Peter Banks
Two Sides of Peter Banks

Release Date: 1973 | Tracklist

“Two Sides Of Peter Banks” is the debut solo studio album of Peter Banks and was released in 1973. The line up on the album is Peter Banks, Jan Akkerman, Steve Hackett, John Wetton, Ray Bennett, Phil Collins and Mike Hough.


Banks is, of course, best known as the guy who played guitar on Yes before Steve Howe came into the fold. But, those who only see that part of the picture, though, are missing out on quite a lot. Banks first got his start with Yes’ bassist Chris Squire in the group the Syn. After that, Banks and Squire moved to their next group Mabel Greer’s Toy Shop. Banks left them when Jon Anderson was starting to become a presence on the scene. But, he hooked back up with Squire and Anderson. Then, they had added Tony Kaye and Bill Bruford to the line up and thus, Yes was born. After leaving Yes he formed the band Flash who released three albums before breaking up in 1973. Later in the same year he released this self titled solo album. With it, Banks showed clearly that he had the potential to become an interesting progressive rock solo artist, but strangely, instead of that he chose to disappear from the scene for the rest of the 70’s.

The first thing that jumps out about this album is the impressive list of contributors. Mind you, their contributions are relatively limited, but this confluence of mega stars from the world of 70’s prog rock has to make a fan take notice at least. Their presence reinforces the notion that, at the time, Banks was viewed as a giant in this kind of music, somebody who could draw talent to come work with him, and somebody whose post-Yes contributions require more examination than they might otherwise get. It’s not usual that artists like Hackett (who appears on one track), Collins (who contributes with a lot on drums), Wetton (who appears on the same track as Hackett) and Akkerman (who includes the writing credit for “Beyond The Lonelist Sea” and a three minute number which alternates between moody droning keyboards and guitars that mix acoustic work with quiet sustained electric notes), appear together in the same album.

This is definitely a prog rock album, but it’s much closer to a cross between early Yes and the impending “Larks” era of King Crimson than to the contemporary Yes’ works. It’s entirely instrumental and not at all song based, and its primary purpose seems to be to allow Banks to work in as many of his favoured approaches to guitar playing as he could. This means that album gets a little jammy and rambling in parts and my attention sometimes drifts. But it’s still is a rather enjoyable listen on the whole. While this album isn’t exactly any sort of lost classic, this is definitely a cut above average as far as some Yes’ related solo albums go, and it’s worth hearing. As long as you go, in with proper expectations and don’t expect anything on par with the first Yes’ albums, let alone anything from later. So, you should enjoy this if you’re the type who likes Yes enough to seek out all the Yes’ related material you can find, as I am.

Side one of the album could very well be the best thing Banks ever did after leaving Yes. It’s a bunch of continuously flowing compositions with themes like kings, battles and knights that create a conceptual piece of instrumental guitar based progressive rock with an impressive range of different moods. It starts with a tender and atmospheric opening played on a single electric guitar, undoubtedly by Akkerman, whose guitar style is perfectly unmistakable. From there it goes through rural acoustic duets, heavy riffs, moody improvisations and some jazzy jams. Banks himself also adds some tasty Moog to the sound and one of the main themes is actually played on that instrument. The second side is compositionally less convincing, but it’s still not bad. It starts with “Beyond The Loneliest Sea” that consists of lots of Spanish guitar above Akkerman’s trademark sounds, along with some simplistic chords on piano by Banks. The nearly 14 minute jam “Stop That!” features lots of battles between Banks and Akkerman. However, Akkerman proves, not surprisingly, to be the technically most accomplished of the two, wrenching out lots of fast and virtuoso solos, while Banks most of the time prefers to churn out his typical jazzy chords. “Get Out Of My Fridge” opens with some muscular bass lines, but turns quickly into a jam that sounds quite a lot like the previous one, although 10 minutes shorter.


Conclusion: This album is more a collaboration between Banks and Akkerman than a true solo album. Akkerman has co-write credits on most of the tracks and even a full credit for the acoustic guitar ballad “Beyond The Loneliest Sea”. The interaction of the two guitarists is what really makes this album stand out for me, they’re both good on their own, and they’re great together. It’s a shame that Banks hasn’t really gotten his full recognition as an outstanding guitarist in his own right. This album certainly won’t be to everyone’s taste, as a solo guitar album. Listening to this, I’m reminded of that seemingly long gone era of guitarists, who didn’t need to rely at all on a cadre of effect boxes or studio trickery, but had a command of the instrument that can only be had by playing and playing and playing. It’s really a great album.


Music was my first love.
John Miles (Rebel)

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