Lars Hollmer - XII Sibiriska Cyklar & Vill Du Höra Mer (Sweden 1981 & 1982) [AvantProg] @320K

The title XII sibiriska cyklar allude to the story about the Siberian farmer, who was living so dreadfully far away from everything and everybody, that he spent most of his time walking to his every destination. However, when he at last became tired of these boring time-consuming walks, he sat down and eventually invented a bicycle! Struck with rapture for his ingenious invention, he anxiously straddled his bike and rode into the nearest town. He intend to show and to apply for a patent for his wonderful innovation. When at long last, he reached the town, he shocked to see thousand of bicycles zooming along in the drizzle. Under the grey skies, he then suddenly dies of a heart attack. I don't believe there is a any truth to this story, even though it is worth considering... Anyway I have stolen it from Hasse...
All songs on XII sibiriska cyklar are created by Lars Hollmer, except the lyrics of "Ung Harald" which was written by Dan Andersson and performed by Tomas Ladberg.
XII sibiriska cyklar was recorded in the Chickenhouse outside Uppsala, on Teac 8 track recorder, in June through October 1980 and in March 1981. "Kamelsväng" is a home recording from 1975 and "litet Piano" was recorded on a cassete recorder in 1976. The final mix was made on one hot day and night by Anders Lind and Lars Hollmer in the MNW Studio, in April 1981, and later in the Chickenhouse by Lars Hollmer.
XII sibiriska cyklar was originally released on vinyl by Silence Records in the summer 1981.

Vill Du Höra Mer was recorded during the Spring 1982 (with one exception) in the Chickenhouse, on the same old 8 track recorder. It was mixed by Tomas Gabrielsson and Lars Hollmer in the Chickenhouse, in July 1982. All instruments and vocals by Lars Hollmer, except on "180 sekunder hemma" where Alva, Gabriel, Johannes Strand/Hollmer and Saralotta Jönsson take part.



Tracks 1-13: XII Sibiriska Cyklar (1981)
Tracks 14-28: Vill Du Höra Mer (1982)

01 - Avlägsen Strandvals
02 - Piano De Jugugte
03 - Hajar Du Idealfamiljen
04 - Endlich Ein Zamba
05 - Inga Pengar
06 - Kamelsväng
07 - Ja Änte Flöttar Ja Te Sjöss
08 - Boeves Psalm
09 - Jag Väntar Pa Pelle
10 - Bluesen
11 - 44 Sekunder Köpt Speldosa
12 - Ung Harald
13 - Litet Piano
14 - Starlep Signs
15 - Sweet
16 - Indojazz
17 - Soldaten
18 - En Slags Orfeo
19 - Övergang
20 - Baldis
21 - Retsticka
22 - Dragfragment
23 - Glasmusik & Akarondo
24 - Kuckeliku
25 - Vill Du Höra Mer
26 - 180 Sekunder Hemma
27 - Humanoid Robottango
28 - Finalvals


Lars Hollmer: accordion, keyboards, drums & percussion, vocals, everything else 

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Lars Hollmer - Utsikter (Sweden 2000) [AvantProg] @320K

As the calendar moved from 1999 to 2000, the world looked forward to a new millennium and Lars Hollmer continued as he had for the past three decades — gathering with his musician friends at the Chickenhouse to make music that stands outside of time's passing fads. The result was another fine CD, Utsikter, the 11th disc to be released on Hollmer's KRAX label.
Sonically, Utsikter is one of the Swedish keyboardist/composer's lighter efforts, often tending more toward folk and even neo-classical chamber music flavors rather than prog rock, with his accordion and melodica featured more prominently in the mix than electronic keyboards.
The album also has more of a "band" feel than Hollmer's preceding solo CD, Andetag, recalling elements of the Looping Home Orchestra's Vendelted in its multi-instrumental arrangements, and perhaps foreshadowing Hollmer's next group, SOLA, although without SOLA's electric rock and even fusion edge.
Many longstanding Hollmer collaborators are important contributors to the overall sound, including several — bassoonist/oboist Michel Berckmans, violinist Santiago Jimenez, and bassist Wolfgang Salomon — who appeared on Andetag but play on a larger number of tracks here. The music is of consistently high quality throughout, beginning with the waltzing "Augustins Tema," whose theme first appeared in Hollmer's "Augustin Lesage," a 17-minute multi-tracked suite that closed out the Hardis Bruts various-artists compilation (dedicated to "raw art") on the In-Poly-Sons label.
The comparatively sprightly and detailed arrangement here features prominent violin, bassoon, recorder, and accordion; with its evocative melodies and rhythms skirting the edge between classical romanticism and sprightly European folk, this tune would prove lovely even when revisited again by the duo of Hollmer and violinist Yuriko Mukoujima on 2003's mini-CD Live and More, but the Utsikter version remains definitive thus far. Hollmer permits himself a few moments to cut loose on the melodica over a bubbling groove in the middle section of "Denglad," but as is often the case with him, most of the CD is thoroughly composed.
The intro to "Ambler" is anthemic in its writing yet understated in its delivery — Hollmer at his most quietly powerful — but the tune then segues into an upbeat dance rhythm in a fashion that might surprise only those unfamiliar with this composer's many left turns. "Lädereld" ambles along the trail in 5/4 cowboy mode, echoing Lasse's earlier "Starlep Signs" (minus the yodeling!), while the 7/8 "Südaf" improves on the rougher yet still appealing version first heard on the Vandelmässa CD (and also performed beautifully, complete with a wordless vocal part by Maria Kalaniemi, on the Accordion Tribe CD Sea of Reeds). It should be noted that Utsikter has no "drummer" per se (which may have been the impetus for a jokey track like "Drums, mm...," featuring Hollmer earnestly explaining the positive features of the skins over his decidedly arrhythmic electronic drum bashing). Yet Utsikter is often highly percussive, drawing comparison to Zamlaranamma by the original Von Zamla quartet, which also featured percussion instruments but no one sitting behind a conventional kit.
In fact, "Voilapük" — which first appeared on the Volapük album Polyglot in 2000 with a guest appearance by Hollmer — sounds like a Von Zamla rendition with its bassoon and accordion embellishments, its bed of insistent rattling percussion, and a driving 7/8 meter on the vamp. At the CD's conclusion, "Brev" is chamber music of delicate and wistful eauty, with an underlying two-note motif trailing off in search of resolution it never finds, and the brief title track has a feeling akin to a traditional Celtic air, with a beautiful unison oboe and accordion melody over Hollmer's orchestral keyboard backing. "Utsiker" segues into the final accordion/vocal lullaby "Nån Kanske Vet" ("Someone May Know"), as Hollmer once again demonstrates that writing and performing music of innocence, warmth, and charm is entirely consistent with artistic maturity. Only the immature would feel themselves too mature to enjoy Utsikter's gentle conclusion.
-by Dave Lynch-


01. Augustins Tema (4:06)       
02. Nåt (2:34)       
03. Drums..MM. (1:22)       
04. Denglad (3:21)       
05. Skum (3:00)       
06. Ambler (5:01)       
07. Lädereld (Leather Fire) (2:45)       
08. Nu Räcker Det (It's Enough Now) (1:19)       
09. Lelle Katta (Home Made Holiday) (2:18)       
10. Choleric in Geneva (Live) (0:56)       
11. Voilapük (3:02)       
12. Lat Minut (Lazy Minute) (1:05)       
13. Südaf II (3:53)       
14. Dron (4:28)       
15. Brev (Letter) (5:28)       
16. In Limbo (1:41)       
17. Utsikter...Nån Kanske Vet (Views...Someone May Know) (3:51)


Lars Hollmer: Guitar, Piano, Accordion, Drums, Keyboards, Programming, Whistle (Human), Melodica, Electronic Drums, Mandola, Choir, Chorus, Voices, Piano (Electric), Harmonium, Cymbals, Percussion
Coste Apetrea: Mastering, Six String Banjo
Wolfgang Salomon: Bass, Guitar, Bass (Electric), Bass (Acoustic)
Santiago Jimenez: Mandolin, Violin, Cajon
Matti Andersson: Flute
Michel Berckmans: Percussion, Voices, Gong, Horn (English), Bells, Recorder, Oboe, Bassoon
Kalle Eriksson: Trumpet
Rinda Strand-Hollmer: Choir, Chorus
Alva Strand-Hollmer: Choir, Chorus  

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Lars Hollmer & Looping Home Orchestra - Door Floor Something Window (Live 1992-93) (1993-Sweden) [AvantProg] @320

Lars Hollmer, Swedish king of all things with keys, leads his ongoing, ever-evolving orchestra -- this time starring Fred Frith on guitar -- through a tour of Canada, Sweden, and Germany over two years, no doubt delighting all audiences along the way. Hollmer's music is an amalgam of folk music styles from all over the European region, from polka to klezmer, rock, jazz, and even classical music. Tossed in to the mix is carnival music and incidental film music. Perhaps no one tune is more indicative of "Hollmermusik" than the opening track here, recorded at the Victoriaville Festival and called "Karusellmusik." Accordions, Jean Derome's saxophones, and the twin guitars of Frith and longtime collaborator Eino Haapla create the whirling give-and-take of the carnival carousel as Hollmer's accordion carries a melody worthy of a carny in a comedic horror film. 

Further is the notion of Hollmer's insistence that his music, no matter how out to lunch, be completely accessible for those who may be moved to dance by its pulsating rhythms and nostalgic melodies, even as it points directly into the future where the idea of "folk" music is quickly disappearing into the cross-cultural twilight of miscegenation. This is evident in the lovely vocal "Autumn Song," in which Hollmer's vocal sidles along Frith's shimmering guitar and Haapla's mandola with a concertina to bolster his lilting, frail voice. In its grain is the emotional toll of passage and memory, the knowledge of endings and their bittersweet reveries. This is followed by "Portaletyde," a cut-time dance tune that holds within it the polka and the waltz contained perfectly within the concertina and baritone saxophone.

Three repetitive lines call themselves into being along a melodic line that flows seamlessly from the previous number and pulls the listener into a "let's dance for tomorrow we die" mode of feeling, playing it through just enough times to make it plausible before launching into the operatic and episodic "Ett Tungt OK," a prog rock jam with crescendos that will knock you on your startled ass. Frith (on violin) and Haapla go head-to-head while Hollmer holds down the modal triads that serve as a melodic framework. There is drama, and then there is Hollmer's drama, full of pathos and dark emotion without resolution. The resolve doesn't come until the end of the record in a Fripp/Brian Eno move called "Timlig," where guitars, loops, and piano all meditate on the temporal nature of the riff, each one never quite ending as another takes its place.

Its droning feedback loops the only constant in a shifting mass of airy harmonies and dulcet tones and semi-quavers. A pianistic flourish takes the edge off the guitars temporarily, but this is a bone-cruncher of a finish. It's rock, experimental and otherwise, and you can dance to it if you know how to remove your backbone entirely. When the percussion enters the tune, the entire thing is awash in emotional chaos and somber processional grace. The baritone saxophone creates a melody out of thin air, staunchly striding ahead of the drones and feedback. It's a breathtaking, anthemic ending to a startling program.


01. Karusellmusik (3:28)
02. Utflykt Med Damcykel (5:13)
03. Franklat (2:59)
04. Quickstep (5:56)
05. Moloken (2:37)
06. Parallell Angostura (3:47)
07. Eyeliner (2:51)
08. Teatime (In Berlin) (4:37)
09. Höstvisa (Autumn Song) (5:04)
10. Portaletyde (3:23)
11. Ett Tungt Ok (4:52)
12. Zanzibar (2:55)
13. Plinga (6:55)
14. Finalvals (3:33)
15. Timlig (Temporal You Are) (5:08)

 
Lars Hollmer: Keyboards, Accordion, Melodica, Voice
Lars Krantz: Electric Bass, Electronic Drums [Midi Percussion], Glockenspiel
Eino Haapala: Electric Guitar, Mandola
Fred Frith: Electric Guitar, Violin
Jean Derome: Flute, Baritone Saxophone, Alto Saxophone, Soprano Saxophone
Olle Sundin: Piano, Percussion

Tracks 1 to 3, 5, 6 recorded live in Victoriaville (Canada), track 4 in Uppsala (Sweden), track 9 in Linköping (Sweden), track 7 in Moers (Germany), track 8 in Berlin (Germany), track 12 in Hannover (Germany) and tracks 10, 11, 13 to 15 in Ulm (Germany).
Edited and mixed in the Chickenhouse II, Summer 1993.
Final mix at Studio 270, Montréal.

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Fanfare Pourpour & Lars Hollmer - Karusell Musik (Canada/Sweden 2007) [AvantProg] @224

Brilliant composer and accordionist Lars Hollmer performs his wonderful tunes with a 20 piece orchestra, with the arrangements by Jean Derome. Great melodies, wonderful orchestrations and arrangements and a the amazing sound that only a large ensemble can produce. Highly recommended!

"Recorded “live” in the studio, Karusell Musik delivers 17 compositions by and with Swedish accordionist Lars Hollmer, orchestrated by Jean Derome for the Fanfare Pourpour. The Fanfare — an authentic large dance ensemble like they don’t make ’em anymore, with a brass section, saxes, clarinets, guitars, banjo, accordions, violins, and percussion — invites you to discover or rediscover the songs and tunes of Lars Hollmer. Lars Hollmer has travelled the world with his timeless melodies full of naive beauty and dancing lyricism, in a number of musical projects. Egged on by Jean Derome, the Fanfare Pourpour embarked on this adventure with Hollmer. In October 2006, Hollmer was back on Québec soil for a week of rehearsals and recordings: the Fanfare backing up Lars; Lars writing for the Fanfare. A double rapture where the Swede’s tunes find a new home and the Quebecois Fanfare is given pieces that were clearly meant for it.

01 - Ännu Ingen Pelle
02 - En grekisk faster
03 - Änte Flöttar ja te sjöss
04 - Arvevals
05 - Karusell musik
06 - Inte Quanta
07 - Avlägsen strandvals
08 - Skiss Mellan Brest och Segosero
09 - Experiment
10 - Cirkus 1
11 - Cirkus 2
12 - Sarasnoa
13 - Eyeliner
14 - Det måste bli gjort
15 - Boeves Psalm
16 - Pompen
17 - Simfågeldans

 
Lars Hollmer: Accordion, Composer, Vocals, Voices, Melodica, English Translations 

Jean Derome: Flute, Piccolo, Sax (Alto), Sax (Baritone), Orchestration, Mixing, Musical Direction 
Luzio Altobelli: Accordion 
Lou Babin: Accordion 
Suzanne Babin: Clarinet 
Marie-Soleil: Bélanger Violin 
Eric Bernard: Guitar, Mandolin 
Guido Del Fabbro: Violin, Violone 
Jacques Duguay: Percussion, Grosse Caisse 
Normand Guilbeault: Bass, Contrabass 
Roy Hübler: Banjo, Guitar 
Nicolas Letarte: Cymbals, Caisse Claire 
Stéphane Ménard: Sax (Baritone), Sax (Tenor) 
Pierre Emmanuel Poizat: Clarinet, Clarinet (Bass), Vocals, Voices 
Jean Sabourin: Trumpet, Sousaphone, Trumpet (Bass) 
Pierre Tanguay: Percussion 
Némo Venba: Trumpet, Vocals, Voices 
Claude Vendette: Flute, Sax (Tenor)  

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Tony Levin, David Torn & Alan White - Tony Levin, David Torn & Alan White (2011 England) [AvantProg] @320

The new instrumental progressive rock album "Levin Torn White" is the kind of complex, intelligent, and experimental album that makes journeys into the genre rewarding and surprising. "Levin Torn White" is composed of Tony Levin on bass guitar and chapman stick, David Torn on guitar, and Alan White playing drums. On opening track "No Warning Lights", the calm, unfamiliar background noise gives way to a frantic drum and bass assault that sounds like the Space Mountain ride hurtling to hell. Tracks such as "Ultra Mullett" have an electronic, futuristic pulse that recalls the type of aggressive ambient work Brian Eno created on albums including "Spinner" with Jah Wobble and last year's "Small Craft on a Milk Sea" with Jon Hopkins. "Convergence" and other tracks have a more meditative and moody atmosphere. Most of the 14 songs on "Levin Torn White" have sudden shifts in tempo and rhythm. Songs like "Prom Night of the Centipede" hurl forward only to abruptly slow down and speed up again. The sudden changes in speed and how carefully they are handled are a testament to the dexterity and skill of these three expert musicians. "Levin Torn White" is a rich, textured instrumental album, and a fine addition to any prog rock fan's music collection.
"Aden Jordan "


01 - No Warning Lights
02 - Ultra Mullet
03 - White Noise
04 - The Hood Fell
05 - Monkey Mind
06 - Cheese It the Corpse
07 - Convergence
08 - Pillowfull of Dark Dreams
09 - The Egg Man Comith
10 - Sleeping Horse
11 - Prom Night of the Centipedes
12 - Crunch Time
13 - Brain Tattoo
14 - Lights Out


Tony Levin: bass and Chapman Stick
David Torn: guitar and textural events
Alan White: drums and percussion

Pikapika TeArt - Moonberry (2010 Russia) [AvantProg] @320

PikaPika Teart is an absolute novelty for RIO fans. Explicitly following the tradition of great groups from the ’70, such as Henry Cow, these guys from Krasnoyarsk, Siberia, are proposing an original blend of acoustic and electric sounds, rock features and structured note-by-note written music. For AltrOck is an occasion to release a really interesting band coming from an «exotic» area of the world, unless forgotten, or forced to silence; for Pikapika, the chance to come out of Siberia and instantly go «into the world». Significantly, their music matches a modern musical language and the traditional music of their region, following the teachings of Russian masters like Stravinskij and Schostakovich: a good way to preserve local treasures and global visibility.

Influences: Henry Cow, Rational Diet, Stravinskij, Schostakovich, Anekdoten, King Crimson.


01 - Slavyanskaya 1
02 - Shifting Sands of Time
03 - Endless Chant of the Sliding Bridge in the Declining Day Twilight
04 - Rekrutskaya
05 - Slavyanskaya 3
06 - Project X
07 - For Glass
08 - Svadebnaya
09 - Slavyanskaya 5
10 - ProeMen. Glare of Sunlight
11 - Moonberry
12 - Plyasovaya
13 - Slavyanskaya Prazdnichnaya


Bulatov Maxim: Bass
Nikitin Roman: Guitar
Bushev Pavel: Guitar
Kryazhev Evgeniy: Drums
Amelkov Sergey: Clarinet, Bass clarinet
Bulatova Marina: Vocal
Guests:
Shapovalova Nastya: Violin (1,2,6,9,10)
Ziborova Olga: Viola (3,5,7,11,13)

Peter Banks - Two Sides Of Peter Banks (1973 England) 2010 Remaster SHM-CD [ProgRock] @320

Talk about an eclectic album! Ex-Yes and Flash guitarzan Peter Banks really spilled his beans here, putting together a VERY original album with his mates from Flash (no Yes members invited, ah, such bitterness!!!) and a few choice guests: the fuzzy bass of John Wetton, the rythmic gymnastics of "Uncle" Phil Collins (back in the days when he was a gloriously talented drummer) and, last but not least, the unique guitar styles of Steve Hackett and Focus' Jan Akkerman (back in the days when he was a gloriously talented guitarist). With all this supremo talent, Banks sort of takes a back seat. "The White House Vale", "Knights" and mostly the full tilt improvised gem/jam "Stop That"are the highlights here, giving the guests a chance and a platform to let down their fairly long hair and just rip! Yeah, this is not your "perfect prog produced to perfection master opus" but it has a charm that has stood the test of time and still ellicits smiles, cheers and the occasional goose bumps. 

In many ways, the album's black, white and grey cover really sets the mood as this is no technicolor masterpiece! It's raw, slutty, dirty, visceral, angry, moody and My, my, that Akkerman could certainly play a mean guitar! Perhaps not a classic but definitely a showpiece for some inspired playing and a rare glimpse into Banks' rather odd career.


1. Visions Of The King (1:23)
2. The White House Vale (7:13)
- a. On The Hill
- b. Lord Of The Dragon
3. Knights (6:14)
- a. The Falcon
- b. The Bear
4. Battles (1:38)
5. Knights (Reprise) (2:11)
6. Last Eclipse (2:25)
7. Beyond The Loneliest Sea (3:06)
8. Stop That! (13:47)
9. Get Out Of My Fridge (3:20)


Peter Banks: electric and acoustic guitar, ARP, Minimoog, and Fender piano
Jan Akkerman: electric guitar (1,4,6,8,9), acoustic guitar (7)
Ray Bennett: bass guitar (3-5,8,9)
Phil Collins: drums (4,5,8,9)
Steve Hackett: electric guitar (5)
Mike Hough: drums (3)
John Whetton: bass guitar (5)

Flash - Out Of Our Hands (1973 England) 2010 Remaster SHM-CD [ProgRock] @320

What do chess and an interstellar messenger of peace have in common? Nothing, I'd venture, but it didn't stop Ray Bennett from laboring on this stellar concept album all the same. Like any FLASH album, the comparisons to early YES are invited and no doubt appreciated. There are plenty of moments here that'll transport you to strange new places, provided you're willing to put in the same amount of effort you did on "Tales of Topographic Oceans".

Bennett and Peter Banks in particular connect on some passages that click as well as Chris Squire and Steve Howe. It occurs to me when I listen to "Out of Our Hands" that this might be the lost YES album I've been looking for. Certainly it's closer to the mark than Steve Howe's Beginnings, In The Can or Two Sides of Peter Banks. Almost every song on here has some redeeming moment of magic, from the opening of "The Bishop" (which prefigures Gang of Four by at least a few years) to the tripping guitar lines on "Dead Ahead". Maybe I've grown used to Colin Carter's voice by now but he does seem better suited to the music this time, suggesting Jon Anderson's voice with clipped wings. Where Anderson soared, Carter is entrenched, holding steadfast in the midst of Banks' acrobatic leads and Bennett's bold bass lines.

The result is a style that produces some fine moments, including "Man of Honour", "Shadows" and delightful "Psychosync". As busy as Bennett is with writing most of the material and playing bass, his keyboard contributions are cursory, which results in some missing music. If sections feel like they need to be fleshed out on occasion, it's to be expected with FLASH. Their purpose was never to replace YES, but rather to build something different from the same foundation. Sadly, "Out of Our Hands" was their last album, and another avenue to nirvana was closed. This record (and, in fact the entire FLASH catalog) are well worth rediscovery -- the Dead Sea Scrolls of the Yesstory, in a manner of speaking.


01. Open sky (0:40)
02. None the wiser (King) (3:17)
03. Farewell number one (Pawn) (1:37)
04. Man of honnor (Knight) (4:45)
05. Dead ahead (Queen) (4:38)
06. The Bishop (4:21)
07. Psychosync (Escape) (4:50)
08. Manhattan morning (Christmas '72) (6:24)
09. Shadows (It's you) (3:20)


Peter Banks: Peter Banks / guitars, Moog & Arp synths, banjo, backing vocals
Ray Bennett: bass, piano, clavinet, Mellotron, Arp synth, accoustic guitar, banjo, backing vocals
Colin Carter: lead vocals
Micheal Hough: drums, congas, tablas

Flash - In The Can (1972 England) 2010 Remaster SHM-CD [ProgRock] @320

This second FLASH`s album was recorded as a quartet. Keyboard player Tony Kaye, who never was an official member of the band and who was only a guest on their first album, didn`t participate in this album and went to form his own band called BADGER. So, this album has a lot of guitars and very few parts on which Peter Banks plays the ARP synthesizer.

I think that it is unfair to underrate Peter Banks as a guitarist, because in this album he also shows that he is a very good guitarist with his very own style. Bassist Ray Bennett, who also was the main composer of the songs in this album, also shows that he is a very good bassist, and there are some similarities between his sytle of playing the bass with the styles of John Entwistle and Chris Squire. Singer Colin Carter is also good, and there are some very good vocals arrangements done with Banks and Bennett. Drummer Michael Hough is a more "Rocker" drummer, but he also plays some interesting things.

"Lifetime" and "Monday Morning Eyes" are, IMO, the best songs in this album. I think that FLASH deserves more respect as a band, because this album, despite the lack of a keyboard player, shows them as a very good Progressive Rock band.


01. Lifetime (10:05)
02. Monday morning eyes (5:03)
03. Black and white (12:04)
04. Stop that banging (1:50)
05. There no more (11:35)


Peter Banks: acoustic electric & Spanish guitars, Hooter, ARP synth, backing vocals
Ray Bennett: bass, acoustic guitar, backing vocals, lead vocals (2)
Colin Carter: vocals, percussion
Mike Hough: drums, percussion, cymbals, badinage

Flash - Flash (1972 England) 2010 Remaster SHM-CD [ProgRock] @320

This is an album clearly made in the shadow of that great progressive rock band Yes. However, unlike Starcastle and other such followers, Flash have a genuine excuse. The band was founded by Peter Banks and Tony Kaye, both of whom were unceremoniously ditched by Yes despite also being founder members of that esteemed group. While it's hard to dispute the fact that both Banks and Kaye were replaced by superior musicians (Steve Howe and Rick Wakeman respectively), neither deserved to be treated with such disrespect, and this album is an excellent riposte to their critics.
Flash preserves that sound of 60s Yes which somewhat ironically reached its zenith on 1971's The Yes Album. Small Beginnings in particular is an epic track which could have slipped quite comfortably onto that masterful album. It has all the hallmarks, with storming riffs (with some of Banks's best ever playing), an inventive rhythm section (bassist Ray Bennett and drummer Mike Hough), and even a nice organ solo from Kaye, while vocalist Colin Carter sounds very much like Yes frontman Jon Anderson.

01 - Small Beginnings
02 - Morning Haze
03 - Children Of The Universe
04 - Dreams Of Heaven
05 - The Time It Takes


Peter Banks: acoustic electric & Spanish guitars, Hooter, ARP synth, backing vocals
Ray Bennett: bass, acoustic guitar, backing vocals, lead vocals (2)
Colin Carter: vocals, percussion
Mike Hough: drums, percussion, cymbals, badinage
Tony Kaye: organ, piano, ARP synth