Guitarist Pete Carr is primarily known as a session guitarist and a member of the Muscle Shoals Rhythm Section. His résumé also includes being a member of Duane & Gregg Allman’s Hourglass, and he had the right of first refusal as the Allman Brothers Band's second lead guitarist -- they asked Dickey Betts when he turned them down. Carr has played on dozens, if not hundreds, of recordings by everyone from Rod Stewart and Bob Seger to Bobby Womack, Wilson Pickett, and Willie Nelson, to mention a few. Carr has two solo recordings under his own name, the first, Not a Word on It, was issued in 1975. Multiple Flash appeared in 1978; both were issued by Atlantic. Carr wrote five of the seven tracks on the set and produced it. It is an uneven program that features a collection of atmospheric rock tunes (“Someday We Will”) where Carr sounds a lot like Roy Buchanan, and funkier R&B-styled Southern-fried workouts (“Multiple Flash”), with some more pop-styled funk-rock and vocals (“Take Away the Wheels"). The first cover on the set is an unlikely, breezy, jaunty reading of “Canadian Sunset” with fretless bass making it an unlikely pick -- but a good one nonetheless -- for the club dancefloor. The album’s indisputable highlight is an extended reading of Bob Dylan's “Knockin’ on Heaven’s Door” that clocks in at over nine minutes. This last track, despite his mediocre vocals, offers the best-case scenario for him as a bona fide inventive guitar hero with a stellar, biting, individual voice. He plays with taste, accuracy, invention, and truckloads of feeling. The reggae interlude in the middle of the cut with Randy McCormack’s B-3 and Rhodes piano is an excellent counterpart to Carr's wailing, single-string playing and full-chord vamps. Indeed, thanks to more progressive-minded DJs, this track was a minor sensation and prompted the few who actually bought the album.
AllMusic Review by Thom Jurek