All Music

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fjfpxqy0ldje

by Cesar Lanzarini

Hands, the seminal progressive rock band from Texas, are back, 25 years after their first official album was released. On this CD, the structuring of the vocals as well as the shifts in time signature make the band sound like a folkier version of groups such as King Crimson and Gentle Giant. It seems that with the passing of time the band has mellowed out slightly, allowing their music to become much more accessible. All the bandmembers get to show off their chops in different places, but this album is more about great compositions than fast note runs. Twenty-Five Winters has much fewer instruments than Hands' previous recording. Without Skip Durbin, all the woodwind contributions are gone -- but this does not set this album back at all. This is a must-buy for any symphonic prog enthusiast.

Arlequins (in Italian)

http://www.arlequins.it/pagine/articoli/alfa/corpo.asp?iniz=H&fine=I&ch=1954

La nuova release dei riformati Hands, di cui la Shroom ha licenziato due album postumi, non essendo la band riuscita a pubblicare nulla a suo tempo, è una raccolta di canzoni moderatamente Prog che vedono l'utilizzo di strumentazione un po' atipica come violino, mandolino, corno francese e woodwinds. Moderatamente Prog dicevo, perché sostanzialmente si tratta di composizioni abbastanza semplici, ma abbiamo assistito a reunions decisamente peggiori, quanto a risultati. Lo spirito del gruppo, che ci aveva lasciato con la sua ultima prova al 1980, risulta quasi immutato, certamente ammorbidito e meno avventuroso ma di certo godibile e mai banale, con le influenze Gentle Giant più marcate che in passato, minor peso per la componente jazz-rock e un suono in generale leggermente più rock e diretto, anche se ricco di variazioni e cambi di tempo nei suoi brani più lunghi. Tra gli strumenti inusuali sopra elencati il violino è decisamente quello che contribuisce a marcare in modo decisivo il sound degli Hands, ma non bisogna fare lo sbaglio di paragonare per questo il gruppo ai Kansas, coi quali hanno in comune giusto un approccio tipicamente americano, ma senza connessioni dirette, in cui possiamo anche riconoscere un vago feeling country (il gruppo è texano... e ho detto tutto riguardo a questo fatto!). Si tratta in definitiva di una produzione decisamente valida che non ci fa rimpiangere tutto sommato i dischi precedenti del gruppo.

Alberto Nucci

Babel Fish translation:

The new release of reformed the Hands, of which the Shroom it has fired two posthumous egg whites, not being the band succeeded to publish nothing opportunely, is a collection of songs moderately Prog that they see l' I use of instrumentation a po' atypical as they violino, mandolino, French horn and woodwinds. Moderately Prog I said, because substantially draft of enough simple compositions, but we have assisted to reunions decidedly gets worse, as for result. The spirit of the group, than had left with its last test 1980, turns out nearly immutato, sure softened and less adventurous but than godibile and certainly never banal, with the infuences marked Gentle Giant that in past, minor weight for the member jazz-rock and a sound in general terms slightly more rock and directed, even if rich of variations and changes of time in its longer pieces. Between the listed inusuali instruments over they violino it is decidedly what it contributes to mark in decisive way the sound of the Hands, but does not have to make the mistake to compare for this the group to the Kansas, with which they have in just municipality an approach typically American, but without directed logons, in which we can also recognize vague feeling country (a group is texano… and I have said all with regard to this fact). Draft after all of a decidedly valid production that it does not make us to mourn all added discs precedence of the group.

Alberto Nucci

AmarokProg (in French)

http://www.amarokprog.net/critiques_1050_907.html 

22/06/2004

Note : 7.5

Titre : Du neuf avec de l'ancien

Quel groupe de prog américain s’est reformé 25 hivers après sa formation en 1977 ? J’en vois un qui lève la main au fond… Hands ? Bravo, vous avez gagné le droit d’écouter son sublime nouvel album… Bien sûr il ne dure que 39 minutes, mais Hands, directement issu des années 70, ne savait pas qu’on pouvait bourrer un CD durant 80 minutes. C’est pas grave car ces 39’02 sont vraiment excellentes : on retrouve avec joie tous les éléments qui ont fait la "renommée" (toute relative) de ce groupe emblématique. Cette formation texane s’est créée en 1975 sous le nom de Prism. Un album live posthume ("Live 1975-1977") a été publié en 1996. En 1977, elle prend le patronyme de Hands. Deux excellents CDs posthumes voient également le jour en 1996 et en 1998 : "Hands" et "Palm mystery", compilations de toutes les sessions du groupe de 1977 à 1980, date de sa séparation. "Twenty five winters" est par conséquent le 4ème CD de ce groupe, à classer en bonne place entre Mirthrandir, Netherworld (dont l’album éponyme est également chroniqué dans ce numéro), Infinity ou Lift. Hands est, comme par le passé, largement influencé par Gentle Giant (les chœurs, les claviers), Kansas (les mélodies, le violon) et King Crimson. Les références à "Larks tongue in aspic" sont notables sur l’aventureux "leaving", longue suite en 4 parties.

Malgré ces encombrantes influences, "25 winters" ne sonne pas du tout daté. Le chanteur dispose même d’une voix très juvénile. Hands a tout à fait sa place au milieu de groupes tels Spock’s Beard, Izz, Echolyn et Magellan. Applaudissements !

Cousin Hub - Koid9

Babel Fish translation:

6/22/04

Note: 7.5

Titrate: From the nine with l' old

Which American group of prog was reformed 25 winters after its formation in 1977? I see of them one which raises the hand at the bottom… Hands? Cheer, you gained the right to listen to its sublime new album… Of course it lasts only 39 minutes, but Hands, directly resulting from the Seventies, did not know that one could stuff CD during 80 minutes. It is not serious because these 39 ' 02 are really excellent: one finds with joy all the elements which made the " renommée" (quite relative) of this group emblematic. This formation texane was created in 1975 under the name of PRISM. A posthumous album live (" Live 1975-1977") was published in 1996. In 1977, it takes the patronym of Hands. Two excellent CDs posthumous are born also in 1996 and 1998: " Hands" and " Palm mystery" , compilations of all the sessions of the group of 1977 to 1980, date of its separation.

" Five Twenty winters" is consequently 4th CD of this group, to classify in good place between Mirthrandir, Netherworld (of which the album éponyme is also chronic in this number), Infinity or Top spin. Hands, as in the past, is largely influenced by Gentle Giant (choruses, keyboards), Kansas (melodies, the violin) and King Crimson. References to " Larks tongue in aspic" are notable on the adventurous " leaving" , long continuation in 4 parts. In spite of these cumbersome influences, " 25 winters" do not sound at all dated. The singer has even a very youthful voice.

Hands completely has its place in the middle of groups such Spock' S Beard, Izz, Echolyn and Magellan. Applause!

Cousin Hub - Koid9

BABYBLAUE (in German)

http://www.babyblaue-seiten.de/index.php?albumId=2301&content=review

Von: Fix Sadler  (Rezension 1 von 3)

Hands existiert schon seit etwa Mitte der 70er Jahre. Es handelte sich ursprünglich um einen Haufen Musikstudenten, die hochprofessionell vor sich hin musizierten, aber aus dem einen oder anderen Grund niemals eine Platte veröffentlichten. Ausgewiesene Zufälle führten zur Wiederentdeckung der mannigfaltigen "Demo-Aufnahmen" (tatsächlich gereichen die Songs auch klanglich zu allen Ehren) und schließlich zur Veröffentlichung der Alben Hands und Palm Mystery, welche angesprochene Demos beinhalten.

Twenty Five Winters ist somit das Debut einer Band, die in 100 und einer Besetzung seit 25-30 Jahren existiert - strange!

Wie positiv sich kräftiges Üben für ein Debut Album auswirkt, beweisen Hands mit diesem Album, das klanglich und kompositorisch zur Spitze der 2002 veröffentlichten Progscheiben gehört.

Es wird eine ausgewogene Mischung aus folkloristischen (geradezu Texas-Country) und retro-proggigen Anteilen geboten.

Besonders hervorstechend sind der heftige Einsatz von Fidel, die neben der Mandoline für diesen positiven Country-touch sorgt. Hands bieten tolle Chorgesänge a la Echolyn, Gentle Giant und auch die wunderschöne Stimme von Ernie Myers weiss voll zu überzeugen. Die extrem melodiösen Songs, die immer genug Anspruch aufweisen um auch die Frickelfraktion zu beglücken, machen einfach Spass und vermitteln tolle Atmosphäre, mal vergnügt, aber auch nachdenklich oder gar melancholisch.

Knock/Enter beginnt zunächst akustisch gehalten, erfreut mit angesprochenen Gesangsleistungen und bietet schließlich im Instrumental-Teil (mit deutlichen Chor-Anleihen bei Echolyn) furiosen Prog-Rock der Marke Spitzenklasse, hier kommen auch die geschmackvollen 70er Jahre Keyboardsounds zur Geltung, die das Stück endgültig veredeln. Die Fidel ist allgegenwärtig (damit hammse mich ;)) und die knapp 7 Minuten sind viel zu schnell rum.

Walls ist dann das nächste Highlight - hier kommt man sich zunächst tatsächlich wie auf einer Texas-Ranch-Party vor (ich hör da sogar 'ne Mundorgel, oder so), ehe der Gesang völlig losgelöst in proggig-abgefahrener Manier die 70er Jahre wieder aufleben lässt. Mir kommen die genialen Madrigal in den Sinn, die allerdings mit Sicherheit von Hands beeinflusst sind. Eine melancholische Geigenpassage leitet in den treibenden Instrumental-Abschluss. Spitze, was man in 4 Minuten so alles auf die Beine bringt.

Green Room Pt. 1 ist ein Bass/Gitarre/Geige Intermezzo, welches nach den drängenden Einstiegsongs das Tempo zurück nimmt und in einem (Pt. 2) wunderschönen, melancholischen Piano/Geigen-Teil (mit Band-Begleitung) ausklingt.

Es folgt der Überhammer des Albums:

Dance Of Light And Darkness ist verspielt, irrwitzig und abgefahren. Percussion-Elemente treffen auf diesen "Gentle Giant Gesang" (Wahnsinn!) und dann wird, basierend auf einem Mega-Fuzz-Bass, eine Symbiose aus Beatles und Gentle Giant gezaubert, die ihresgleichen sucht (alle Thoughts dieser Welt erreichen nicht diese Gelassenheit!), der Sound ist überragend und die Geige darf sich austoben - vielleicht ist der Song nicht wirklich eigenständig (die Beatles sind wirklich zum Greifen nah), aber hier wird so dermassen mit Schmackes und Spass an der Freud musiziert, darüber hinaus mit einer beängstigenden Souveränität, das man einfach "abfahren" muss. Hammer!

I Laughed Aloud ist ein reines, wieder wunderschönes, Piano/Geigen Duett - fast schon klassisch und immer wieder ein erholender Pol nach den abgefahrenen Up-Tempo Gesang-Nummern der Band.

Zombieroach Pt. 3 ist ein verrücktes Instrumental, das erneut auf treibendem Bass und fast schon hardrockigen Gitarren basiert - zwischenzeitlich immer wieder ein bisschen Flötentöne und Spinett-Sounds, Geige und geile Bassläufe. Ein lieblicher Piano-Lauf führt ins Final Grandioso. F-a-n-t-a-s-t-i-s-c-h!

Leaving ist der Longtrack der Scheibe, und obwohl die einzelnen Parts erneut wunderbar sind, zeigt sich hier die Krux der (vermeintlichen) Erwartungshaltung der Proggies. Die Übergänge sind nicht so richtig ausgereift, es wirkt schon alles ein bisschen aneinandergeklatscht und entsprechend wird die erzeugte Stimmung im Folgepart nicht weitergetragen. Leaving ist eher melancholisch und ruhig, im Song Of Summer kommt es zu ausgiebigen French-Horn (geht Euch das auch so? - French Horns finde ich immer sehr melancholisch) Einsatz. Ansonsten unterstützt ein Akustik-Piano und Xylophon Tupfer den wunderschönen Gesang Ernie Myers. Vigil For One wartet mit Akustik Gitarren und Synthiesounds auf - es bleibt ruhig und der verfremdete Gesang, sowie die Gesangsmelodien erinnern wieder stark an die Beatles - irgendwie ein bisschen psychedelisch. The Traveller's Lament (Lament? Crimso? Genau!) ist eine eindeutige Verbeugung vor Norbert Fripp in der Mitsiebziger-Phase, aber absolut! Hier kommen auch die elektronischen Holzbläser (hallo, Mel Collins) zum Einsatz. Ein völlig wahnsinniges, in sich schlüssiges Instrumental-Teil, das nur leider so gar nicht in den Kontext des Songs passen möchte, denn Above And Below bietet dann eine symphonische Reprise des Einstiegsthemas - hier fühle ich mich an Salem Hill erinnert.

Leaving ist meilenweit davon entfernt ein schlechter Song zu sein, nur hätte *ich* aus Song Of Summer mit Above And Below, Traveller's Lament und Vigil For One je einen Song gemacht - so ist es eine Suite mit tollen Einzelstücken und eher wenig gelungenen Übergängen.

Ich bin mehr als verwirrt, da ich weiss, dass unter den BBS-Rezensenten der ein oder andere ist, der sich sehr für Hands begeistern kann. Warum dann solch ein Kleinod aus dem letzten Jahr an uns vorbeirauscht ist mir absolut unverständlich.

Twenty Five Winters ist einfach wunderbar und sollte auf jeden Fall von Spock's Beard, Echolyn, Kansas Fans angetestet werden. Natürlich stehen die Texaner auf der amerikanischen Seite des Prog, aber selbst denjenigen, denen SB zu mainstreamig daherkommt, sei eine Hörempfehlung anheim gelegt.

Im übrigen kommen die echten Progperlen des Jahrgangs 2002 alle aus Amerika:

Babel Fish translation:

Of: Fixed Sadler  (review 1 of 3) 

Hands exists already since for instance in the middle of the 70's. It originally acted around a heap of music students, who made music high-professionally before itself, but from or other reason never a plate published. Proven coincidences led to the rediscovery of the various " Demo Aufnahmen" (those of song actually do also klanglich in all honours) and finally to the publication of the albums Hands and Palm Mystery, which addressed demos contain.  Twenty Five of winter is thus the Debut volume, which exists to strand in 100 and an occupation for 25-30 years -!  How positively strong practicing for a Debut album affects itself, prove Hands with this album, which belongs klanglich and kompositorisch to the point of the 2002 published Progscheiben.  A balanced mixture from folkloristischen (almost Texas Country) and retro proggigen portions is ordered.  The violent employment is particularly conspicuous of Fidel, which provides beside the Mandoline for this positive Country touch. Hands offer mad choir singing A la to Echolyn to convince Gentle Giant and also the beautiful voice of Ernie Myers white fully. Those extremely melodiösen song, always the enough requirement exhibit melancholy around also the Frickelfraktion to make happy, make fun simple and obtain mad atmosphere, times diverted, in addition, thoughtfully or. Knock/Enter begins first acoustically held and pleased with addressed singing achievements and offers finally in instrument-oldhurries (with clear choir loans with Echolyn) furiosen Prog skirt of the mark top class, here comes also the tasteful 70's sounds of key board to the validity, which improve the piece finally. The Fidel is pervasive (with it hammse me;)) and those scarcely 7 minutes are much too fast rum. Embankment is then the next highlight - here one comes oneself first actually as on a Texas Ranch party forwards (I hear there even ' ne mouth organ, or so), before the singing lets revive completely detached in proggig driven off manners the 70's again. Me the ingenious Madrigal comes into the sense, which is affected by Hands however with security. A melancholy playing the violin passage leads into the driving instrument aluminum conclusion. Point, which one brings in such a way in 4 minutes everything on the legs.  Green Room Pt. 1 is a bass/a guitar/a violin Intermezzo, which takes the speed after urgent the Einstiegsongs back and in (Pt. 2) beautiful, melancholy pianos/playing the violin part (with volume company) ends.  The over hammer of the album follows:  Dance OF Light and Darkness drove off playful, err-funny and. Percussion elements meet on these " Gentle Giant Gesang" (Insanity!) and then, based on a mega+ Fuzz bass, a symbiosis from the Beatles and Gentle Giant is gezaubert, the their-same looks for (all Thoughts of this world does not reach this leaving!), the sound is outstanding and the violin may out-rave itself - perhaps the song is not really independent (the Beatles are really to seizing close), but so so with Schmackes and fun to the Freud is made music here, beyond that with a frightening sovereignty, which one " simply; abfahren" must. Hammer!  I Laughed Aloud is a pure, again beautiful, piano/plays the violin to Duett - nearly already classical and always recovering pole after the driven off UP speed singing numbers that volume. Zombieroach Pt. 3 is a crazy instrument valley, which is based again on driving bass and nearly already hardrockigen guitars - in the meantime always little flute tones and Spinett sounds, violin and geile bass runs. A lovely Piano run leads into finally the Grandioso. Fan!  Leaving is the Longtrack of the disk, and although the individual parts are again marvelous, the Krux (alleged) of the expectation of the Proggies shows up here. The transitions developed, it work everything not so correctly a little together-applauded and the produced tendency in the subsequent part are already not further-carried accordingly. Leaving is rather melancholy and calmly, in the song OF buzzer comes it to extensive French horn (goes to you also in such a way? - I find always very melancholy) employment to French of horn. Otherwise a acoustic piano and a Xylophon Tupfer supports the beautiful singing Ernie Myers. Vigil For One waits it with acoustics guitars and Synthiesounds up remains calm and the verfremdete singing, as well as the singing melodies remind again strongly of the Beatles' - somehow a little psychedelic. The Traveller' s Lament (Lament? Crimso? Exactly!) a clear bow is absolute before Norbert Fripp in the Mitsiebziger phase, but! Here also the electronic Holzbläser (hello, Mel Collins) comes to the employment. A completely mad, in itself conclusive instrument-oldhurry, which would not like only unfortunately so at all to fit into the context of the song, because Above and Below offers then a symphonische Reprise of the entrance topic - here I feel reminded of Salem Hill.  Leaving is mile far of it removes a bad song to be, only *ich* from song OF would have buzzers with Above and Below, Traveller' s Lament and Vigil For One ever a song made - like that is a Suite with mad unique pieces and rather little successful transitions.  I am more than confused, since I know the fact that among the BBS Rezensenten or other one is which much for Hands can become enthusiastic. Why then such by-rushed a Kleinod from the last year at us to me absolutely incomprehensibly.  Twenty Five of winter is simply marvelous and should in any case of Spock' s Beard, Echolyn, Kansas fan to be tested. Naturally the Texaner stands on the American side of the Prog, but even a hearing recommendation is put to that, which self-service comes along too mainstreamig.  In all other respects the genuine Progperlen of the class comes 2002 all from America:

BABYBLAUE (in German)

http://www.babyblaue-seiten.de/index.php?albumId=2301&content=review

Von: Jürgen Meurer (Rezension 2 von 3)

Ich schließe mich zu fast 100% meinem Vorredner an. Warum ich trotzdem noch etwas dazu schreibe? Ganz einfach, die Amerikaner haben es – speziell mit diesem Album – sicherlich verdient, dass mit Nachdruck auf sie aufmerksam gemacht wird, was ich hiermit tun möchte.

Was mir an diesem Album besonders auffällt, ist, dass sie es schaffen, auf den ersten Blick angenehm geradlinig zu wirken, um nach einigen Durchläufen doch einige Tiefen erkennen zu lassen.

Nehme ich als Beispiel die Tastenarbeit von Herrn Clay, so scheint er wenig Wert auf überbordenden Bombast zu legen. Selten sind viele Keyboards übereinander gelegt, meist sind es Pianolinien, aber auch mal Synthesizer oder Orgel (sogar ein Mellotron wurde gesichtet). Und trotzdem klingt dies niemals flach oder langweilig – ganz im Gegenteil.

Die Geigenarbeit ist ein weiteres Hands-Merkmal. Und die Gleichung Geige = Kansas geht hier mal nicht auf, bedingt durch den deutlichen Folk-Touch geht es eher in Richtung Fairport Convention.

Sehr stark sind zum größten Teil auch die Gesangspassagen, speziell die Kanon-Arrangements. Und natürlich stehen hier die großen Gentle Giant Pate.

Ein zeitloses, abwechslungsreiches Album, das ich immer wieder mal gerne in den Player schiebe.

Babel Fish translation:

Of: Jürgen Meurer  (review 2 of 3) 

I follow to nearly 100% my previous speaker. Why do I nevertheless some more in addition write? Completely simply, those Americans earned it - particularly with this album - surely that with reproduction is made attentive to them, what I hereby to do would like.  Which is noticeable to me at this album particularly, it is to be shown that they create it to work at first sight pleasantly straight-lined in order after some runs nevertheless some depths.  If I take the key work of Mr. Clay as example, then he seems to attach little importance on overfilling Bombast. Many key boards are one above the other put, usually rarely are it to Pianolinien, in addition, times Synthesizer or organ (even a Mellotron sighted). And nevertheless this sounds never flat or boringly - quite the reverse.  The playing the violin work is a further Hands characteristic. And the equation violin = Kansas does not come up here times, under the clear Folk Touch goes it rather toward fair haven Convention.  Very strongly mostly also the singing passages are, special the canon arrangements. And naturally here the large Gentle Giant godfather stands.  A timeless, varied album, which I push again and again times gladly into the player.

BABYBLAUE (in German)

http://www.babyblaue-seiten.de/index.php?albumId=2301&content=review

Von: Thomas Kohlruß (Rezension 3 von 3)

Auch ich möchte meinen beiden Vorschreibern eigentlich nur beipflichten... langweilig was? Aber es ist gar nicht langweilig, was Hands dem Hörer so bieten: Eine so tolle Band muss einfach immer wieder auf diesen Seiten erwähnt werden. Es wäre nicht gerecht, wenn diese Band nicht den Zuspruch, der ihr zusteht bekommen würde. Und es wäre ein Verlust für jeden aufgeschlossenen Proghead, diese Band nicht zu kennen (bei mir hat's leider auch bis zum "Freakshow"-Festival im Juni 2004 gedauert).

Hands bieten unglaublich relaxte, ja fast schwebende Musik im Überfluss. Das hier auf den zweiten Blick (Horch?) aber auch Tiefe und Interessantes verborgen ist, das macht die Musik schliesslich zum spannenden Erlebnis. Und dazu kommt schliesslich noch dieser amerikanische Groove...

Neben allerlei geschmackvollen Keys und tollen Chorgesang, ist vor allem die virtuos gespielte Geige der heimliche Star dieser Musik. Daher haben Hands auch diesen starken folkigen Touch gepaart mit modernem progressive Rock, eine aufregende Mischung.

Volle Zustimmung auch sonst zu den Analysen der Kollegen: "Dance Of Light And Darkness" ist (trotz der Beatles-Nähe) ein Übersong für die Insel. "Leaving" ist zwar ein proggy Longtrack, aber in sich zerfahren und nicht stimmig. Macht nichts, immer noch weit über dem Durchschnitt.

Wermutstropfen für mich: Die instrumentalen Zwischenspiele "I Laughed Aloud" und "Zombieroch" wirken auf mich ein bisschen unfertig und fast wie Füller auf dieser CD. Die Stücke sind zwar für sich interessant, aber sie passen nicht so recht in den Kontext. Und das Album ist VIEL zu kurz! Trotzdem: Hoffentlich gibt es bald neues Material von dieser tollen Band.

Babel Fish translation:

Of: Thomas's Kohl soot  (review 3 of 3) 

Also I would like my two Vorschreibern actually only obligations… boringly which? But it is not boring at all, which Hands offer to the listener in such a way: So mad volume must be mentioned simply always these sides. It would not be fair, if this volume not the approval, which is entitled to her was gotten. And it would be a loss for each unlocked Proghead not to know this volume (with me hat' s unfortunately also up to " Freakshow" - Festival in June 2004 lasted).  Hands offer unbelievably relaxte, nearly floating music in the abundance. Here on the second view (Horch?) in addition, depth and interesting are hidden, finally make the music the exciting experience. And in addition finally still this American Groove comes…  Apart from all kinds of tasteful keys and mad choir singing, above all virtuos the played violin is the secret star of this music. Therefore Hands have also this strong folkigen Touch paired with modern progressive skirt, an exciting mixture.  Full agreement also otherwise to the analyses of the colleagues: " Dance OF Light and Darkness" is (despite the Beatles proximity) a Übersong for the island. " Leaving" is proggy a Longtrack, but zerfahren in itself and not stimmig. Power nothing, the still far over average.  Drops of bitterness for me: The instrumentalen intermediate plays " I Laughed Aloud" and " Zombieroch" affect me a little incompletely and nearly like fillers on this CD. The pieces are interesting for itself, but they do not fit so quite into the context. And the album is MUCH too short! Nevertheless: Hopefully there is soon new material of these mad volume.

Big Bang Magazine (in French)

Issue #44 (page 36) 2002

http://www.bigbangmag.com/bindart.php?page=indexarticles/H

(scroll down to HANDS)

Dutch Progressive Rock Page

http://www.dprp.net/reviews/0208.htm#hands

Hands, the seminal progressive rock band from Texas are back, twenty five winters (years) after their first official album was released. In fact I was planning a Forgotten Sons article of this band whose material has been released in its entirety by Shroom Productions. This reunion album has been in the making these last few years with the collaboration of Rex Bozarth (bass, vocals), Michael Clay (piano, synthesizers, guitars), Martin McCall (drums), Mark Menikos (violin, vocals) and Ernie Myers (vocals, guitars).

Though so many years have passed since this group last graced the stage, the band still play a very similar style to what they used to churn out in the seventies. Though there are some definitive classical progressive influences, the band still betrays the fact that they are a Texas band, and possibly that is the main distinguishing factor that Hands possess. The origins of this band lies in groups such as Aurora, Ibis and Prism, whose music had a definitive jazz-fusion flavour. However with Hands the band seem to have moved towards a more rock orientated direction with a number of diverse influences ranging from Gentle Giant to the more folk sounding Strawbs.

A deciding factor in the stamping of their own individual identity is the sound of Mark Menikos' violin which enables the creation of a sound unique to only a distinctive number of progressive rock bands. The opening Knock/Enter as well as Walls possess a very American country rock sound, which highlights the Texas birthmark, though one must not be misled by this statement as the band have such a staggering of features that one just cannot simply categorise them. The structuring of the vocals as well as the shifts in time signature make the band sound like a folkier version of groups such as King Crimson, Gentle Giant and Anekdoten.

Green Room is the first of three instrumental tracks on the album and is the first track that has a definite rock orientation. The change is rather radical as the band adopts an approach that could be compared more to Porcupine Tree in atmosphere, than most other bands that Hands have been previously compared to. The short I Laughed Aloud and Zambierach complete the trio of instrumentals. Whereas I Laughed Aloud is a simple duet between piano and violin, Zambierach brings out the jazz-fusion element that remains at the root of the band's musical influences. Some could mention groups like Brand X as possible references, especially due to the great bass work that this track has.

Dance Of Light And Darkness reintroduces that Strawbs folk element into the music with structuring on a par with the legendary Yes, yet the highlight of the album is surely the album's epic track, Leaving, which in itself is subdivided into four parts. The track opens with a moving and musical styled Song Of Summer to then move into the acoustic Vigil For One which reminds me of the psychedelic folk musicians from the sixties such as Al Stewart (in his early days) and Fairport Convention. The Traveler's Lament is a very stark contrast to the melancholy of Vigil For One with some impressive powerful guitar work, and some obvious Frippian/King Crimson influences. The track comes to a close with Above And Below which sees the music return to a similar style with which Leaving had started off initially.

Having heard the previous works of Hands, I must admit to having been surprised at what this album offered in terms of style. It seems that with the passing of time the band has mellowed out slightly, allowing their music to become much more accessible and dare I say it, commercial. Notwithstanding all this, the band still manage to come up with a most excellent album that should prove popular to most fans of progressive rock music. I just hope that not too many winters have to pass before the next Hands album!

Conclusion: 8 out of 10.

Nigel Camilleri

Eclectic Earwig Reviews

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

Twenty Five Winters by Hands a collection of moderately progressive

rock songs that feature some non-standard rock instrumentation

including violins, mandolins, woodwinds, and French horn. The

composition is definitely more progressive than pop music that is

typically played on the radio these days, but the format resembles

that of traditional progressive rock. The instrumentation is more

involved than radio rock and the musical ideas venture outside of the

standard progressions and scales. The sound is a little similar to the

rock group Kansas, but with more exploration into nonstandard

harmonization and instrumentation. The sound is interesting and

comes off well with the instruments that are used.

The instrumentation is well-played, well-integrated, and well-

balanced, a professional job. Mark Menikos lays down some

impressive violin work on the opening tracks "Knock / Enter" and

"Walls" reminiscent of Kansas. And, Michael Clay proves that he can

keep up on the keyboard. The vocals left something to be desired for

me, but are probably good enough for commercial music and are

probably just a matter of listener adjustment. The lead guitar work is

sparse and is not up to speed with modern guitar technique, though

well-felt where it does occur. But, this musical format is not a

showcase for guitar technique! Overall, I like the use of nonstandard

instrumentation. This gives the music unique character and a new

dimension that stretches the boundaries of conventional music's

instrumentation and sound.

In the context of commercial progressive rock, the composition is

fairly good, but was a little more repetitive in places than I prefer.

But, this comment should be taken into context of the format of the

music presented on Twenty Five Winters which has its footings in a

more traditional progressive rock format (similar to Yes and Kansas)

which strives for an outside sound with more variation than is

common in rock. But, not everybody has mastered continuous

variation like Scott Henderson, Greg Howe, and their peers!

The Twenty Five Winters album will probably find an audience in

followers of progressive rock who like a more traditional flavor of

progressive rock with its footing in groups such as Kansas and the

like, but are looking for a little more flavor outside of the standard

diatonic harmonies. The standout on this effort for me was "Dance Of

Light And Darkness" which is good enough that it should probably

receive some radio air time. This song has some good vocal

harmonies, rhythmic foundations and changes, kind of a fusion

between some Beatles-like arrangements with more modern content.

"Dance Of Light And Darkness" has good direction, good resolution,

and kept me surprised where it was going, which is pretty rare. The

instrumental "Green Room" also had some tasteful piano and a soulful

violin melody that might strike a broader appeal. The final four part

track, "Leaving", is an ambitous eleven minute opus that has some

interesting melody lines that ventured outside the standard diatonic

harmonies.

Twenty Five Winters does not posess any ground-breaking musical

composition or virtuoso instrumental mastery. But, all in all, Twenty Five Winters is a worthwhile effort to check out for its outside harmonies

that are presented in a pretty coherent, digestible format

with advanced yet modest instrumentation. If you are a fan of the

traditional progressive rock genre, after a few listenings to this CD,

you may find yourself with some more good listening material!

~ John W. Patterson

Exposé

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

issue #25 - 2002

(page 61)

George’s Shop (in French)

http://www.shop33.net/

(click on Catalogue then scroll down to HANDS)

HANDS

Twinty five winters (02)

Reformation miracle, ils ont bien fait . Ça déménage un max sur les sentiers de Gentle-Crimson- Happy the man. TRES correct !!!!

Babel Fish translation:

HANDS

Five Twinty winters (02)

Reformation miracle, they made well. That moves a max on the paths of Gentle-Crimson- Happy the man. VERY correct!!!!

Gibraltar Encyclopedia of Progressive Rock

http://www.gepr.net/hafram.html

(scroll down to HANDS)

In 1996, original Hands musicians Michael Clay (keyboards) and Ernie Myers (guitar) got together again due to the positive response to their long delayed '70's music releases on CD. They began writing new songs, and spent the next few years writing and recording a new Hands CD  Twenty Five Winters, which was released in 2002. The Hands line-up for Twenty Five Winters included four original members and a new bassist. In 2002, they finally released Twenty Five Winters, and was well worth the wait. At the time, I hadn't heard their earlier music, but I did say back then that I thought the album was a must-buy for any symphonic prog enthusiast. Since then, I've also heard their delayed-release 1996 album Hands (recorded in 1977), and it's just as good. I really like these guys, though you should know I'm prejudiced since I know them. Still, I'm pretty sure I would like them even if I'd never met them.

Regarding Twenty Five Winters, all the band members get to show off their chops in different places, but this album is more about great compositions than fast note runs. My favorite cuts on the album include the opener, "Knock/Enter" which flirts with a "southern sound" with its acoustic guitar picking and violin melody, reminding me somewhat of The Dixie Dregs, though less fusiony. This continues with a spacey multitracked vocal section, and finally a more intense restatement of the theme on electric guitars this time, with some nice violin soloing on top.

All the cuts are good, but several others deserve special mention; I really enjoyed "Light and Darkness" for its swinging between light and heavy sections, and for the Echolynish vocal overdubs, or maybe like  Gentle Giant without the medieval madrigal feel. "I Laughed Aloud" is also very nice, an instrumental almost classical-sounding piano piece punctuated by violin over the top. Something about this makes me think I'm going to start hearing a story about the hare who lost his spectacles, but this never happens. Finally, there's a totally electrifying section in the otherwise laid-back vocal-oriented composition, "Leaving". The third part of this cut is entitled "Traveler's Lament", an instrumental section that wouldn't be at all out of place on a  Starless and Bible Black era King Crimson album. OK, it may be a little too nice sounding relative to that, but it still kicks butt in a Frippian sort of way. If I had to make a complaint about this album it's that it's too short! I think they would have had room on the CD for another cut or two. Or perhaps a live "bonus track". But that's about the worst thing I can say about this CD.

Fred Trafton

Gibraltar Encyclopedia of Progressive Rock

http://www.gepr.net/hafram.html

(scroll down to HANDS)

Like many American prog bands in the seventies, Hands went from obscurity to oblivion without a single album release. And like with so many other bands, it took nearly two decades before their music finally got a proper release. Hands is a Shroom Productions compilation containing 14 songs the band recorded between 1977 and 1980, as well as an extensive band biography full of amusing anecdotes. Unlike bands like Starcastle and Cathedral whose music 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&acoustic guitars&keyboards there is 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. "Left Behind" starts as a folky acoustic ballad, but then the instrumental middle section cuts in with sharp electric guitar riffs and a synth solo, just like Kansas; the delicate symphonic atmosphere of "Mutineer's Panorama", dominated by Mellotron and flute, reminds of PFM's softer moments, and  Gentle Giant rears its head on "Triangle of New Flight" which is brimming over with tempo, rhythm and mood changes. A couple of the shorter tracks highlight nimble acoustic guitar playing and beautiful violin and synth work. Interesting is also the 10-minute "Antarctica" with its chilly synths and sound effects and one great instrumental section where flute and overdriven bass play solo lines around a repeating acoustic guitar riff; less so the rather straight-forward rockers "Castle Keep" and "Hands in the Fire", latter of which has quite a lot of Tullish flute work. The band have the knack of writing and performing complex material without sounding too cumbersome or self-indulgent. There are only a few moments where I feel they are trying too hard, otherwise they keep the music flowing on nicely and seemingly effortlessly. The sound quality is good throughout, apart from one live recording, even if you can hear an occasional "seam" where the sound of two spliced-together sections doesn't match. These recordings certainly deserved to be pulled out of the archives and released officially (better late than never). Though not a classic, Hands is still a small gem, a testament to what might have been. Shroom Productions has also put out a second disc of Hands material, called Palm Mystery.

Kai Karmanheimo

iO Pages (in Dutch)

(issue number 39)

http://www.iopages.nl/archief/io39.html

(scroll down to reviews then scroll to HANDS)

Koid9 - Magazine Rock & Progressif (in French)

http://koid9.fanzine.free.fr/sommaire.php?mag=46

(issue 46)

(scroll down to Chroniques de CDs)

La Caja de Musica (in Spanish)

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

Si la principal banda de referencia en las bandas de los 80 fue Genesis, y en las de los 90 fue King Crimson, en las de los 2000 una de las principales esta siendo Gentle Giant, y buena prueba de ello son Echolyn, Miriodor, High Wheel o Bubblemath, grupos influenciados de forma notable por la banda de los Shulman, que sin duda estan entre las mejores del momento.

A estas bandas se les une Hands, un grupo que proviene de finales de los 70, pero que entonces no llego a grabar ningun album. Twenty Five Winters es el primer album de Hands grabado para aparecer como tal, es decir, el primer album que se edita inmediatamente despues de grabarse, por que si bien Hands no editaron ningun album en los 70, si que grabaron material, tanto en estudio como en directo. Material este, principalmente grabado en 1977, que aparecio en forma de cd en 1992 bajo el titulo de Hands. En ese primer disco oficial, Hands se mostraban como una banda cuyas principales influencias eran Gentle Giant y Happy the Man, y mas que un album era una recopilacion de grabaciones realizadas en diferentes años.

Ahora Hands vuelven en muy buena forma, con un album que continua con su sonido de entonces, pero adaptandose perfectamente a los tiempos que corren. Siguen ahi las influencias de Gentle Giant y Happy the Man, entre otras bandas, en un album donde destacan los desarrollos instrumentales donde el elemento solista es el violin en muchas ocasiones, lo que tambien le da un toque a Dixie Dregs y grupos asi. Tambien estan excelentes juegos vocales al estilo Gentle Giant.

Excelentes son las iniciales Knock & Enter y Walls, o temas instrumentales como la melodica Green Room, la clasica I Laughed Aloud o la potente Zombeiroch-III donde tal vez se les va un poco la mano con las influencias de Gentle Giant en algun momento. Tambien Dance of Light & Darkness es un gran tema, con muchas influencias de Gentle Giant muy bien asimiladas, creando algo mas personal. Finalmente, lo mejor del album seguramente es la suite Leaving, con preciosas melodias, vocales, sutiles pianos, guitarras acusticas, french horn y violines, y un fragmento mucho mas agresivo claramente influenciado por King Crimson.

Un disco corto, 39 minutos, pero sin duda un muy buen retorno de Hands en los años 2000.

Ferran Lizana

Babel Fish translation:

If the main band of reference in the bands of the 80 were Genesis, and in those of the 90 it were King Crimson, in those of 2000 one of main this being Gentle Giant, and good proof of it are Echolyn, Miriodor, High Wheel or Bubblemath, influenced groups of remarkable form by the band of the Shulman, that without a doubt estan between the best ones of the moment.  To these bands Hands is united to them, a group that comes from end of the 70, but which then I do not get to record any album. Twenty Five Winters is the first album of recorded Hands to appear so like, that is to say, the first album that is published immediately after recording themselves, so that although Hands did not publish any album in the 70, if which they recorded material, as much in study as in direct. Material this, mainly recorded in 1977, that aparecio in the form of CD in 1992 under the title of Hands. In that first official disc, Hands was as a band whose main influences were Gentle Giant and Happy the Man, and but that an album was a compilation of recordings realised in different years. Now Hands returns in very good form, with an album that continuous with its sound of then, but adapting perfectly to the times that run. There they follow the influences of Gentle Giant and Happy the Man, among others bands, in an album where they emphasize the instrumental developments where the element soloist is the violin in many occasions, which also gives to a touch to Dixie Dregs and groups him thus. Also excellent vocal games to the style Gentle Giant estan. Excellent they are the Knock initials & Enter and Walls, or subjects instrumental like the melodic Green Room, the classic I Laughed Aloud or the powerful Zombeiroch-III where perhaps a little goes away to them the hand with the influences of Gentle Giant at some time. Also & Dances of Light; Darkness is a great subject, with many influences of Gentle Giant assimilated very well, creating something but personal. Finally, the best thing of the album surely is the Leaving suite, with precious melodies, vowels, subtle pianos, acoustic guitars, french horn and violins, and an aggressive fragment much more clearly influenced by King Crimson.  A short disc, 39 minutes, but without a doubt a very good return of Hands in 2000. 

Ferran Lizana

MusicStack

http://www.musicstack.com/item/2600107/hands/twenty-five

On "Pahl..", HANDS performs a kind of Progressive with a touch of jazz-rock, blending influences of THE MAHAVISHNU ORCHESTRA, GONG EXPRESSO II, with flute. This music can be situated close to that of CLEARLIGHT in their "Visions" or "Les contes" period, with a predominent nervous violin, sharp solos (Jerry GOODMAN style), flute parts, themes based on breaks and rhythms changes and diverse suites.

ProgArchives

http://www.progarchives.com/album.asp?id=550

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!

Ray Rappisi Jr. - Prog Reviewer

ProGGnosis

http://www.proggnosis.com/MUSIC_DBCDInfo.asp?txtCDID=3469

DBSilver

Published on: 9 Feb 2002

Twenty Five Winters signals a new era and a new sound for a group of musicians that keep reinventing themselves and their relationship with music and each other.

Clay, Menikos, and Meyers are back, Fiveash is around for most tracks and Parker appears on the opening track in a backing vocal role. And so, 22 years after their last release, Hands delivers an absolute gem of a recording.

Hands remind me a lot of Gentle Giant and a bit of Happy the Man with their challenging and progressive songs. Knit in some It's A Beautiful Day or the Jayhawks to get a folk spice into the mix. Lyrical yet quirky, and almost always adventurous, I like this album a lot. Unless 2002 is an incredible year, this January release may find itself on my short list of highlights 11 months from now when we close out the year.

Twenty Five Winters gives us much fewer instruments than Hand's previous recording. Without Skip Durbin, all the woodwind contributions are gone - but this does not set this album back at all. The CD is too short and it is perhaps a bit less 'proggy' than their last release - 1980's Palm Mystery.

The Schroom label deserves us praise for giving us this Texas band. Hands are a fabulous band bringing us great music and Schroom is a great label bringing us great recordings including the Hands catalog. I hope this marrage is a long and sucessful one and if anyone who matters is listening, I consider 22 more months too long to have to wait for the next Hands release.

Prog-Nose (in Flemish)

http://www.prog-nose.org/nederlands/albums_2002/hands_twenty_five_winters.htm

John "BoBo" Bollenberg

Het heeft maar liefst 22 jaar geduurd alvorens het Amerikaanse gezelschap Hands opnieuw de handdoek opnam teneinde haar doordachte vorm van prog verder uit te werken. Volgens authentieke seventies traditie krijgen nogal wat akoestische instrumenten toegang tot de Hands muziek terwijl de aanwezigheid van een violist vanzelfsprekend vergelijkingen met Kansas moet doorstaan De openingstrack Knock / Enter klinkt dan ook als een kruising tussen Kansas en Happy the Man gekruid met harmonische zang uit de Woodstock hoogdagen. Naarmate de muziek aanzwelt, agressiever en complexer wordt, komen elementen uit King Crimson’s Red periode naar boven in de voetsporen gevolgd door Anekdoten. Eens de viool de mogelijkheid wordt gegund heel even solitair in de spotlights te staan zoals tijdens Walls dan zijn vergelijkingen met Jean-Luc Ponty niet uitgesloten. Door akoestische en elektrische passages constant af te wisselen wordt een interessant spanningsveld gecreëerd welke de muziek aan maturiteit doet winnen. Op die manier worden toegankelijke ritmes doorspekt met pure prog hoogstandjes zoals Dance of Light and Darkness illustreert. Het breekbare I Laughed Aloud illustreert dan weer het hoge klassieke gehalte van voornamelijk toetsen en viool. Het klassieke wordt afgeleid richting avant-garde tijdens Zombieroch alvorens uit te monden in typische symfo traditie. Het sluitstuk Leaving is als het ware een staalkaart van de vele invloeden welke Hands in haar muziek toepast resulterend in het langste epos op dit eerder korte (39’) album welke toch een boeiend werkstuk laat horen.

 

Babel Fish translation:

John "BoBo" Bollenberg

No less than 22 years has lasted before the American companionship Hands the towel again took in order to work her calculated form of prog further. Valid seventies get tradition rather what acoustic instruments access to the Hands grapple music whereas the presence of a violinist naturally comparisons with Kansas must endure the openingstrack Knock/thus seasoned the man sound with harmonious song from the Woodstock hoogdagen as a junction between Kansas and Happy. As music aanzwelt becomes, more aggressive and more complex, comes elements from King Crimson save period up in the foot fscents followed by anecdotes.

Once the violin the possibility is not granted very even solitarily in the spotlights to stand like during Walls then its comparisons with Jean-Luc Ponty excluded. By varying acoustic and electric passages constantly an interesting tension is created which music does win to maturity. This way accessible rhythms are interlarded with pure prog hoogstandjes such as dance or Light and Darkness illustrate. The fragile I Laughed ancient illustrate then the high traditional quality of mainly tests and violin. Traditional it is inferred direction vanguard during Zombieroch before ending in typical symfo tradition. The tail end Leaving is as it were a steel card of the vele influences which Hands in its music applies resulting in the longest epic on this rather short (39) album which nevertheless late hear a captivating piece of work.

Progplanet

http://www.progplanet.com/index.php?categoryid=29&p2_articleid=35

Oh....and they reformed and made a new album:"Twenty five- winters" in 2002. YES....quite right..its GREAT as well!!

By tlarz

Published: November 2, 2005

Progpulsion (in French)

http://www.progpulsion.com/catalog/Catalogue/H?osCsid=2e4c2fa9fcb286b6ff23d0f1440bff25

Ce groupe américain oscille entre GENTLE GIANT (l'art de manier des mélodies surprenantes) et un style plus symphonique (violon, flûte, claviers...). Au total, avec de légères intonations jazzy, voici une réédition de tout 1er ordre. On retrouve sur "Palm" l'influence GENTLE GIANT, ici agrémentée d'une teneur PFM (flûte, raffinement). La coloration 70's est bien évidemment marquée, sans que le son pour autant daté. Du bon rock progressif des 70's sans l'ombre d'un doute! 25 hivers plus tard, HANDS nous concocte un petit trésor de progressif américain. Mélodique et ambitieux comme le sont GENTLE GIANT ou ECHOLYN, sans être pour autant aussi alambiqué, et par ailleurs fort bien produit, cet album enchante par ses ambiances variées (guitares, claviers, piano ou violon y sont à la fête) et sa section rythmique constamment affutée. J'aime ces groupes qui ont de la personnalité ET du talent!! Alors si vous aussi... plongez dans cet univers technique juste ce qu'il faut et tellement mélodique (parfois pêchu et toujours inspiré).

Babel Fish translation:

This American group oscillates between GENTLE GIANT (l' art to handle surprising melodies) and a more symphonic style (violin, flute, keyboards…). On the whole, with light intonations jazzy, here a republication of all 1st order. One finds on " Palm" l' influence GENTLE GIANT, decorated here d' a content PFM (flute, refinement). Colouring 70' S being obviously marked, without the sound for as much dated. Good progressive rock'n'roll of the 70' S without l' shade d' a doubt! 25 winters later, HANDS us concocte a small American treasure progressive. Melody and ambitious like are GENTLE GIANT or ECHOLYN, without being for as much also alambiqué, and in addition extremely well produced, this album enchants by its varied environments (guitars, keyboards, piano or violin is there with the festival) and its rhythm section constantly sharpened. J' like these groups which have personality AND talent!! Then if you also… plunge in this technical universe right this qu' it is necessary and so melody (sometimes pêchu and always inspired).

Prog-Resiste

(issue number 29)

http://www.progresiste.com/issue.php?num=29

(scroll down to HANDS)

Progression

https://store.progressionmag.com/index.php?page=1&act=viewCat&catId=3

issue #42 - 2003

(page 154)

Progressive Area (in French)

http://www.progressive-area.com/index.php?option=com_content&task=view&id=175&Itemid=2

HANDS est un groupe Texan qui existe depuis 1972… Non, je ne pense pas qu’ils se soient perdus dans les vastes plaines texanes. « Twenty Five Winters » est donc leur premier album après quelques démos et quelques changements de nom de groupe, et aussi quelques musiciens. « Un univers impitoyable … » comme le dit la chanson.

Mais passons, l’album est là et quoi de plus normal que d’en parler, puisque c’est du bon !

L’album est court, moins de quarante minutes, mais il nous emmène vers un Rock Progressif des plus jovial, incluant un ingrédient supplémentaire, le violon, qui transperce de part en part cet album. Une entrée des plus tonitruantes sur « Knock/Enter », faisant référence à COLLAGE, période « Moonlight » surtout sur le refrain. Mais très vite, une texture particulière de HANDS nous oriente vers un Rock Progressif Symphonique, Classique avec l’apport du violoncelle. On retrouvera aussi ce côté Classico Symphonique avec piano plus sur des titres comme « I Laughed Aloud » ainsi que le morceau « Leaving » fractionné en quatre parties.

« Dance Of Light And Darkness » qui n’a pas peur de nous étonner avec un début percussions et chœurs et un refrain très British à la limite BEATLES ayant mangé du Prog… Du bon vivant quoi !!

Une attention particulière pour « Zombieroch (pt. 3) », ambiance « Rock In Opposition » avec une guitare acerbe et de multiples orchestrations vacillant entre flûte, violon, violoncelle, aubois, piano. Une vraie symphonie instrumentale syncopée, et de loin le meilleur morceau.

Vient en dernier la pièce de choix puisque « Leaving », coupé en quatre parties, nous accompagne vers un dépaysement radical. Mélancolique à tomber, sans oublier la voix de Ernie MYERS qui se surpasse sur cette première partie « Song Of Summer », avec un « Vigil For One » acoustique très GENESIS et pour finir sur une montée comme on l’aime avec « Above and Below ».

Percussions, cuivres et orchestrations se mêlent pour nous donner ce très attendu « Twenty Five Winters » que HANDS nous soumet presque vingt ans après. Long à accoucher, certes, mais le résultat est vraiment surprenant.

Écrit par Priam    

16-09-2007

Babel Fish translation:

HANDS is a Texan group which exists since 1972… Not, I do not think that they were lost in the vast plains texanes. “Twenty Five Winters” is thus their first album after some demonstrations and some name changes of group, and also some musicians. “A pitiless universe…” like says it the song. But let us pass, the album is there and what could be more normal than to speak about it, since it is good! The album is short, less than forty minutes, but it takes us along towards a Progressive Rock'n'roll of most jovial, including an additional ingredient, the violin, which transpierces this album right through.

An entry of more thundering on “Knock/Enter”, making reference to JOINING, period “Moonlight” especially on the refrain. But very quickly, a particular texture of HANDS directs us towards a Symphonic Progressive Rock'n'roll, Classique with the contribution of the violoncello. One will find also this side Classico Symphonique with piano more on titles like “I Laughed Aloud” as well as the piece “Leaving” split in four parts. “Dance Off Light And Darkness” which is not afraid to astonish us with a percussions beginning and choruses and a refrain very British in extreme cases BEATLES having eaten of Prog…

Of the jovial fellow what!! An special attention for “Zombieroch (Pt. 3)”, environment “Rock'n'roll In Opposition” with a sour guitar and multiple orchestrations wavering between flute, violin, violoncello, aubois, piano. A true syncopated instrumental symphony, and by far the best piece. In the last the part comes from choice since “Leaving”, cut in four parts, accompanies us towards a radical expatriation.

Melancholic person to fall, without forgetting the voice of Ernie MYERS which is exceeded on this first part “Song Of Summer”, with “Vigil For One” acoustic very GENESIS and to finish on a rise as one likes it with “Above and Below”. Percussions, coppers and orchestrations mix to give us this very awaited “Twenty Five Winters” that HANDS subjects almost twenty years afterwards to us. Length to be been confined, certainly, but the result is really surprising.

Écrit par Priam    

16-09-2007

Progressive Newsletter (in German)

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

(scroll down to HANDS-Twenty Five Winters)

Auf drei angekündigte Reunion-Alben von 70er-Prog-Bands aus den Staaten bin ich sehr gespannt: da wären zunächst einmal die überragenden Happy the Man, die zwar mittlerweile schon mehrfach in der neuen Besetzung aufgetreten sind (und angeblich voll überzeugt haben), aber bisher noch kein neues Album vorgestellt haben; dann die Yes-Clones Starcastle, von denen ebenfalls ein neues Werk angekündigt ist, und - ich arbeite mich bekanntheitsgradtechnisch gesehen weiter abwärts - Hands. Und eben diese haben gleich 2 Alben veröffentlicht, die an dieser Stelle vorgestellt werden sollen. "Twenty five winters" heißt das neue Album. Der Titel soll wohl besagen, wie viel Jahre seit Veröffentlichung ihres letzten Albums vergangen sind. Und spieldauertechnisch gesehen sind sie auch gleich voll in den 70ern stecken geblieben. Gerade mal knapp 40 Minuten Spielzeit ist doch sehr bescheiden - und ausgesprochen schade, denn die Musik ist wirklich brillant! Die Besetzung ist im wesentlichen gleich geblieben, d.h. Michael Clay (keys/gtr), Ernie Myers (gtr), Martin McCall (drums) und Mark Menikos (violin/mandolin/gtr) - neu ist lediglich an Bass/Stick/Cello ein gewisser Rex Bozarth. Hands beeindrucken durch hervorragendes Zusammenspiel, weniger durch außergewöhnliche Soli. Die vorhandene Instrumentenvielfalt (neben dem üblichen Instrumentarium auch Geige, Cello, Holzbläser) führt zu keiner Zeit zu einer Überladenheit. Ich gebe zu, dass ich es gern auch mal recht bombastisch mag - doch Hands zeigen, dass auch Schlichtes manchmal recht viel sein kann. Einige Titel basieren auf rein akustischem Instrumentarium (Akustik-Gitarre, Geige, Piano). In diesen eher ruhigen Nummern wissen die Amerikaner ebenso zu überzeugen wie in den wenigen aggressiven Parts. Dass Hands einen gewissen Gentle Giant-Einfluß nicht leugnen können, haben sie ja schon auf ihrem Debüt bewiesen. Auch hier bieten sie erneut diesen typischen Schachtelgesang wie z.B. auf "Dance of light and darkness". "Zombieroch, part 3" klingt für meinen Geschmack wie eine moderne Maxi-Version des GG-Titels "Acquiring the taste", mit dem Unterschied, dass hier allerdings nicht ausschließlich mit dem Synthesizer gearbeitet wurde. Der vierteilige Longsong "Leaving" schließt dieses Album gebührend ab; zu Beginn klingt es wie eine Mischung aus Maxophone und Anthony Phillips' Titel "Collections" auf dem legendären "Geese and the ghost" Album, im dritten Viertel, das "The traveler's lament" betitelt ist, könnte man glattweg meinen, man befindet sich auf dem "Starless and bible black"-Album. Grandiose Fripp-Gitarre und mächtiges Schlagzeug.

Jürgen Meurer

© Progressive Newsletter 2002

Babel Fish translation:

On three announced Reunion albums of 70er-Prog-Bands from the states I am very strained: there the outstanding Happy the would first of all be one, which in new occupation arose meanwhile already several times (and allegedly fully convinced), but so far still no new album presented; then the Yes clones Starcastle, by which likewise a new work is announced, and - I work myself seen bekanntheitsgradtechnisch further downward - Hands. And evenly these published equivalent 2 albums, which are to be introduced here. " Twenty five winters" the new album is called. The title is to probably mean, how passed much year since publication of their last album. And play-continuoustechnically seen they remained also equivalent full putting into the 70ern. Straight times scarcely 40 minutes play time is nevertheless very modest - and expressed harm, because the music is really brilliant! Occupation remained essentially identical, i.e. Michael Clay (key/gtr), Ernie Myers (gtr), Martin McCall (drums) and Mark of Menikos (violin/mandolin/gtr) - newly is only at bass/stick/cello a certain Rex Bozarth. Hands impress by outstanding interaction, less by unusual Soli. The existing instrument variety (beside the usual equipment also violin, cello, Holzbläser) leads to no time to an overloadingness. I admit that I may show it gladly also times quite bombastisch - nevertheless Hands that also simple can be sometimes quite much. Some titles are based on purely acoustic equipment (acoustic guitar, violin, piano). In these rather calm numbers the Americans know to convince likewise as in the few aggressive parts. The fact that Hands do not know a certain Gentle Giant influence denials already proved them on their debut. They offer this typical box singing again also here as e.g. on " Dance OF light and darkness". " Zombieroch, part 3" sounds " for my taste like a modern maxi-version of the GG-title; Acquiring the taste" , with the difference that here however not exclusively with the Synthesizer one worked. The fourth-hasty Longsong " Leaving" this album locks being entitled; at the beginning it sounds like a mixture from Maxophone and Anthony Phillips' Title " Collections" on the legendary " Geese and the ghost" Album, in the third quarter, which " The traveler' s lament" , could one is called mean smooth, one is on " Starless and bible black" - Album. Magnificent Fripp guitar and powerful Schlagzeug. With this absolutely convincing album Hands submit a magnificent comeback and I hope that they can correct their degree of fame at least a little upward - they would have earned themselves it always.

Jürgen Meurer

© Progressive Newsletter 2002

Progressive World

http://www.progressiveworld.net/hands.html

Reviewed by: Stephanie Sollow, May 2002

Using any one point of reference to describe the music to be found on Hands' absolutely terrific Twenty Five Winters only tells you one-seventh of the story. Hands are at one moment Celtic, one moment Ameri-prog in the vein of Echolyn, one moment classically influenced and another moment something else. There was even a point where I thought of both Squeeze and Madness...and in the case of "Zombieroch" I sometimes thought of King Crimson and at other times of French TV; that is, an eclectic mix of jazz and rock played sometimes with and sometimes against each other. I keep playing this CD over and over, each time finding new things to like and appreciate about it. You should zoom over to Shroom and get your hands on a copy.

Twenty-Five Winters is the first release by the band in 22 years, a band that formed in Texas in 1972, first as Ibis then Prism. In 1978, owing to the fact that there was a Canadian band called Prism, the band changed their name to Hands. Their earlier material has been compared to such artists as Happy The Man and Gentle Giant, the latter of whom they opened for in 1977. By 1980, the band had split. Their first album, Hands was recorded in 1977, but wasn't released until 1996, the first release from the Texas based label Shroom Productions (a label formed by Richard Patz to release prog rock from Texas, Oklahoma and Louisiana). Shroom later released Palm Mystery and Prism Live 75-77, two albums that also contained archival material. The bio on the Hands site brings us up to date by telling us: "In 1996 [Ernie] Myers and [Michael] Clay began to write some songs in a style that was progressive but not a recounting of their earlier sound. That sound was gone and would never return. But the new songs began to take on life and after several personnel changes and midstream alterations in recording technique, the CD Twenty Five Winters was finished in the Fall of 2001."

While lyrically "Knock/Enter" seems underdeveloped, there is a great deal of meaning in the few lines there are -- whether it is a comment upon their career, life in general, or both, the message is clear -- don't wait for something to happen, make it happen. There is an extended instrumental section to this track that is quite Celtic-rock in nature, in the vein of California's Tempest, this is brought about by not just Mark Menikos on violin, but the whole arrangement of the track - though not any one specific track, "Cat In The Corner" is what came to mind most often (from Turn Of The Wheel). This violin sound is picked up by the next track "Walls," a track that does make me think of Echolyn...and thus by extension we get Gentle Giant. There are at least three tempo changes here, from very quick to languid, the "solo" section becoming even more languid. Speaking of "Cats," there is a certain part of the main guitar phrase to "Green Room (pt. 1 & 2)" that reminds me of "Cat's In The Cradle" ... this segues into a beautiful, gentle, flowing piano and bass passage, presaging the classicism of what follows in "I Laughed Aloud" and "Leaving." As good as this album is overall, it is here, in these three tracks, that Hands are truly spectacular.

Each track is varied enough that each deserves some mention. "Dance of Light And Darkness" takes the layered vocals of Gentle Giant (counterpoint) and the smart pop of Squeeze (including the vocals of Myers) and melds them. Though there's a dash of Madness in there, too, as "Our House" was echoing in my mind in terms of the phrasing of certain passages.

"I Laughed Aloud" is, ironically, a melancholy section where the light piano notes suggest false cheer. A tragic figure who must smile through his pain.

"Leaving," the four part suite that concludes the album, is beautifully stunning. Chris Dulen guests on French Horn, which gives the intro a wonderfully warm feeling. Michael Clay's lyrical piano lines play in contrast to the languid French Horn, giving this piece a very classical feel...and a classy feel. A cinematic feel, somewhat melancholy but hopeful -- as the title suggests. Menikos and Clay also play acoustic guitar on this piece, beginning with the second movement "Vigil For One." "The Traveler's Lament," the third movement, at first begins moody, but soon becomes angular and rocky, guitars and bass churning away over rapid, varied percussion -- Crimson. "Above And Below" hints at Emerson, Lake and Palmer's gentler, symphonic moments. It's a piece that I could easily also hear The Flower Kings do. Everything flows and swirls...the lyrics are as evocative of the music as the music is of the lyrics -- that is a match between words, imagery and music.

Progressive World

http://www.progressiveworld.net/hands.html

Reviewed by: Eric Porter, December 2002

When I think of Texas and music, what immediately comes to mind are bands like ZZ Top or Stevie Ray Vaughn, the blues based rock. So a progressive band from Texas seems as out of place an armadillo in upstate New York. Texas-based Hands carried the progressive flag in Texas throughout the 70s, yet Twenty Five Winters represents their first "proper" release. The prior releases were put out long after the group had gone their separate ways.  Twenty Five Winters brings together key members of the band from the 70s recording all new material.

The opening "Knock/Enter" shows off the bands use of multi-instrumentation. Building from an acoustic guitar riff, the song ultimately becomes a mesh of Gentle Giant and Kansas influence. The music is always centered with a melodic foundation, yet the instrumentation takes many different paths. "Green Room (Pt.1 & 2)" are basically two different songs using the same melody, with a melodic piano setting up an almost Genesis ala "After The Ordeal" feel. Twenty Five Winters has a tighter feel than the 70's output. The violin often takes center stage as the lead melodic instrument, but the keyboards and guitars also make their presence felt.

Hands offers up a plate of musical diversity, with each song having a unique identity. "Zombieroch (Pt.3)" shows more Gentle Giant influence with the quirky use of the electronic woodwinds in between the harder edged guitar parts. From the pop-like sounds of "Dance Of Light And Darkness" to the violin and piano duet "I Laughed Aloud," the band's focus is on the music, and not trying to create a particular sound. An engaging listen from start to finish.

Progressor

http://www.progressor.net/review/hands_2002.html

Prologue. I was not acquainted with the music of Hands until now. However, I know that they are veterans of American Progressive music, and the band's eponymous debut album was released at the end of the 1970s. Finally, I'd like to mention that this CD was received from my friend at the Gibraltar Encyclopedia of Progressive Rock, Fred Trafton, who sent it especially for my review. Visit the GEPR, which is the first-rate Prog source on Earth (I am by no means sure that the phrase "in the world" is correct), by clicking here: http://www.gepr.net

The Album. Yet another masterpiece! Although "Twenty Five Winters" by Hands is not as killer as Bubblemath's "Such Fine Particles of the Universe", it is by all means a wonderful album as well. The music that is presented on this album is very fresh and original. It is woven from the mixed stylistic textures that, in particular, are typical for Classic Symphonic Progressive, Classical Academic Music, and Modern Art-Rock as well. Also, there are many purely acoustic episodes on the album. Furthermore, a few pieces are completely acoustic. All three of the first songs on the album, namely: Knock & Enter, Walls, and Dance of Light & Darkness (1, 2, & 4), are about Classic Symphonic Progressive with elements of Modern Art-Rock and shades of Prog-Metal. (To know my view on Modern Art-Rock, click here). These songs contain the complete list of progressive ingredients that are typical for this genre. The masterful solos and passages of violin and cello that are present on them (as well as on most of the tracks on the album, though) make their sound very symphonic. What's interesting is that each of the songs on the album, including two out of the four parts of Leaving, apart from the lead vocals, features a wonderful male choir. When all three of the band's vocalists sing only to the accompaniment of hand percussion, which, though, happened only once (on 4), their choir reminds me a bit of that which was invented and regularly used by Gentle Giant. Stylistically, the first of the three instrumental pieces that are featured on the album, Green Room (3), is much in the vein of the songs that I've just described. In other words, the first half of the album is completely of a unified stylistic concept. Various interplay between solos of electric and bass guitars, violins, and organ and passages of acoustic guitar, piano, and synthesizers, frequent changes of tempo and mood, complex time signatures, etc, are typical for all four of the first tracks on "Twenty Five Winters". Among them, only Dance of Light & Darkness (4) features the parts of hand percussion, apart from those of drums, and, in addition, contains two short episodes of the industrial-like character. Stylistically, the second half of the album is quite motley. I Laughed Aloud (5), consisting entirely of continuously developing interplay between very beautiful passages of piano and violin, is, of course, an instrumental piece of a pure Classical Music. The contents of the following instrumental, Zombeiroch-III (6), represent a blend of Classical Academic Music and Classic Prog-Metal (yes, yes) with elements of both of Classic Symphonic and Modern Art-Rock. To be more precise, this unique composition features the alternation of the arrangements that are clearly about Classical Music and those in the vein of a heavy Symphonic Progressive. This is the only track on the album that contains the parts of clavier and electric woodwinds. To be frank, here, I for the first time hear electric woodwinds, though 'these ears' find that they sound too realistic to be synthetic. Although there are no pauses between the parts of the last and the longest track on the album, Leaving, all four of them can be differentiated easily. The instrumental parts of the first of them represent Classical Music, while the vocally instrumental parts of it are definitely about Classic Symphonic Progressive with elements of Modern Art-Rock. A pure Classic Symphonic Art-Rock is present on the second part of Leaving. Quite a fast, aggressive and dark Prog-Metal dominates throughout the third part of it, which is entirely instrumental. Finally, the fourth part of this epic composition is a Classic Art-Rock ballad.

Summary. All the songs and instrumental pieces on the Hands jubilee album "Twenty Five Winters" (the band was formed in 1977) are amazing, so I can't select the best track among them, which is quite a rare case in my practice. However, this unique and, overall, very contrasting album, full of unexpected changes of styles, all of which are distinctly original, is also a rare case on a contemporary progressive scene. Highly recommended!

Vitaly Menshikov

October 8, 2002

Progress Records

http://www.progressrec.com/webshop/reviews-hij.html

(scroll down to HANDS)

The American prog rockers Hands from the 70's have reunited after 25 years and put together a stunning comeback album. Everything you could ever hope for has made it onto this album. A clear Gentle Giant touch and lots of instrumental variation with cellos, violins and a very nice piece containing a French horn. Every lover of the band will be very pleased with this new CD. It's easily their best work ever and let us hope that they'll stay together for many years and bring us more fantastic music in the future. I totally agree with the review published last month on the missing piece web site.

review by: Olov Andersson

Ragazzi (in German)

http://www.ragazzimusic.de/hands2002.html

Sie haben es doch noch geschafft. Das erste reguläre Album der Amerikaner Hands erscheint im Jahr 2002, obwohl die Band seit Anfang der siebziger Jahre bestand und Ende der siebziger erst einmal wieder verschwand, ohne ein Album veröffentlicht zu haben. Jedoch, es gab eine große Menge Aufzeichnungen. Live eingespielte Tonkonserven wie im Studio ausgefuchste grandiose Werke, die zeigen, wie gut diese Band war. Immerhin hat Shroom Productions den Nachlass auf bereits 3 CDs veröffentlicht, wobei besonders die beiden CDs "Hands" und "Palm Mystery" in der progressiven Fangemeinde einschlugen wie eine Bombe. Schön, wenn solche unbekannten Songs ausgegraben und veröffentlicht werden. Die Musiker von Hands, die damals auch schon mal unter dem Namen Prism (auch eine sehr interessante CD bei Shroom Productions) oder Ibis auftraten (und auch schon mal für Gentle Giant eröffneten) und interessante Versionen von bekannten Progressive-(Jazz-)Rock-Bands/Songs spielten, sind gewiss erleichtert und erfreut, dass ihre bis dato unbekannte und der Ehren verschmähte Kunst endlich die Ohren der neugierigen Fans erreicht. Zudem haben sie Hands reaktiviert und tatsächlich neues Material eingespielt, dass sich nicht vor dem alten zu verstecken braucht. Die nunmehr alten Herren rocken, was das Zeug hält. Die elektrische Geige (Walls) zelebriert die Tonalität allerliebst, die heftigen Gitarren, das komplexe Rhythmusgerüst wirken grandios - die Band erweist ihrer Vergangenheit alle Ehre. Weder hat sich, wie üblich, Popmusik in die Hirne der Musiker geschlichen, weder sind die heutigen Kompositionen belanglos noch ist die Einspielung schwerfällig und fad. Zwar geht die Band gebremst vor, doch die Dynamik, Virtuosität, Lebendigkeit der Songs ist grandios und sehr fein. Die stillen Fragmente sind sehr melodisch, doch nicht bedeutungslos, sondern von einer zarten Eleganz, die nur zu bewundern ist. Die bedeutendsten der 7 Sogns sind "Zombieroch Part 3", "I Laughed Aloud" und "Leaving". "Zombieroch" ist ein Aushängeschild der alten Hands, ein beeindruckender Song, der hier interessante Varianten zwischen stiller Lyrik und hartem Rock aufzeichnet. "I Laughed Aloud" als akustisches Stück mit Geige und Piano beweist die Feinfühligkeit der Musiker. Doch vor allem das 11-minütige "Leaving" hat es in sich. Die immer wilder sich steigernde Instrumentalorgie im langen Mittelfeld des Stückes greift weit nach den Sternen, da wird King Crimson (der 70er), YES und anderen Größen gehuldigt, ohne auch nur einen Ton zu klauen. Obwohl im Progressive Rock einige "lange Stücke" die Sinne der Fans rauben, muss Platz für ein weiteres Werk sein, "Leaving" steht in der Qualität weit oben. Ganz klar, "Twenty Five Winters" ist das Geld wert und zeigt zudem, wie alte Herren, die sich nach erfolgloser Jugend später wieder treffen, zu erneuter Zusammenarbeit befähigt sind, die endlich Erfolg zeitigt.

VM

Babel Fish translation:

They nevertheless still created it. The first regular album of the Americans Hands appears in the year 2002, although those existed volume since beginning of the seventies and only once again disappeared to end of the seventies, without an album to have published. However, there was a large quantity recordings. Live co-ordinated cannings as in the studio ausgefuchste magnificent works, which show, how good this volume was. Nevertheless Shroom Productions published the deduction on already 3 CD, whereby particularly the two CD " Hands" and " Palm Mystery" in the progressive fan club hit like a bomb. Beautifully, if such unknown song are excavated and published. The musicians von Hands, who arose at that time already times under the name Prism (also a very interesting CD with Shroom Productions) or Ibis (and already times for Gentle Giant opened) and interesting versions of well-known progressive (jazz) skirt volume/song played, are certainly relieved and pleased that their to date unknown achieves and the honours defamed art finally the ears of the curious fans. Besides they re-activated Hands and brought actually new material in that before the old does not need to hide itself. The now old gentlemen rocken, which holds things. The tonality celebrates the electrical violin (embankment) all-loved, the violent guitars, the complex rhythm stand works magnificent - the volume renders all honour to its past. Neither, as usual, pop music crept into the brains of the musicians, neither is inconsequential the today's compositions nor is ponderous bringing in and fad. Those proceeds volume braked, but the dynamics, Virtuosität, aliveness the song are magnificent and very finely. The quiet fragments are very melodisch, but not insignificant, but from a tender elegance, which is to be only admired. The most important 7 Sogns are " Zombieroch part 3" , " I Laughed Aloud" and " Leaving". " Zombieroch" a sign of the old Hands, an impressing song, is which notes here interesting variants between quiet lyric poetry and hard skirt. " I Laughed Aloud" as acoustic piece with violin and piano the Feinfühligkeit of the musicians proves. But above all the 11-minütige " Leaving" it has in itself. Those always savages increasing Instrumentalorgie in the long centre zone of the piece reaches itself far for the stars, there King Crimson (the 70's), YES and other sizes is gehuldigt, without stealing also only one clay/tone. Although in progressive skirt some " long Stücke" the senses of the fans rob, must be place for a further work, " Leaving" stands in the quality far above. Completely clearly, " Twenty Five Winters" the money is worth and shows besides, how old gentlemen, who meet later after unsuccessful youth again, are qualified for renewed co-operation, which produces finally success.

VM

Rate Your Music

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

Rock Progressivo Brasil (in Portuguese)

http://www.rockprogressivo.com.br/canais/rev/hands.htm

Este disco mostra as últimas gravações feitas pela banda desde 1980, quando eles formalmente romperam. A banda é da cidade de Dallas, Texas e foi formada em 1972. Ao ouvir os primeiros acordes, quem já conhece a banda irá reconhecê-lá imediatamente. Eles mantiveram o espírito dos anos 70 e ao mesmo tempo introduziram um certo tipo de sentimento romântico, que pode levar a bandas como Landberk, Strawbs. Os momentos mais fortes lembram os melhores momentos de Anekdoten e Landberk, que por si só copiaram a era Red do King Crimson, que também é revisitada pela banda.

Antigas Resenhas

Babel Fish translation:

This record shows the last writings made for the band since 1980, when they had formal breached. The band is of the city of Dallas, Texas and was formed in 1972. When hearing the first chords, who already knows the band will go reconhecê-lá immediately. They had kept the spirit of years 70 and at the same time they had introduced a certain type of romantic feeling, that can take the bands as Landberk, Strawbs. The moments strongest remember the best moments of Anekdoten and Landberk, that had by itself copied the age Red of the King Crimson, that also is revisited by the band.

Antigas Resenhas

Sea of Tranquility

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=141

After roughly a quarter of a century since legendary Texas progressive act Hands last recorded, 2002 sees the release of the bands reunion CD titled Twenty Five Winters. Back in the mid-90’s Shroom Productions pulled out of the vaults the first Hands self titled album, a wonderful collection of fiery and intricate prog-rock. While the band hinted at many of the characteristics of their contemporaries such as Gentle Giant, Happy the Man, Kansas, and the Mahavishnu Orchestra, they really had a unique sound that was the result of a talented group of musicians who played many different instruments and wrote wonderfully complex, quirky, and melodic songs. Shroom later released Palm Mystery, made up of recordings that the band completed shortly after the debut and right before the breakup in the late 70’s. This new CD marks the first time the band has put together new material since then, completed by three of the original members, keyboardist Michael Clay, guitarist Ernie Meyers, violinist Mark Menikos, plus new members Rex Bozarth on bass, and Martin McCall on drums.

Once you get past the fact that Twenty Five Winters is in no way a continuation of Palm Mystery or the bands debut, you realize what an enjoyable CD this really is. Sure, the music here is not as complex as the band previously came up with, but there is an inherent beauty to the seven tracks recorded here that the band has never quite achieved before. “Dance of Light and Darkness” is a perfect example, including a wonderful and melodic lead vocal supplemented by exquisite violin and keyboards, which quickly climaxes into a terrific Gentle Giant influenced ensemble vocal fugue. Two enchanting instrumental pieces, “I Laughed Aloud” and “Zombieroch Pt. 3” let the band strut a little of their musical prowess, especially bassist Rex Bozarth, who adds a little Tony Levin flavor to the latter. Violinist Menikos however is the star of the show throughout this CD. His soaring lines permeate “Knock/Enter” and “Walls” with majestic grandeur, and becomes the perfect partner to Clay’s gentle keyboard touches. The final track is the epic “Leaving”, an atmospheric masterpiece that is broken down into four parts and features the best guitar work from Ernie Meyers on the CD. The constantly changing time signatures and tempo variations are well done, as the song moves from quiet acoustic interludes, harmonious vocal sections, to raging, complex prog.

The only real negative here is the length of the CD, which is barely over thirty minutes, but it is extremely enjoyable time spent nonetheless. I also missed some of the woodwind playing that highlighted much of the bands earlier work, but Mark Menikos does a good job of picking up the slack. Twenty Five Winters is highly recommended and a welcome comeback from one of the greats.

Added: February 20th 2002

Reviewer: Pete Pardo

Tarkus (in Norwegian)

http://www.tarkus.org/

issue #23 - 2002

(page 34)

click on Tidligere utgaver

click on Issue #23

scroll down to HANDS

The Missing Piece

http://www.missingpiece.net/

 

The American prog rockers Hands from the 70's have reunited after 25 years and put together a stunning comeback album. Everything you could ever hope for has made it onto this album. A clear Gentle Giant touch and lots of instrumental variation with cellos, violins and a very nice piece containing a french horn. Every lover of the band will be very pleased with this new CD. It's easily their best work ever and let us hope that they'll stay together for many years and bring us more fantastic music in the future. HIGHLY RECOMMENDED!! (Olov Andersson)

Rating: !!!