Peter Banks creator of the Yes guitar picture
Peter Banks
When one of our
teenage hero’s dies early it is devastating. I was slightly too young to really
feel Jimi’s and Janice’s death. But I am constantly reminded of the sense of
loss I felt when “Koss” Paul Kossoff died. Every year I attend a Fairport Gig
Sandy Denny springs to mind. Who does know where the time goes?
It is all too
often true that when an artist dies, only then do they really gain the
recognition they deserve. Peter mercifully will have known, that whilst he
missed out on Yes at its most successful, he was highly regarded for his
contribution to the bands musical personality.
You can of
course listen to “Yes” and “Time & Word” to understand how he helped define
the role of the guitar player in Yes. Devoid of any R & B his lines were
clean, articulate, jazz informed. He could play long sinuous sustained notes, pick
his way through a playful dribble of Wes Montgomery inspired notes and then articulate
what I describe as a reverse effect violin sound a skill he shared with Jan
Akkerman. What was also lovely about Peter was his wicked sense of musical humour
we know about the Day Tripper riff on the first Yes CD but I suddenly realised the
other day he is playing the Eleanor Rigby tune as he enters a solo run on
Flash's. “Children of the Universe”
If you
really want to understand how crucial a building block Peter was to establishing
the Yes school of music listen to Steve Howe on “Yours Is No Disgrace” It is a straight
forward homage to the guitar picture that Peter had painted for the band. All the
aforementioned qualities are there as well Peter’s dense unorthodox riffing
style which opens up Perpetual Change. Steve
has talked in numerous interviews down the year acknowledging this.
So Peter has
always known how valuable his contribution was to the band and on the eponymously
named first Flash Album you see it come into bloom. Listening to the beautiful
re master which captures that warm musical ambient mix of the original LP he is
on spectacular form. "Dreams of Heaven" is a tour de force and a perfect example
of English Progressive Rock, edgy, demanding full of restless invention and
injected by the original Yes punk energy where all the unorthodoxy and spikiness
is reserved for the music.
Peters main motivation
may have been to show the world that he could do it just as well as Steve, with
the mimicked image of Steve’s guitars on display on the inside leaf of the gate
fold, but who cares what the motivation was, the result was magnificent.
I attended two
live Flash gigs where the band played well and remained tight. However I remember
a review of Derek Jewell’s, like Chris Welch a fan, where he criticised Peter
for a long and indulgent guitar solo which climaxed with him pulling out the
guitar lead. It may have been that kind of remark that led to the tighter
sharper construction of a good deal of the material on "Out of Our Hands" and "Two
Sides". Certainly in the constraints of those compositions back in 1973 he
played better than ever. Interestingly he beat Yes by 5 years to the notion you could make a
great musical statement in less than 15 minutes.
The
carefully orchestrated suite and his playing therein from that third Flash CD
and the first “side” of the solo CD are a glowing testament to a thinking musician’s
response to charges of indulgence.
I have had a
lifelong interest in the music of Yes and whilst I recognise these guys have a
personality outside of the music it is of no interest to me at all.
For me Peter
Banks is defined by what appears on these records I have discussed and in the later
contributions of those who followed in his footsteps. He appears on the first
YES project but he is there on “Yours Is No Disgrace”, he is there on “Cinema”
the atypical segment of a longer piece on 90125 and he informs Clem Clemson on Jon’s
opener to Animation – “Olympia”. They knew where the guitar picture came from,
so do we, and in amongst all the other stuff I am sure Peter did.
Thank you Mr
Banks
Michelle
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