HANDS

With an irregular and sparse discography, Hands have nonetheless remained a solid example of top- notch prog rock from the USA. Hands is an undisputed part of the unsung American prog trilogy of the 70s, together with However and Happy the Man. Their "Twenty-Five Winters" effort, the first for the new millennium, shows the modified line-up (including two founding members from the distant 70s) willingly headlong for the task of creating refreshing music within the genre. It is so thoroughly refurbished that you can't tell that this is the Hands we all had known before: this is prog rock in essence and form, no doubt about it, but now we're witnessing a new road for the new Hands. The album opens up with 'Knock/Enter', a dynamic exercise on country-rock refurbished in a progressive scheme and with a heavily melody-centered focus: the dominant presence of the acoustic guitar guarantees the development of candor, while the impressive violin flourishes set the core for the whole ensemble's energy. Next comes 'Walls', a track that offers a more powerful approach although it preserves much of the melodic vibe that had been present in track 1. 'Walls' sounds to my ears like a hardened Caravan mixed with a bit of classic Kansas. I wouldn't have minded if the first two tracks had been a little more expanded so they could include some guitar or synth solo; both pieces comprise enough effectiveness in their hooks as to allow a more detailed exploration in their motifs. Anyway, they are great tracks. 'Green Room' is a weird, yet soft demonstration of instrumental experimental rock: it features an intro of multilayered guitars on harmonies and lead phrases (that would be Part 1), and then it shifts to a piano-led slow passage on a crepuscular tone, very beautiful indeed (that would be Part 2). 'Dance of Light and Darkness' states a peculiar mixture of Gentle Giant and Beatles-oriented pop-rock, plus a taste of the weirdest side of Tood Rundgren's Utopia: this is what GG should have done after "Interview" if they really wanted to remain interesting while playing the mainstream rock game. 'I Laughed Aloud' is a lovely due of piano and violin that states an inspired exhibition of elegance and constraint: romantic with a slight touch of Gershwin for good measure. The amazing polyphonic 'Zombieroch (Part 3)' bears a very clear title: just like the other Zombieroch pieces, it shows Hands' skill at creating amazing mixtures of Gentle Giant, Happy the Man and Jethro Tull. The lack of a recurrent wind player in Hands at the time makes it necessary to substitute the flute and clarinet sounds for digital equivalents (most likely synthesizers, although it might as well be a Lyricon.). Its 4 ¾ span goes by without the listener noticing: this piece is really engaging in its controlled, complex development. The closing track is the most ambitious composition - the 4 part suite 'Leaving'. The first section starts with a warm piano and French horn duet (with the horn played by guest Chris Dulen), that soon evolves into a fuller arrangement. The following section continues in the same reflective vein, this time featuring an acoustic guitar duo that elaborate soaring arpeggios carefully wrapped under synth layers. The third section finds the band exploring their most aggressive side, stating an original confluence of Gentle Giant and Wetton-Bruford era King Crimson: this section is patently based on the interaction between the multiple guitars and the abundant percussions, built on cadence rather than melody. I only wish the resulting climax had been longer, since the energy seems kind of aborted once we go to the next and last section. The 'Above and Below' section reminds me of classic Yes at their most lyrical, with the synth backup and violin providing an almost real orchestra for the motif's soft development. This is not a totally integrated piece, but it contains excellent progressive ideas. I wish the album had been longer (as well as some individual pieces), but "Twenty Five Winters" is more than just OK, it is really great, a proof of the permanence of prog creativity in veteran prog minds. and hands.

Being a real prog survivor from the 70s and with a wide array of influences and notions in its musical style, it is just a pity that Hands' discography hasn't been so consistent. It is also a miracle that in the idological-commerical circumstances that have shaped the music industry for the last 28 years this band still manages to make music in the new millennium. Not a miracle at all, but an absolute pleasure it is the fact that Hands' 2008 effort Strangelet happens to be one of the most solid and creative albums to be released in the current experimental rock scene. This album features a strong presence of guitars in many places: besides the habitual guitarist, the keyboardist and the bassist als oadd guitar inputs, plus veteran Stick/Warr Guitar player Mark Cook enters the band to make his own contribution. This is also teh first Hands album without a violinist and without a wind player, so I didn't kwno what to expect before getting it, but now I am totally convinced that the band remains as colorful as always, taking advantage of the present instrumental strategy. The opener is a very brief interlude that leads to the monster track 'Dark Matter', which lasts 15 minutes. The first sonorities offer a hybrid of Gordian Knot and Djam Karet, exploring an alternation of exotic Eastern-like textures and dense space rock- influenced passages. The heavy-friendly twists bring occasional ornaments in order to emphasize a sense of extravagance. The bucolic section that gets started at minute 7 bring a stylish serenity that gradually builds the elaboration of another bombastic section. The relatively Yessian epilogue tha tfills the track's last 2 minutes state a contemplative stance, with a cleverly ordained pompous closure. This track is pure progressiveness incarnated in a frame of modern sonic structures - 'Dark Matter' is a world in itself within the world that is Strangelet. 'Tambourin' features the piano on a prominent role: this piece goes to a different mood, combining the jazzy side of Keith Emerson and Happy the Man's lyrical reflectiveness. The instrumental approach takes fair advantage of the 5 ¾ minute span. 'Running Room', with a cadence that bears an unhidden inspiration from The Beatles' psychedelic era, may bring some memories from the early stages of The Flower Kings and Spock's Beard, more specifcially, during its first 4 minutes. Then comes a series of Gentle Giant-like tricks that brings an augmented intensity to the instrumental development, adding a variety so fluidly that it doesn't kill the natural flow. 'Entry of the Shiny Beasts' is based on a playful melodic approach to jazz-rock, stating a midway between late 70s Chick Corea and Happy the Man. 'Miracle in the Mind' offers a semi-acoustic portion that reminds us of a hybrid of King Crimson and Gentle Giant: there is an inevitable weirdness that fills the overall relaxing scheme. Things get more intense with the emergence of a tribal section, in which the plural drumming frenzy is augmented by soundscapes and street noises. The last 2 ½ minutes retake the opening motif with an extra touch of neurosis. But nowhere does this album get as neurotic as in the closing track, 'Rotten', which was recorded libve at Cristal Clear Sound Studios. This is a solid study of Crimsonian tension with a neccntuation of the hard rocking aspect. This album is a must for any lover of prog rock with a tight eclectic approach and abundant traces of creativity: in a few words, good prog rock music. Thsi album is dedicated to the memory of drummer Ian wallace (a friend of the band's), and honestly, I cannot imagine a better tribute than this magnum opus. Write down this item's name - Strangelet... and take into your collection!!

The Texas prog scene has always been reliable and Dallas veterans Hands keep that tradition on track with this 2008 release. In fact, if it's possible for TexProg to have a sound, it would probably be encapsulated by these guys. Guitarist/singer Ernie Myers and keyboardist Michael Clay have been plying their brand of art rock with an edge since the 70s and though generally pegged as 'symphonic', there is a lot more going on. The production is roomy, warm and understated, and the band reflects subtle prog influences while maintaining a fairly original identity. Especially pleasing are the contrasts between Clay's classical piano breaks, Myers' guitar, percussionists Martin McCall & John Fiveash, and Mark Cook (Warr guitar) and Steve Powell (bass) holding the bottom together. Occasional reminders of everyone from the Crims to Rush as well as newer acts like the Flower Kings and even fellow Texans Thirteen of Everything but again, nothing blatant.

An electrical quaver and a distant vibration of alloy puts us on hold until a bit of riffage starts 'Dark Matter', growing into a 15-minute monster of multiple changes, acoustic interludes, hard rock and Myers' slightly nasal sneer. A beautiful jazz line from Clay's piano and some fiery organ/drum exchanges for instrumental 'Tambourin', great prog here with reflective passages of jazzicality and tight playing. Sentimental and odd 'Running Room' vaguely recalls later Beatles with a symphonic facelift and shows this ensemble's wide range. Bouncing 'Entry of the Shiny Beasts' slows enough to allow in a bit more jazz and some fun with the keyboard, the spirit of Roger Waters is invoked for 'Miracle in the Mind' complete with acid freakout, and very Crimsonian 'Rotten' to finish, a pounder with a delicately laced little midsection. Very cool stuff, especially for those interested in contemporary U.S. prog.

This CD compiles a lot of material recorded by Hands in the late 70s. And what is Hands? It is one of the best kept secrets of USA's prog, and let me tell you that it is so unfair that they had to be so secret back in those days (other exceptional injustices that immediately come to my mind are the legendary Happy the Man and the still more obscure However, but now let's focus on this particular band). All tracks comprised in this CD are demos, but many of them really display a good sound quality, and that is particularly relevant for thsi band since the musicians involved were not shy about the use of a varied array of saxes, woodwind and keyboards in each and every track, together with the guitar, bass and drum kit, plus the violin/viola, which elaborates dialogues with the guitar, wind and keyboard alternatingly when not playing a good solo spot. Yes, Hands was as meticulous with the musical arrangements of their material as they were abundant as a line-up (6 or 7 members, depending on the era). Actually, Hands got a recording contract by the time they started recording these demos, but the final process never got to its fruition, and until the band's reunion in the late 90s, this "Hands" CD was the only item available for prog collectors everywhere. This band sure got influenced by their contemporary compatriots of HTM; other influences easy to notice are Gentle Giant, the melodic side of the Canterbury trend (Hatfield & the North, Caravan), the jazzy side of Zappa, PFM, "Songs from the Wood"-era Jethro Tull, Yes. You can even tell there are some Kansas hints for their rockier moments, especially the album's last two tracks. However, these guys were no dilettantes but serious performers/writers who managed to create their own prog voice through their unhidden influences. The instrumental arsenal they used and the controlled way in which the musician integrated their integral performances made their music sound very orchestral, which allowed them to enhance the symphonic side of their musical offer. 'Zombieroch' kicks off thsi album with an undeniable hook, yet bearign enough complexity as to fill the prog mold: mentally picture a mixture of "Free Hand"-era and first album-HTM and you can have a good notion of what this excellent instrumental is about. The same irresistible magic will be repeated in track 3 'Triangle of New Flight'. As a constrast, tracks 2, 4 and 5 step convincingly into the realms of serenity nd introspection, with 'Prelude No. 2' displaying a clear homage to Baroque and the other two tracks built on the melancholic side of jazzy prog (I find 'Mutineer's Panorama' breathtakingly beautiful, powerful despite its patent eerie softness). Later on, 'The Tiburon Treasure' brings another example of genius solemnity with its acoustic guitar-based bucolic aura. 'Mindgrind' is yet another HTM-related adventure albeit with an extra dose of energetic rock. The short tracks 'Greansoap' and 'I Want One of These' bring Celtic and madrigal moods, respectively, in a very polished fashion - pure finesse at writing and performing, this is what Hands is all about at the end of the day. The epic pieces are solid occasions for the band to show how skilled the individuals are and how well-oiled is the team they form: the sense of structure of symphonic prog and the dynamics of jazz-oriented art rock create a solid basis for the togetherness of the various motifs comprised in each epic. 'Dreamsearhc', 'Left Behind' and 'Anctartica' era really awesome, with the latter including some spacey nuances that providing a surprising variation for Hands' usual modus operandi. Since this album is a collection, the repertoire does not get to complety fulfill a sense of consistency, but it is definitely a masterful catalogue of excellent prog music. Hands is a band that should be included in any decent prog collection - the place to start is this particular album.

After almost 25 years, (hence the title) the American progressive band HANDS re-formed and produced a very nice album. With two of the original players, Clay on keyboards and Myers on guitar and lead singing, the newish bands sound is not as progressive as the first album, but it has its moments. It begins with a somewhat Gentle Giantish song with a catchy melody and some weird vocalization half way through. Violin is a lead instrument all over the disc giving it it's American feel, not Kansas but more in an Echolyn smoothed out jazz way. What surprised me was a couple King Crimson type songs, "Dance Of Light and Darkness" sounds straight out of KC's 80's era. Myer's vocals are a bit nasally, but he gets the nuances of Belew's vocals down pat and I love the warped out Frippy guitar work. It's one of my favorite songs on the album. The last song, which is the longest, "Leaving" has a definate Lark's Tongue vibe during the third part of the song, "The Traveler's Lament" with some fantastic drum work by McCall. The balance of the album is made up of some instrumentals that tend to be on the soft side, although "Zambieroch (pt. 3)" is very agressive and fusiony. Overall, a very good, pleasant album. 3.5 stars!

Grab a pot, throw in a load of Gentle Giant, some Camel, a smidgen of Kansas, Jehtro Tull, Happy The Man and King Crimson, add a pinch of Italian symph and you have a stew called Hands. And what a stew it is. These guys from good-ole Texas USA are some incredible players. Every instrument under the sun is played and played with professionalism. Starting out with the track "Zombieroch" a Gentle Giant-like instrumental, you'd swear it was cut from the 'Octopus' lp, it's that good. Most songs are instrumental, especially in the beginning. Of the songs with vocals, "Antartica" is my favorite. In fact, it's the only song that doesn't sound like any other band. And that's the only reason why I give this album four stars over five. It's fine to be able to sound like other bands. But for my money, originality merits masterpiece ratings. The track, "Dreamsearch" is a case in point. Starting out with an incredible take on classic Italian symphonic prog, four minutes in it switches gears into a blazing Gentle Giant boogie to then settle back into the Italian prog sound masterly. Yet, if you played the track not knowing who it was, you wouldn't think, "Oh, that's that band Hands." Come to think of it, the name of the band is rather the point. They dip there hands in all sorts of bands. Maybe they should have been called, 'Chameleon'. I'm not knocking the playing, which is awesome. But derivative, my name is Hands. Still, when compared to other US bands from that era, Hands are tight, talented professional players who, if given time, money and started out earlier could have been THEE best prog band ever from these shores.

YOU gotta hand (sorry) it to SHROOM records....they really have something going...first there was HANDS (1´st) then this their second"Palm mystery"...not to mention ARABESQUE (another fabulous US prog band) and several others. OK, back to HANDS... a US prog band from way back when (then).. their first one from 1977..and a great one it is..this their...ahem ..second....is sort of a compilation...with material extending from 1977...to...1980.....and its actually quite wonderful material. Its amazing that this band could be forgotten such a long time...but now its here...for all prog freaks to enjoy!! So if you really like prog the US way....time schedule concerned, then this is absolutely your cup of ..eh...coffee. Music wise...we are in GENTLE GIANT and other brilliant time- change bands. OK..their first one are my favorite...but this one really seems like a follow- up...even though compilation are the key-word here. IN short..if you like US prog from the 70´ties..then this is certainly for you !! Strongly recommended!!! Oh....and they reformed and made a new album:"Twenty five- winters" in 2002. YES....quite right..its GREAT as well!!

It's pretty sad when you read about how these 70s prog bands spent countless hours composing, practicing, and promoting their music only to find indifference from the general public. This was the case with the Texan band HANDS. The band, made-up of gifted musicians from the same small town, recorded some excellent prog between 1977-1980 only to have to give up because of lack of interest. Their music was inspired mostly by GENTLE GIANT (they got to open for them once!), but I'm sure the other major prog bands were also influences. Each song's multiple sections feature different styles that range from guitar-led riffing, to baroque, to dissonant-prog-funk, to gentle flute/mellotron interludes(which sound very Swedish!). The weakest part for me here are the vocals which sound a bit like John WETTON. But they are far from being mediocre, it's just that WETTON isn't one of my favorite vocalists. This CD is a must for fans of bands like CATHEDRAL, MIRTHRANDIR, and anyone exploring the seventies American prog-scene.

HANDS were a US band from the late 70's (Texas) who managed to record a real charmer with their debut release. For this progressive rock fan, this album is simply indispensable and a real cornerstone in the US Prog genre. As with so many of the US prog acts their music is complex and ever changing revealing elements of GENTLE GIANT, GENESIS, ECHOLYN, JETHRO TULL and even early KANSAS. Instrumentally these lads really shine with tons of exquisite keyboard , bass, drum and guitar work. Other instruments include viola, violin, cello, vitar, quarto, woodwinds and mandolin. Musically HANDS encompass all these instruments to create a vast wall of sounds and tones with a wild mix of symphonic and rock forms. The overall results is a nicely varied album with some wonderfully memorable songs which one can not grow tired of listening to.

This is Shroom Productions best release so far. HANDS were an American band, founded by members from PRISM, who were active between 1977 and 1980. They never released an album back then, but this CD is put together with material from that period. The sound quality is overall very good with a few exceptions. - Their music is a mix between medieval music and progressive rock, mostly instrumental. HANDS have strong compositions and intriguing arrangements and they're reminiscent to GENTLE GIANT, JETHRO TULL, KING CRIMSON, MIRTHRANDIR, PREMIATA FORNERIA MARCONI, and YES. I really like their wide range of musical instruments such as flutes, saxes, oboe, clarinet, various other woodwinds, keyboards, percussion, bass, guitars, drums, trombone, mandolin, viola, violin, vitar, quatro, piano, tubular bells and tuned percussion. - The highlights are the opening Jethro Tull-ish "Zombieroch", "Mutineer's Panorama" with nice Mellotron playing, "Worlds Apart", "Dreamsearch", "Mindgrind" and the epic masterpiece "Antarctica". - This is a forthcoming classic in progressive rock, and the fact that the disc is over 70-minutes long with a 20-page booklet containing pictures, loads of information and a band history, makes it even more valuable. This is an American masterpiece together with MIRTHRANDIR "For You The Old Woman" (1976) etc. Highly recommended and a must have!