself, but I'm privy to all these events and every detail. Ray and Colin made their public statements and have moved on to other things, music!

I'm happy to leave it at that. Unless someone posts something else that isn't true...

Sherry

Reply
Travis
8/28/2014 02:15:57 am

Ms. Noland,
Thank you for your kind advice on how to be a good music writer. The intent of my article was to present the wonderful music of the FLASH we all know and love in its final form. Again, I wish Colin and Ray great success.

Incidentally, I think you mistakenly posted the same response twice. I took the liberty of removing one of them. The original remains. I'm not going to delete your content as it is also part of the on-going saga of FLASH. I don't mean that in a snarky way. I sincerely mean that your posts represent a part of the debate and, as such, are valuable.

Best wishes to you,Ray and Colin.

Travis

Reply
Sherry link
8/28/2014 04:57:28 am

Thank you, Travis. (I got an error message when I tried to post my last message, so tried again, and still, it didn't post. Thanks for your help.) There is no "debate," however. I'm correcting facts when I see them, all verifiable for those who wish to take the trouble to know the truth.

For those who would like to talk with the band and keep up to date with the "on-going saga of Flash," you can get all the latest news on their facebook page—a website is coming.
https://www.facebook.com/FlashFeaturingRayBennettColinCarter

Cheers,
Sherry

Reply
Sherry link
8/28/2014 04:58:40 am

Thank you, Travis. (I got an error message when I tried to post my last message, so tried again, and still, it didn't post. Thanks for your help.) There is no "debate," however. I'm correcting facts when I see them, all verifiable for those who wish to take the trouble to know the truth.

For those who would like to talk with the band and keep up to date with the "on-going saga of Flash," you can get all the latest news on their facebook page—a website is coming.
https://www.facebook.com/FlashFeaturingRayBennettColinCarter

Cheers,
Sherry

Reply



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