All About Jazz

http://www.allaboutjazz.com/reviews/r1199_153.htm

By John W. Patterson

          

Richard “Cool Beans” Patz should be considered the “T Rex” of dinosaur hunters at Shroom. He has dedicated his tireless energies to unearthing, rediscovering, and offering the waiting-for-cool-stuff, world lost “dinosaurs” of treasures of ‘70s fusion, prog rock, and other such eclectica. Having first reviewed Hands’ Palm Mystery which followed this release, I was eager to hear more of this exceptional band’s music.

I was not to be let down — plenty of quality musicianship here! I again heard rockin’ fusion and mellow acoustic guitar, strong keys, tight bass, great drumming, lilting flute, tender vox, and of course jazzy, folk rock fiddling. Hands is Canterbury meets Dixie Dregs with flashes of vintage Jean-Luc Ponty. Listen closely for echoes of Jade Warrior, National Health, PFM, Arti + Mestieri, Hatfield and the North, Genesis, Kansas, Flying Island, and Tull. They wax their most ambitiously symphonic prog on the 10:29 “Antarctica”. I found “The Tiburon Treasure” a delightful vignette of acoustic guitar and violin. Best cuts for general rocking out and flat out furious fusion are “Castle Keep”, “Mindgrind”, and “Zombieroch”. The remainder of this release is predominantly toned down and contemplative with songs like “Dreamsearch” — that even your non-prog, girlie friend/soulmate will enjoy. I highly recommend this release for a sweet taste of “what was but never came to truly be — until now”. Thanks again, Mr. Shroom.

Style: Fusion/Progressive Rock | Published: November 01, 1999

All Music

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3jfpxqy0ldje

by Cesar Lanzarini

The music of this CD (a mix between medieval music and progressive rock, mostly instrumental) was skillfully played but highly derivative of one or two British prog bands. Hands took their influences from a variety of bands and used them in a way that was often quite original. Almost all of the band's six core members were multi-instrumentalists and a large cast of guest contributors appears as well, so in addition to the usual drums/bass/electric and acoustic guitars and keyboards there are also a lot of violin and woodwinds on the album. Vocals of inconsistent quality appear on about half of the tracks. There is quite a bit of variation within this collection, and naturally some lack of cohesion, but almost all the tracks work very well taken individually. This is a classic in American 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.

Arlequins (in Italian)

http://www.arlequins.it/pagine/articoli/alfa/corpo.asp?iniz=H&fine=I&ch=1288

review of: Hands-Hands (re-issue)

Quanti di questi gruppi sono esistiti, in America o altri posti del mondo? Gruppi di cui non si è mai saputo nulla perché non hanno lasciato tracce ufficiali dietro di sé? Gruppi di cui ci stupiamo e ci entusiasmiamo al momento in cui qualcuno riesce a ripescare documenti sonori registrati chissà dove. I Prism erano un gruppo di hard rock di Dallas (Texas) attivo alla metà degli anni '70 che caratterizzava già la propria musica con sonorità e ritmiche strane per un gruppo rock convenzionale (se pensate al Texas, cosa vi viene in mente, musicalmente parlando? Country e ZZ Top...), tanto che nel documento live qui in esame è presente anche una cover dei King Crimson ("The great deceiver"). Non siamo di fronte a niente di imperdibile, ma la buona qualità sonora ci consente di apprezzare un buon gruppo che cominciava a muovere i primi passi e che nel 1977, dopo vari cambiamenti di formazione, cambia il proprio nome in Hands, cambiando altresì obiettivo musicale... e qui ritorniamo al discorso iniziale: è mai possibile che avremmo potuto non sentir mai parlare di questo gruppo? King Crimson, Kansas, Jethro Tull, Yes, EL&P, PFM... le influenze degli Hands parlano di queste bands, ma il modo in cui sanno mettere in pratica queste influenze è bellissimo, a tratti entusiasmante. E' straordinario come il gruppo sappia integrare alla perfezione la strumentazione classica di un gruppo rock con flauti,viola, violino, oboe... senza che il tutto si faccia pesante, anzi mantenendo una certa allegria di fondo nelle ritmiche. Senz'altro non posso che sconfinare nei più biechi luoghi comuni (ma quanno ce vo', ce vo'!): un cd consigliato!

Alberto Nucci

Babel Fish translation:

How many of these groups have existed, in America or other places of the world? Groups of which never it has not been known null because have not left official traces behind of himself? Groups of which we are astonished and us entusiasmiamo at the moment in which someone it succeeds goodness knows to find again recorded sonorous documents where. The Prism was a group of hard rock of Dallas (Texas) active to the half of the years ' 70 that characterized already own strange music with sonorità and ritmiche for a conventional group rock (if thoughts to Texas, what comes to you in mind, musically speaking? Country and ZZ Top…), a lot that in the document live under investigation is present here also a cover of the King Crimson (" The great deceiver"). We are not of forehead to nothing of imperdibile, but the good sonorous quality concurs to us to appreciate a good group that began to move the first steps and that in 1977, after several changes of formation, also changes own name in Hands, changing objective musical… and here we return to the speech begins them: it is never possible that we could not have never felt to speak about this group? King Crimson, Kansas, Jethro Tull, Yes, EL& P, PFM… the infuences of the Hands speaks about these bands, but the way in which knows to put these infuences practically is beautifulst, at times entusiasmante. E' extraordinary as the group knows to integrate to the perfection the classic instrumentation of a group rock with flauti, viola, violino, Oboe… without that all make yourself heavy, indeed maintaining a sure joy of bottom in the ritmiche. Senz' other I cannot that to sconfinare in the more biechoes common places (but quanno ce vo' , ce vo'): a cd advised! 

Alberto Nucci

BABYBLAUE (in German)

http://www.babyblaue-seiten.de/index.php?albumId=1458&content=review

Von: Ralf Damaschke  (Rezension 1 von 2)

Bei dieser CD handelt es sich um die erste in einer Reihe von Sammlungen mit Archivmaterial der texanischen 70er Jahre-Prog-Band Hands, die das kleine Label Shroom Productions veröffentlicht hat. Die Scheibe stieß bei ihrem Erscheinen auf sehr positive Reaktionen, so daß bis heute 3 weitere derartige Platten veröffentlicht wurden und sich einige der ehemaligen Bandmitglieder sogar zu einer Reunion zusammenfanden ("Twenty Five Winters", das erste reguläre Album der Bandgeschichte, erschien 2002).

Wer sich dieses Album zu Gemüte führt, kann leicht erkennen, warum Hands inzwischen recht beliebt geworden sind: die Band spielt eine vielschichtige und detailreiche Variante des klassischen Progs, die aber eher selten schräg oder vertrackt daher kommt und damit sowohl Anhängern komplexerer als auch melodischerer Töne munden dürfte. Oft werden sie als die "melodischeren Gentle Giant" angepriesen, was auch eine durchaus passende Beschreibung ist.

Denn Hands machen ebenfalls starken Gebrauch von akustischen Instrumenten wie Piano, Geige, Flöte und A-Gitarre und haben offensichtlich gut aufgepasst, als in der Schule klassische Kompositionstechniken durchgenommen wurden. Statt des Barock-Touches der sanften Riesen macht sich bei Hands allerdings ein deutlicher Folk-Einschlag bemerkbar und die Musik ist, wie gesagt, ruhiger und eingängiger. Die gelegentlichen Versuche, wirklich vetrackte, rockige oder bombastische Passagen in der Art ihrer großen Vorbilder zu spielen, wirken fast immer auch reichlich unbeholfen, während die Texaner in den harmonisch und locker fließenden, von einprägsamen, gänzlich unpeinlichen Melodien getragenen Passagen durch eine spannende Interaktion der einzelnen Instrumente und geschmackvolle Arrangements auftrumpfen können.

Die längeren Stücke kranken im übrigen auch bei Hands an der typischen Prog-Schwäche mangelnden Zusammenhangs der verschiedenen Songteile. Hinzu kommt, daß sich durch die lose Zusammenstellung der Aufnahmen kein geschlossener Gesamteindruck einstellt, wobei die CD durch die Homogenität des Materials jedoch auch nicht zerrissen wirkt. Die Leistungen der Musiker und die Soundqualität geben (bis auf die beiden clever als Bonustracks ausgewiesenen Songs) weder Anlaß zur Klage noch zu Freudensprüngen. Ein Lob gebührt Shroom Productions für das dicke Booklet, das dank einer ausführlichen Beschreibung der bizarren Bandgeschichte die optimale Einführung in die Welt dieser interssanten Formation darstellt.

Insgesamt offenbart diese Sammlung also eine ganze Menge Potential, das leider nur teilweise, dann aber mit einem umso schöneren Ergebnis, realisiert wurde. Ich mag's, gerade auch wegen des unschuldig-amateurhaften Charmes dieser Aufnahmen.

Babel Fish translation:

Of: Ralf Damaschke  (review 1 of 2)

With this CD it acts around first in a set of collections with archives material of the Texan 70's year Prog volume Hands, which published the small label Shroom Productions. The disk pushed with its appearance on very positive reactions, so that to today 3 further such plates were published and some the former volume members even to a Reunion together-found themselves (" Twenty Five Winters" , the first regular album of volume history, appeared 2002).  Who leads itself this album to mind, it can recognize easily why Hands became quite popular in the meantime: the volume plays a multilayered and highly detailed variant of the classical Progs, which vertrackt however rather rarely diagonally or from there comes and so that both supporters of more complex and melodischerer tones might munden. Often they are " as; melodischeren Gentle Giant" angepriesen, which also a quite fitting description is.  Because Hands make likewise strong use of acoustic instruments such as pianos, violin, flute and A-guitar and obviously well watched out, when at school classical composition techniques were through-taken. Instead of the baroque Touches of the gentle giants however a clear Folk impact becomes apparent and the music is, as said, calmer and more in-usually with Hands. The occasional attempts, really vetrackte, to play rockige or bombastische passages in the kind of their large models work nearly always also plentifully clumsily, while the Texaner can play trumps into that harmoniously and loosely flowing, from stamping seed, completely unpeinlichen melodies carried passages by an exciting interaction of the individual instruments and tasteful arrangements.  The longer pieces of ill connection of the different Songteile lacking im übrigen also with Hands the typical Prog weakness. In addition it comes that by the loose composition of the photographs no closed general impression adjusts itself, whereby by the homogeneity of the material however also torn does not work the CD. The achievements of the musicians and the sound quality give (up to both smart song proven as bonus TRACKs) neither cause for the complaint nor for joy leaps. Praise is entitled to Shroom Productions for the thick Booklet, which represents the optimal introduction to the world of this interssanten formation owing to a detailed description of bizarre volume history.  Altogether this collection reveals thus a whole quantity potential, which was realized unfortunately only partly, then however with the more beautiful result. I mag' s, straight also because of the innocent-amateurish charm of these photographs.

BABYBLAUE (in German)

http://www.babyblaue-seiten.de/index.php?albumId=1458&content=review

Von: Achim Breiling  (Rezension 2 von 2)

Eine melodischere Version von Gentle Giant? Ja, das passt ganz gut, wenn man sich die vielschichtigen Vokallinien der Engländer wegdenkt, dafür aber noch einen Schuss Camel oder Caravan, etwas Jazzrock, Jethro Tull und King Crimson dazugibt (gerade der Gesang erinnert mich stellenweise, in "Dreamsearch" z.B., an John Wetton) und das Ganze mit einer Prise franko-kanadischem Symphofolkprog verrührt. Eine weniger bombastische, dafür verspieltere und folkigere Ausgabe von Happy The Man vielleicht?

Wie auch immer, Hands spielten in der zweiten Hälfte der 70er Jahre (erst unter dem Bandnamen Prism, dann eben als Hands) hervorragenden klassischen Prog, der sehr melodisch, aber gleichzeitig komplex aus den Boxen fliesst. Leider war die Band mit ihrer speziellen Mischung etwas spät dran (die auf "Hands" zu findenden Aufnahmen stammen aus den Jahren 1977-80), so dass sie in der sich aufbauenden Discowelle einerseits und den wüsten Strömungen von Punk- und New Wave sang und klanglos untergingen, ohne je ein Album produziert zu haben. "Hands" versammelt eine Ladung von Demoaufnahmen aus dieser Zeit, die aber - bis auf die letzten beiden Bonustracks - von durchaus sehr guter Klangqualität sind.

Natürlich hat Ralf recht wenn er meint, dass hier nicht alles perfekt ist. Allerdings muss man auch berücksichtigen, dass es sich eben nur um Demoaufnahme handelt, die nicht bis ins Letzte ausgefeilt sind. Trotzdem halte ich die hier vorzufindende Musik für sehr reif, professionell gemacht und virtuos vorgetragen. Dazu kommt noch, dass das Ganze eben nicht auf "Hochglanz" produziert wurde und dabei einen gewissen rauhen, aber frischen Charme behalten hat. Viel Musik bekommt man schliesslich auch noch fürs Geld.

Kurzum, "Hands" bietet schönen klassischen Prog der 70er, der mir sehr viel Spass macht. "Live 75-77" von Prism habe ich 9 Punkte gegeben. Da muss ich hier noch etwas dazugeben!

Babel Fish translation:

Of: Achim Breiling  (review 2 of 2) 

A melodischere version of Gentle Giant? Yes, completely well, if one excludes oneself the multilayered vowel lines of the Englishmen, for it however still another shot Camel or caravan, something jazz skirt, Jethro Tull and King the Crimson fits to it-given (the straight singing reminds me in parts, in " Dreamsearch" e.g., at John Wetton) and the whole with a prize franko Canadian Symphofolkprog mixes. A less bombastische, expenditure of Happy The one, folkigere more playful, but and, perhaps?  However, Hands played outstanding classical Prog, which flows at the same time very melodisch, but complex from the boxes in the second half of the 70's (only under the volume name Prism, then evenly as Hands). Unfortunately those was somewhat late volume with their special mixture to (" on; Hands" for finding photographs originate from the years 1977-80), so that it sang to the wild currents of Punk and new Wave in developing the Discowelle on the one hand and went down soundless, without ever an album to have produced. " Hands" meets a load of demo photographs from this time, which are however - up to the last two bonus TRACKs - from quite very good sound quality. Naturally Ralf has quite if it means that everything is not perfect here. However one must also consider that it concerns evenly only demo admission, which not until in the latter are sophisticated. Nevertheless consider I the music which can be found here very ripely, professionally made and virtuos spoken. In addition it comes still that the whole " evenly not on; Hochglanz" one produced and a certain rough, but fresh charm kept. One finally also still receives much music for the money.  In short, " Hands" offers beautiful classical Prog of the 70's, which makes very much fun for me. " Live 75-77" from Prism I gave 9 points. There I must to it-give here some more!

Buddy Magazine

(Dallas, Texas)

“...it appears that Hands’ time has finally come, twenty years after these intriguing songs were recorded. The funny thing is, they don’t sound twenty years old, either. What a bizarre concept; progressive rock is as timeless as the blues.” - Rick Koster

Eclectic Earwig Reviews

http://www.eer-music.com/reviews/hands.html

Richard “Cool Beans” Patz should be considered the “T Rex”of dinosaur hunters at Shroom.

He has dedicated his tireless energies to unearthing, rediscovering, and offering the waiting-for-cool-stuff, world lost “dinosaurs” of treasures of ‘70s fusion, prog rock, and other such eclectica. Having first reviewed Hands’ Palm Mystery which followed this release, I was eager to hear more of this exceptional band’s music.

I was not to be let down -- plenty of quality musicianship here! I again heard rockin’ fusion and mellow acoustic guitar, strong keys, tight bass, great drumming, lilting flute, tender vox, and of course jazzy, folk rock

fiddling. Hands is Canterbury meets Dixie Dregs with flashes of vintage Jean-Luc Ponty. Listen closely for echoes of Jade Warrior, National Health, PFM, Arti + Mestieri, Hatfield and the North, Genesis, Kansas,

Flying Island, and Tull. They wax their most ambitiously symphonic prog on the 10:29 “Antarctica”. I found “The Tiburon Treasure” a delightful vignette of acoustic guitar and violin. Best cuts for general rocking out and flat out furious fusion are “Castle Keep”, “Mindgrind”, and “Zombieroch”. The remainder of this release is predominantly toned down and contemplative with songs like “Dreamsearch” -- that even your non-prog, girlie friend/soulmate will enjoy. I highly recommend this release for a sweet taste of “what was but never

came to truly be -- until now”. Thanks again, Mr. Shroom.

~ John W. Patterson  

Exposé

http://www.expose.org/expo-nl.html

issue #14 - 1998

(page 72)

Harmonié Magazine (in French)

http://www.harmonie-magazine.com/allnumeros.php?page=30

issue #32 - September 1997

(page 85)

iO Pages (in Dutch)

(issue number 9)

http://www.iopages.nl/archief/io9.html

(scroll down to reviews then to HANDS)

La Caja de Musica (in Spanish)

http://www.dlsi.ua.es/~inesta/LCDM/Discos/hands_hands.html

Este CD recoge una serie de temas grabados por la banda norteamericana Hands durante los tiempos en que vanamente intentaban conseguir algun contrato de grabacion. Aqui aparecen en total 14 temas extraidos de varios demos grabados por el grupo entre los años 1977 y 1980, y remasterizados para la ocasion. De hecho, para ser mas precisos, los diez primeros temas fueron registrados cuando la banda por fin gozaba de un contrato de grabacion a inicios del 77, pero los problemas financieros del sello marginal que los habia acogido impidieron que la edicion planificada se llegara a concretar en su debido momento. En todo caso, segun se puede ver por el ingenio vertido en las composiciones y la exquisita fineza de las ejecuciones, el hecho de que este grupo no haya podido hacerse de un sitio dentro del entramado que funciona en el mundo del negocio musical debe ocupar un sitial de honor dentro del inmenso catalogo de inexplicables despropositos contra la creatividad humana: aplico la misma “denuncia” para los restantes cuatro temas, grabados en demos en el transcurso de los tres años siguientes. Este material es de primera, por lo que debe quedar como uno de los clasicos postergados de la escena progresiva setentera de los USA (y para tal caso, tambien del mundo entero). La ideologia progresiva de Hands se mueve entre dos coordenadas bien diferenciadas que el grupo sabe manejar con igual soltura y en varias ocasiones fundir con pulcra fluidez: una es la del armado de contrapuntos y delicadas disonancias sobre una base combinada de jazz y clasicismo de clave barroca (muy a lo Gentle Giant y Happy the Man); la otra faceta es la centrada en los jams sin perder el sentido melodico (lo cual nos remite a bandas emblematicas del Canterbury como Hatfield & the North y el Caravan de “For Girls...”). Ocasionalmente, tambien aparecen ciertas referencias al sinfonismo con fuertes cadencias fastuosas y una raiz firme en lo roquero (lo cual los acerca un poco a Kansas). La mencion de estos puntos de referencia descriptivos no debe despistarnos del hecho de que Hands logra crear una sonoridad peculiarmente propia, no ajena a las semejanzas con otras bandas, por supuesto.

El comienzo no puede ser mas excitante: ‘Zombieroch’ es una pieza a la vez compleja y rebosante de gancho, donde los espiritus del “Free Hand” de GG y el disco debut de HTM parecen fundirse en uno solo. La misma magia intensa se vuelve a manifestar en ‘Triangle of New Flight’. Mientras tanto, a modo de contraste, los temas 2, 4 y 5 ofrecen sendos oasis de irresistible serenidad (lo mismo resurgira en el tema 12), a veces apelando a la solemnidad del barroco, y otras a la vibracion emocional contenida del lado mas melancolico del jazz. Mas adelante, ‘Mindgrind’ retoma la linea HTM-iana con un color añadido de rock, mientras que ‘Greansoap’ exhibe una amable excursion por territorios celticos y ‘I Want One of Those’ desarrolla un candido paisaje bucolico en el cual el dueto de guitarras acusticas y unos etereos sintetizadores combinan sus colores en un oleo evocativo. Con ‘Dreamsearch’, la primera composicion de largo aliento, la banda empieza a jugar con uno de los ideales mas recurrentes del progresivo - insertar una serie variada de motivos musicales en los confines de una sola cancion. El resultado se traduce en una creacion de tonos epicos hasta cierto punto: el sinfonismo no es un elemento tan importante como el jazz fusion en este caso. Yo particularmente siento que ‘Left Behind’, una tema menos largo que viene inmediatamente despues, adquiere un tono epico mas claro, mezclando con un efectismo mas explosivo el folk acustico, el sinfonismo y una cuota medida de hard rock. ‘Anctartica’ tambien es una composicion de largo aliento, que se aparta un poco tanto de las vertientes jazzeras como de las rockeras que habian estado inundando los temas electricos precedentes: aqui la onda musical se centra mas en la creacion de ambientes distantes, como si la musica estuviera diseñada principalmente para aludir al imponente e inescrutable esplendor de las inmensas heladas del Polo Sur. Los dos ultimos temas presentan un filo rockero notablemente pulimentado, con una banda que hace plena gala de una clase y refinamiento que ya no resultan sorprendentes para el oyente a estas alturas del partido.

Ahora pasemos a hacer un balance general del disco como un todo: lo mas grandioso del asunto es que, a pesar de que este repertorio no conforma un disco per se, contiene una asombrosa coherencia estilistica que se destila a traves de cada uno de sus elementos. Queda claro que la ideologia musical del grupo estaba bien madura en las mentes de sus integrantes; y este es precisamente el motivo por el cual este disco debe quedar como un clasico “postergado” de la faceta mas exquisita del progresivo norteamericano.

Cesar Mendoza

Babel Fish translation:

This CD picks up a series of subjects recorded by the North American band Hands during the times in which vainly they tried to obtain some contract of recording. Here 14 gone away subjects appear altogether of several we give engravings by the group between years 1977 and 1980, and remasterizados for the occasion. In fact, to be but necessary, the ten first subjects were registered when the band finally enjoyed a contract of recording at beginnings of the 77, but the financial problems of the marginal seal that habia welcomed they prevented that the planned edition was gotten to make specific at its due moment. In any case, according to it is possible to be seen by I devise spill in the compositions and the exquisite fineness of the executions, the fact that this group has not been able to become of a site within the framework that works in the world of the musical business must occupy a seat of honor of honor within the immense catalogue of inexplicable nonsense against the human creativity: I apply to the same “denunciation” for the rest four subjects, engravings in we give in the course of the three following years. This material is of first, reason why it must be as one of the classic ones delayed of the setentera progressive scene of the USA (and for such case, also of the entire world). The progressive ideology of Hands moves between two differentiated coordinates good that the group knows to handle with equal soltura and in several occasions to fuse with pulcra fluidity: one is the one of armed of counterpoints and the delicate dissonances on a combined base of jazz and clasicismo of key barroca (very to the Gentle Giant and Happy the Man); the other facet is the centered one in jams without losing the melodic sense (which sends to emblematic bands of the Canterbury like Hatfield & to us; the North and the Caravan of “For Girls…”). Occasionally, also they appear certain references to the sinfonismo with strong lavish cadences and a firm root in the roquero (which approaches a little Kansas). The mention of these descriptive datum points does not have to confuse us of the fact that Hands manages to create a peculiarly own loudness, nonother people's to the similarities with other bands, by all means.  The beginning cannot be but exciting: `Zombieroch' is a simultaneously complex and rebosante piece of hook, where the spirits of the “Free Hand” of GG and the disc htm debut seem only to be fused in one. The same intense magic becomes to show in `Triangle of New Flight'. Meanwhile, as a resistance, subjects 2, 4 and 5 offer individual oases of irresistible serenity (the same resurgira in subject 12), sometimes appealing to the solemnity of the baroque one, and others to the contained emotional vibration of the melancholic side but of the jazz. But ahead, `Mindgrind' retakes line Htm-IANA with a color rock addition, whereas `Greansoap' exhibits an amiable excursion by celticos territories and `I Want One of Those' develops an innocent bucolico landscape in which dueto of acoustic guitars and sintetizadores etereos combine their colors in I adminiser extreme unction to evocativo. With `Dreamsearch', the first composition of long breath, the band begins to play with one of the ideals but appellants of the progressive one - to insert a variable series of musical reasons in the borders of a single song. The result is translated in a creation of epic tones until certain point: the sinfonismo is not a as important element as the jazz fusion in this case. I particularly feel that `Left Behind', a subject less long than comes immediately later, acquires a epic tone clearly but, mixing with an explosive efectismo but folk acoustic, the sinfonismo and a quota measured of hard rock. `Anctartica' also is a composition of long breath, that as much separates a little from the jazzeras slopes as of the rockeras that habian state flooding the preceding electrical subjects: here the musical wave concentrates but in the distant atmosphere creation, as if music was designed mainly to allude to the imposing and inscrutable splendor of the immense frosts of the South Pole. Both last subjects present/display an edge rocker remarkably polished, with a band that total finery does of a class and refinement that no longer are surprising for the listener at this point of the party.  Now we happen to make a general balance sheet of the disc like a whole: but the huge thing of the subject is that, although this repertoire does not conform a disc Rep, it contains an amazing stylistic coherence that is distilled through each of its elements. It is clear that the musical ideology of the group was well mature in the minds of its members; and this it is indeed the reason by which this disc must stay as a classic one “delayed” of the exquisite facet but of the progressive North American.

Cesar Mendoza

Mitkadem (in Hebrew)

http://mitkadem3.homestead.com/Artists_18.html

Reverso translation:

Excellent example to the progressive american exquisite rock, in the optimum the British tradition. He is full that from fear of life, excellent  improvisations, sensitive tunes and pretty processings. At times he reminds  G ' encumbrance  Gentle Giant, at times American bands  Progrsibiot other like Kansas, and at times he has independent style absolutely from his, on account of the origin the Texan of the friends of the band.

add to: Twenty Five Winters

You are the background to establish the band it's possible to find in British invasion of bands of the progressive big rock. The big artists of England ploughed America that is northern, from the east of committee of the west, and left confounded listeners in the many places. Also to Texas, prima facie the state of the oil and the beef, arrived several from the artists is these, and in their footsteps also their albums. Those are the roots of   Hands from them she pumps an inspiration and direction.

The expanded edition of the music survived test the time mainly on account of the classic tools in which: violins, cello, flute of side, viola, Vitar, mandolin and hard tool like vibraphone timpani. The members of the band are many ( sixteenth in the number, not less!) They do not disparage in the melodic, and given to find here several melodies of originality are unwilling to go out from the head. Indeed, in all what contiguous to the improvisation, the musicians is not able Lhshtwt to the big stars from the whipped cream of Hprog therefore they lean more on the written approve on their ability to surprise.

And like all thing in the world there is aiso Israeli point: The renewed expense of exited in the mutual production ot the company Shroom and the company of the music Hishralitg’azis (Jazzis) by the directorate of blessed person. that he itself American in the source and ardent admirer of the band. This is the reason why easy relatively to obtain the album here in the country, by the site of G’azis.

The album not exited in light of in the years in them was recorded. In the same years out of favor of the progressive rock to the industry of the music, and the companies refused to stamp every thing that sounds  compound or long. Only after as twenty year won to the expense is tarried by disk. The expense consented eagerly from side of underground  Hprog the world, and all the copies ceased after a little while ( therefore was produced the renewed expense ).

The company ' that height ' the Texan continued to answer on the demand, and withdrew more two impromptu collections: The one Palm Mystery of, parallel incarnation. Good late from never not.

That his name, the years that passed since then the recordings  Hrashonothhn, on account of at the end of seventies. Several from members of the band also withdrew album like solo are different and peculiar, that on their nature does not mean to stand. In any case, from all the great selection, the album sounds excellent also today, and even though that he not caused to the upset in the world  Hprog, he compensates thereon in the sensitivity and in the beauty.  

rating: 8.5 / 10

PC Prog

http://web.ncf.ca/dn925/e2i.html#hanhan

(scroll down to HANDS)

This American production features tracks recorded between '77 and '80. The lineup, which has gone through changes, usually includes six members on a great variety of instruments. They share duty on guitars, bass, drums, keyboards, flutes, saxes, vocals, violin, oboe, clarinet and percussions. Their music is a delightful blend of rock, jazz, classical and folk influences. The arrangements are varied to extend from very delicate acoustic parts to more animated ones with jazz or rock rhythms. The mood also swings from light and happy to more melancholic or angry. This quality production deserves consideration from fans of an era marked by the music of Gentle Giant, King Crimson, Kansas and many others.

ProgArchives

http://www.progarchives.com/album.asp?id=548

Greger Rönnqvist - PROG REVIEWER

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!

Posted: Thursday, March 04, 2004

James Unger- PROG REVIEWER

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.

Posted: Saturday, March 20, 2004 

Steve Hegede- PROG REVIEWER

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.

Posted: Monday, March 22, 2004

 

Ray Rappisi jr. - PROG REVIEWER

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.

Posted: Tuesday, October 11, 2005 

César Inca Mendoza Loyola -  SPECIAL COLLABORATOR

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. ‘Dreamsearch’, ‘Left Behind’ and ‘Antarctica’ 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 great catalogue of prog music. Hands is a band that should be included in any decent prog collection – the place to start is this particular album.

Posted: Tuesday, March 11, 2008

ProGGnosis

http://www.proggnosis.com/MUSIC_DBCDInfo.asp?txtCDID=1455

Eric

Published on: 5 Jul 2004

A nice artifact from this Texas band who from the liner notes seem to owe more than a small debt to Gentle Giant in their sound and as a brush with fame. I hear a lot of other elements to their sound as well, but overall this is very classically influenced progressive rock which at times is very good and leaving me shaking my head wondering why a band like this never got out of the Lone Star state and to international recognition at the time, but again this is a story as old as rock 'n roll itself and well documented in the CD’s extensive and excellent liner notes.

Prog-Resiste

(issue number 20)

http://www.progresiste.com/issue.php?num=20

(scroll down to HANDS)

Progression

https://store.progressionmag.com/index.php?page=0&act=viewCat&catId=3

issue #25 - 1997

(page 106)

Progressive Ears

http://www.progressiveears.com/default.asp?bhcp=1

(go to Reviews under Menu

then CD Reviews

then H for HANDS)

Member:  Doppler444 

Date:  4/13/2002

Hands were a collection of musicians from Texas, heavily influenced by Gentle Giant and Jethro Tull. This album, recently reissued on the Shroom label, is an absolute MUST for any fan of Classic Prog! The 14 tracks on this album display a virtuosity and musical depth equal to that of their inspirators. Indeed, the band opened for Gentle Giant on their US tour of '77. "Zombieroch", the album's starter, is a very playful, giantesque romp. From then on, the album just takes flight; from the discordant sweeps of "Triangle Of New Flight" to the organ-driven country/prog of "Mindgrind", the sheer level of playing is staggering!!

Definitely a 5 star! *****

Progressive Newsletter (in German)

http://www.progressive-newsletter.de/index.htm?/cd_h.htm

(scroll down to HANDS-HANDS)

Faszinierend, welche Überraschungen der gute Herr Jörger ab und an auf Lager hat. Letztens erhielt ich unter anderem eine CD einer amerikanischen Band, von der ich vorher noch nie gehört hatte: Hands. Das titellose Album erschien 1996 auf dem mir ebenfalls völlig unbekannten Label Shroom Productions. Einmal kurz reingehört, und schon war klar: das ist genau meine Wellenlänge. Dem sehr schön aufgemachten Booklet (das Frontcover enthält übrigens das "Instrumentenmännlein", das auch auf dem Debütalbum von Harmonium zu sehen ist) ist die komplette Biographie zu entnehmen, ähnlich liebevoll gemacht wie bei unseren alten Bekannten von Musea. Hier ein kurzer Extrakt: Hands stammen aus Dallas, und blicken auf eine kurze, aber lebhafte Bandgeschichte zurück. Im Laufe der Zeit spielten insgesamt 14 Musiker in der Band, die vorher u.a. unter den Namen Ibis und Prism firmierte. Den Kern bildeten Steve Parker (Bass / Guitars / Keyb / Drums / Perc / Posaune / Voc), Ernie Myers (Guitars / Mandolin / Drums / Perc / Voc), Michael Clay (Keyb / Piano / Tubular bells / El.gtr) und John Rousseau (Drums / Perc / Tuned Percussion / Voc), dazu gesellten sich schließlich als permanente Mitglieder Skip Durbin (Flutes / Saxes / Oboe / Klarinette / Other Woodwinds / Keyb / Perc / Voc) und Paul Bunker (Viola / Geige / Sitar / Quatro / Keyb / Perc / Voc). Die Aufnahmen zu diesem Album erstreckten sich über einen Zeitraum von 4 Jahren ('77 - '80), in denen die Formation einigen Personalwechseln unterlag. So finden sich auf dieser CD noch diverse Musiker, die über kurz oder lang ebenfalls zum Hands Line-Up gehörten, wie z.B. der gute Sänger Tom Reed oder Keyboarder Shannon Day, Violinist Mark Menikos, um nur einige zu nennen. Der bewusst ausführlich aufgelisteten Besetzung ist zu entnehmen, dass die Musiker recht vielseitig sind, und eine Instrumentenvielfalt erkennbar ist, die einen glatt an Bands wie Gentle Giant erinnert. Dies ist kein Zufall, denn Hands zählten illustre Gruppen wie Gentle Giant, Yes, Zappa, King Crimson, Jethro Tull zu ihren Vorbildern, was mehrfach in ihren sehr abwechslungsreich gestalteten Kompositionen seinen Niederschlag findet. Zu Gentle Giant gibt es denn auch ein kleines Anekdötchen: während einer GG-Tour durch die USA konnten Hands ihr großes Ziel, als Support Band ihrer großen Vorbilder zu agieren, in die Tat umsetzen. Nach dem Konzert sprachen sie mit einem begeisterten Derek Shulman, der sehr von dieser Band angetan war, ihnen aber davon abriet, kommerziellen Erfolg mit derart komplexer Musik zu suchen (GG hatten seinerzeit selbst mit "The missing piece" einen anderen Weg eingeschlagen). Das vorliegende Album bietet über 70 Minuten spannenden End-70er-Art-Rock, der neben den eingangs erwähnten Größen auch stellenweise an Bands wie Stackridge ("Extravaganza"), Strawbs, Kansas, Happy the Man oder - in ruhigen Passagen mit Flöte und Mellotron - sogar an Harmonium erinnert. Trotz der Instrumentenfülle wirkt das Album niemals überfrachtet, Flöte und Violine spielen eine prägende Rolle, sogar die Gesangsdarbietungen sind einwandfrei. Hands, eine überaus angenehme Überraschung, und sicherlich wert sie Freunden der beschriebenen Richtung wärmstens zu empfehlen. Abgesehen von den beiden letzten der insgesamt 14 Titel ein durch und durch überzeugendes Album. Von der Vorgängerband Prism ist bei diesem Label anscheinend ebenfalls eine CD-Veröffentlichung zu erwarten. Ich bin mal sehr gespannt, was da noch auf uns zukommt. Hands ist jedenfalls eine der besten Wiederveröffentlichungen der letzten Monate.

Jürgen Meurer

© Progressive Newsletter 1997

Babel Fish translation:

Fascinatingly, which surprises the good Mr. Jörger has now and then in stock. Letztens received I among other things a CD to American volume, of which I had not before ever heard: Hands. The titleless album appeared 1996 on me likewise completely unknown the label Shroom Productions. Once briefly clean-heard, and was clear already: that is exactly my wavelength. The very beautifully opened Booklet (the Frontcover contains by the way " Instrumentenmännlein" , also on the debut album from Harmonium to see is) is the complete biography to be taken, just as affectionately made as with our old acquaintance of Musea. Here a short excerpt: Hands originate from Dallas, and look on a short, but lively volume history back. In the course of the time altogether 14 musicians in that played volume, who firmierte before among other things under the names Ibis and Prism. The core Steve Parker (bass/Guitars/Keyb/Drums/Perc/trombone/Voc) formed, for Ernie Myers (Guitars/Mandolin/Drums/Perc/Voc), Michael Clay (Keyb/piano/Tubular bells/El.gtr) and John Rousseau (Drums/Perc/Tuned Percussion/Voc), in addition Skip Durbin (Flutes/Saxes/oboe/clarinet/Other Woodwinds/Keyb/Perc/Voc) and Paul Bunker as permanent members (Viola/violin/Sitar/Quatro/Keyb/Perc/Voc) finally associated. The photographs to this album extended over one period of 4 years (' 77 - ' 80), in which the formation was subject to some personnel changes. Thus still various musicians, who likewise belonged sooner or later to the Hands LINE UP, are like e.g. the good singer Tom Reed or Keyboarder Shannon Day, Violinist Mark of Menikos, in order to call only some on this CD. It is to be taken from consciously in detail listed occupation that the musicians are quite versatile, and instrument variety recognizably is, smoothly on volume reminded the one such as Gentle Giant. This is not coincidence, because Hands ranked illustre groups such as Gentle Giant, Yes, Zappa, King Crimson, Jethro Tull among their models, which several times finds its precipitation in its very varied compositions. To Gentle Giant gives it also a small Anekdötchen: during a GG-route by the USA Hands knew their large goal of acting as support volume of their large models of putting into practice. After the concert they spoke with an enthusiastic Derek Shulman, who was done much of these volumes, them however advised against to look for commercial success with such a complex music (GG had " at that time even with; The MISSING piece" another way hit). The available album offers stretching skirt of kind of END 70's, apart from the initially mentioned sizes on also in parts the volume over 70 minutes such as Stackridge (" Extravaganza"), Strawbs, Kansas, Happy the one or - in calm passages with flute and Mellotron - even at Harmonium reminds. Despite the instrument abundance the album works never overloaded, flute and violin plays a coining/shaping role, even the singing presentations is perfect. Hands, an extremely pleasant surprise to recommend and surely worth it friends of the descriptive direction most warmly. Apart from both last that altogether 14 titles a thoroughly convincing album. A CD publication is to be apparent likewise expected by the preceeding tapes Prism with this label. I am times very strained, which comes there still to us. Hands is anyhow one of the best republications of the last months.

Jürgen Meurer

© Progressive Newsletter 1997

Rate Your Music

http://rateyourmusic.com/release/album/hands/hands/

http://rateyourmusic.com/release/album/hands/hands__96_reissue_/

http://rateyourmusic.com/release/album/hands/hands__reissue___shroom_/

comusduke 6/10/08

Gentle Giant, PFM and Tull immediately came to mind on the fantastic Zombieroch that opens this too long forgotten (one more :-( ) late 70’s album; but many other influences will be felt as you, track by track, discover this work; Inspired by the early 70’s British Progressive scene, giving them a very professional American treatment and a determined sound, Hands go effortlessly from medieval to full blow symphonic prog without blinking;

The line up didn’t seem to be very stable, and so many musicians are listed, that it’s not very easy to find out who is playing in which tracks; but that’s is a minor problem; making good use of every possible instrument, from the traditional, bass, drums , guitar and keyboards to the woodwinds, Stick, violin, viola, cello and tuned percussions down to the Quatro and the mandolin they left us a mainly instrumental album (the sparse vocals remind me of John Wetton, and the sung parts sometimes have an Arena Rock pomposity I don’t particularly appreciate), which without being groundbreaking is a very rewarding and mostly uplifting, listening experience;

antonbildern 1/8/08

This is, at first listening, a difficult album to get into, because it seems a bit too symphonic and lost in Jethro Tull/Gryphon baroque rhythms. But, incredibly, that unconfortable sensation vanishes with the next listenings and the album turns to a enjoyable experience and the link beetwen the tracks (some quite different in a chronological aspect) works...But it would be better (in the reissue edition of 2002) to have firstly the album tracks and then the non-album ones (some of them brilliant we must say).

great album!!

Rockerilla (in Italian)

http://www.rockerilla.com/index.htm

issue #241 - 2000

(page 69)

Stormbringer

http://www.stormbringerwebzine.co.uk/Reviews/H/Hands.html

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!

Reviewed by: Greger Rönnqvist-eger Rönnqvist

Tarkus (in Norwegian)

http://www.tarkus.org/

issue #4 - 1997

(page 56)

click on Tidligere utgaver

click on Issue #4

UngersWorld

http://www.geocities.com/asdfasedf2/yetanother27.html#hand

(scroll down to HANDS)

My All Time Favorite Prog Rock Recordings...

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.

Wonderous Stories (in Italian)

http://www.wonderoustories.it/nove.htm

(issue #9)

(scroll down to HANDS)

ZNR Progressive Music

http://www.znrcds.com/osc/catalog/product_info.php?manufacturers_id=305&products_id=4423

Texas group infl by Tull/Giant/Genesis/Caravan. The playing and writing are extraordinary, This is a rare find for fans of 70s prog sounds.Much of this is the equal of its inspirations. How many groups can you say that about?

Zoltan’s Progressive Rock Webpage

http://stevehegede.tripod.com/usa.htm

(scroll down to HANDS)

Comments:

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.

Compositions: 8/10

Vocals(in English): 7/10

Recording Quality: 9/10