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HAPPY THE MAN

Eclectic Prog • United States


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Happy The Man biography
Founded in Harrisonburg, Virginia, USA in 1972 - Disbanded in 1979 - Reformed in 2000

One of the finest American prog bands. Completely out of the american standards, HAPPY THE MAN combined lush melodies, great complex interplay and a slightly jazzy touch with occasional vocals. The band claims to be influenced by GENESIS, Yes, and GENTLE GIANT although they really do not sound anything like any of those bands.

Their first two albums, the self titled "Happy the Man" and "Crafty Hands" (almost entirely instrumental) are classic albums of the highest order, and are considered by the band to be the definitive releases in their catalogue. These are must haves. A reference point in the 70's US prog scene!

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HAPPY THE MAN discography


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HAPPY THE MAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.85 | 283 ratings
Happy the Man
1977
3.91 | 274 ratings
Crafty Hands
1978
3.50 | 111 ratings
Better Late...
1983
2.99 | 75 ratings
Beginnings
1990
3.55 | 74 ratings
Death's Crown
1999
3.61 | 139 ratings
The Muse Awakens
2004

HAPPY THE MAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.87 | 37 ratings
Live
1997

HAPPY THE MAN Videos (DVD, Blu-ray, VHS etc)

HAPPY THE MAN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.96 | 15 ratings
Retrospective
1989

HAPPY THE MAN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.67 | 3 ratings
Service with a Smile
1978
3.56 | 7 ratings
Only Love
2024
3.00 | 1 ratings
Lock 'em Up
2024

HAPPY THE MAN Reviews


Showing last 10 reviews only
 Crafty Hands by HAPPY THE MAN album cover Studio Album, 1978
3.91 | 274 ratings

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Crafty Hands
Happy The Man Eclectic Prog

Review by BasedProgger

5 stars HAPPY THE MAN is one of the most underrated classic prog bands and probably the most interesting 70s prog band to come from the United States. They had a unique, quirky sound, and wrote technical yet melodic instrumentals, with few lyrical songs. They weren't commercial like KANSAS or STYX, but a 100% prog band. If they had been able to release more albums and get more promotion from their record label, they could have been a bigger name today like VAN DER GRAAF GENERATOR or GENTLE GIANT.

Crafty Hands is my favorite album of theirs, an underrated classic. While nothing on this album is as adventurous or frenetic as "Mr. Mirror's Reflections on Dreams" or "New York Dream's Suite", Crafty Hands more than makes up for it being a more polished, consistent, well crafted album while still retaining some of the dreamy atmosphere of their self-titled debut. The musicianship on here is incredible yet restrained, as if they were playing for the song, not showing off as much. Almost every song on this album is an instrumental, "Wind Up Doll Day Wind" being the only song with lyrics, and Stanley Whitaker's subpar vocals I think makes it the weakest song of the album although still a good song. That aside, the rest of the album is a masterpiece from start to finish, my personal favorites being "Service With a Smile", "Ibby it Is", "Steaming Pipes", and "Open Book".

I highly recommend this album to fans of eclectic and symphonic prog bands like GENESIS and GENTLE GIANT. This may be one of the greatest US prog albums ever released.

 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. HAPPY THE MAN were an American band who formed in the early seventies but didn't release this their debut until 1977. It was recorded late in 1976, and these five musicians are from Virginia. I personally believe they named themselves after that GENESIS single released in 1972 called "Happy The Man". It was the A-side of the single but still an obscure track. These guys were huge GENESIS fans along with YES and GENTLE GIANT.

The compositions were shared fairly evenly here by guitarist Stan Whitaker, keyboardist Kit Watkins and horn player Frank Wyatt. Such a talented band creating some complex music. I have to mention drummer Mike Beck who I feel is under utilized here, but man he can play. I have the classic first two albums along with that seventh and final record from 2004 which was really disappointing, but really a different band at that point with the lineup changes. We get seven tracks here and two of those have vocals.

The opener is an instrumental called "Starborne" and it's quite mellow with these synth led outbursts from time to time. I have to say that one of my issues with this album is the high pitched synths that Watkins likes to use. Just really annoying to my ears. I mean this record feels like a link from the warm analog days of the early seventies to the bright synths of the eighties. Not a fan. Some sax on the next one and more power too. Vocals for the first time on "Upon The Rainbow(Befrost)" and I'm not digging it. It reminds me of that time in my life in '77/'78 where in my mid-teens life wasn't easy and the only music I knew was on FM radio and there was a "sound" to that era that pops up here. Not a fan.

I am a fan of "Carousel" as it's my favourite song on here and quite short at 4 minutes. It's surprisingly dark at times, it just stands out in a positive way for me. Some intensity here. The high pitched synths make that sixth track a tough one for me but "Hidden Moods" is better with the bass standing out for a change and it's different with the acoustic guitar and piano. A nice melodic piece. The song in between has vocals and is ballad-like at times. The closer is well done I must say.

This is not a 4 star record in my world, and neither are the other two recordings I own by this band, but they are very much respected by fans and musicians alike. I loved reading some interviews with this band about the time Peter Gabriel paid them a visit as he was considering using them as his backing band. Gabriel had just left GENESIS and was about to embark on his solo career. The band of course are fanboys but trying not to show that, to the point of not even taking any pictures with him or even recording the playing and jamming they did. He was there for about 8 hours or so. So it became this memory in their heads only.

 Only Love by HAPPY THE MAN album cover Singles/EPs/Fan Club/Promo, 2024
3.56 | 7 ratings

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Only Love
Happy The Man Eclectic Prog

Review by Xenodimensional

4 stars We live in quite the age where I can be listening to this release literally 15 seconds after learning of its existence.

I think it's safe to say that hardcore HTM fans moved past the 'it doesn't have Kit Watkins' thoughts a decade or two ago and now in light of Frank Wyatt's early passing I was wondering in the 15 seconds between seeing this entry and finding it on YouTube what form it might take.

For those who have been following the various HTM related threads, this release (well, song) is somewhat in the Pedal Giant Animals vein and brings songs from the second half of that fine release to mind. A nice catchy, dynamic tune and Stan's voice keeps getting better with age. Hopefully this signals a return to form for the band and we will see more releases from these maestros.

It actually took a minute to click that Michael Beck is on percussion meaning that this is three of the groups original lineup plus Ron Riddle who has been deeply tied with the group for decades making the four main players for this release properly tenured Happy Men. Truly a sound for sore ears.

 The Muse Awakens by HAPPY THE MAN album cover Studio Album, 2004
3.61 | 139 ratings

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The Muse Awakens
Happy The Man Eclectic Prog

Review by DangHeck
Prog Reviewer

3 stars Their current bookend leaves me scratching my head at times: Unbalanced at worst

The year is 2004 and Kit Watkins is nowhere in sight (forgive my ignorance; I'm a huge fan of their self-titled, but know little else). He just always struck me as intrinsic to the Happy The Man sound. Funny enough, it's after 1978's Crafty Hands that he leaves! Even so, there was definitely a part of ignorant me that was skeptic. Odd, too, as this is the second of only 2 studio albums available for the band on Spotify (since ever). So, a glimpse at their bookends only? I should likely rectify that--another day.

Right off the bat, the keys, since you see that's so important to me: Frank Wyatt takes up the helm in an apparently more primary position and is joined by one of their then newest members David Rosenthal. No harm, no foul. Their ability is notable from the get-go on the excellent "Contemporary Insanity". What an opener! Showing they still truly have it after all these years.

This wild ride is then interestingly juxtaposed with the very quieted title track, "The Muse Awakens". Lovely and soft, with feeling reeds and very bright, modern drums. A shift occurs around 2:40 in rhythm and vibe. Certainly all for the better. And once again, the highlight is synth soloing. Big fan (the track was solid enough).

Soft padding introduces the next, "Stepping Through Time". Spacy and atmospheric synth lead enters to an almost Eastern effect. Things slowly rise around minute 2, light and airy, but with an optimistic sort of flair. The syncopation that follows is very interesting. The feeling continues to rise and it feels as though the beat picks up a hair as lead guitar floats melodically and jazzy. And then just like Happy The Man to pick things up in an unexpected way. Very satisfying. Always with the compositional knack. Certainly worth a listen for that build.

Ocean waves crash along the beach on "Maui Sunset" and a distant horn initiates the music. A very dreamy song.

A song with a title like "Lunch at the Psychedelicatessen" had better be great, right? In this case, yes! Well, it's a damn solid start, firstly. Got that lovely, free and jazzy quirk. Such a great feel! I guess you could say that it's 'psychedelic' similarly to how Hatfield and the North has, as I would put it, Canterbury quirk. It just keeps getting better and better, too.

And then, it's back on that soft, soft ride with "Slipstream". Another track where it felt like I was waiting for the great thing to happen: not an awesome feeling. It is nearing the 3 minute mark that things do in fact pick up. Fun melody and fun performance. I just wish the whole had this sort of feeling... Especially as it seemed to culminate to that moment only to return to the low and slow of the start.

Then, praise the Lord above for the funky and wild "Barking Spiders" (very Happy the Man sort of title, that)! Such a refresher! Sort of guitar fusion meets light RIO vamping. So, I'm all for it! The guitar, the keys and the quirky percussion throughout: oh yes. Fantastic front to back.

The thing is, once again, this album is giving me strangely anticlimactic whiplash (is that a ding?). "Adrift": once again, a pretty number, but... And like I'm grateful, I guess that they separated these tracks, but to what end?! It goes into "Shadowlites", the first title with vocals?! I almost forgot that Happy The Man usually features vocals haha. Similar, here, to Steve Walsh (Kansas)?... Cool rhythm, for sure. The song was... fine, though. It's also just making me feel, unfortunately, that this album is also perhaps a hair too long. Disappointing, I guess. God, this review is longer and more depressing than I was anticipating...

"Kindred Spirits" is another low and slow, pretty and introspective sort of song to start. Lovely ethereal sort of keys. But... once again, did anything happen throughout? Not really. Well performed, of course, but come on! In comparison, from the beginning, "Il quinto mare" does feel like a significantly better option for a closer than the sad weaknesses throughout, at least. The strings are a nice change, I'd say. Drums are strong and optimistic. Another softer track, end of the day, but at least it has something going on for itself.

Ultimately, unsure how I feel, but I found myself here enjoying ExittheLemming's review from 10+ years ago. I dunno, end of the day. Still love the band. This album was just lacking quite a bit of something.

 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by Argentinfonico

3 stars What else can I say about this emblematic album of symphonic rock... What happens to me with this piece is quite strange, because in some segments I find a very modern (futuristic) and original sound, but in others it sounds exactly the same as other bands. Already the fact that the band has the same name as a Genesis song doesn't appeal to me at all... Originality and authenticity in music are really important (especially in progressive rock). In some minutes it sounds like Yes, in others like Gentle Giant... Anyway, there are several redeemable songs (like the ones at the beginning of the album or the final song) that you can really like. If they had managed to detach themselves from the sound of the 70's-75's, it would get 4 stars (maybe 5!). Clearly an album that every fan of the sub-genre should listen to.
 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by Squire Jaco

4 stars All too often, an obscure band remains so because of some fairly relevant reasons: not original enough, not creative enough, not likeable, not good enough musicians, etc... NONE of that applies to this relatively obscure group. Let's blame their obscurity on bad timing (prog struggling in a world of disco and punk) and perhaps lack of good marketing and support from their label.

This is beautiful, creative and interesting prog (by Americans!) in the vein of instrumental Camel, but unique nonetheless. (I recall keyboardist Kit Watkins' contributions to Camel's "I Can See Your House From Here" album around 1980.) The music has great melodies coupled with surprising tempo changes, and is consistently listenable - never hard (or "metal"), nor too soft (or "ambient"). It mixes moods that are alternately positive, mysterious and humorous, with an inexpressible excitement to it. Some similarity to the Dixie Dregs sound (subtract the violin, add sax and flute).

First-time listeners, don't be misled by the slower, spacey opener, "Starborne". About two minutes into the second track, "Stumpy Meets the Firecracker...", and you'll know the true flavor of this band. Another favorite of mine is the instrumental "Knee Bitten Nymphs in Limbo." By the way, two tracks have vocals, sung well enough by guitarist Stanley Whitaker.

To be sure, there are literally thousands of bands over the past 50 years or so that have had a virtuoso keyboardist here, or killer guitarist there, or a showpiece drummer, etc. But rarely do so many technically proficient musicians appear together in ONE band as they do with Happy the Man, and they combine it with superb songwriting and production (all of which makes their relatively humble following even more perplexing!).

If you've read this far, you can trust me when I say that this is great progressive music, as is their followup album "Crafty Hands". ("Death's Crown" also contains some great music, but beware the sound-board production quality.) I only regret that I waited almost 30 years to hear this!

4-1/2 stars

 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by kurtrongey

5 stars Happy the Man's first album is one of the greatest prog debuts. Every track is superbly sculpted. Simplicity flirts with playful complexity in an environment of limitless sonic detail that threatens to reveal a whole new level if one only had better ears to hear more deeply into it. The music is a jazz-tinged symphonic progressive that summons up a gentle, surrealistic fantasy realm for the listener. Kit Watkins, the star of the recording, establishes himself as the most accomplished (and the fastest) Mini-Moog player. The keyboard arrangements (with Frank Wyatt sharing keyboard duties) summon a magical haze of electric piano and string-synth. Frank Wyatt's woodwinds integrate perfectly with the lush but (amazingly) never-overbearing keyboard textures.

Unparalleled in American progressive rock.

 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by Kingsnake

4 stars I only knew Happy the Man by name, because Kit Watkins played in Camel and the biography mentioned Happy the Man.

I always thought it would be really poppy music, because Caravan was pop at the time, and Camel was pop at the time, and Keats was also pop.

I couldn't have been more wrong. This album is a perfect crossover of jazzrock fusion ala Return to Forever/Wheather Report and progrock ala Camel, Caravan, Rick Wakeman (solo), but then even more instrumental.

1977 is an odd year to release such music, maybe the United States didn't have the punkwave we did in Europe. Anyway, this is a treat for my ears, and wow, Kit Watkins is an extremely talented keyboardist and has some really nice sounds in his synths.

Thanks to this album I rate him as high as Rick Wakeman and Joe Zawinul and Chick Corea. This is strongly recommended to any prog/jazzrock enthousiast.

 Happy the Man by HAPPY THE MAN album cover Studio Album, 1977
3.85 | 283 ratings

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Happy the Man
Happy The Man Eclectic Prog

Review by Luqueasaur

3 stars I'm not a happy man: 6/10

HAPPY THE MAN's debut perfectly defines complexity and ambition. It features several instruments, almost like an orchestra, and the album has a distinct influence from jazz that is sagaciously blended on rock elements in a way it can't properly be described as jazz fusion . It also features an experimentalism typical of the progressive genre.

Three things are to be noted on this album: the first is that the highlighted instruments are the keyboards and wind instruments and the second is that the keyboards' preponderance brings HAPPY THE MAN on the verge with space rock. The lack of psychedelia and distortion on the instruments, as well aforementioned jazz's characteristics, prevents from it doing so. Oh, the third one, you ask? Man, look at those song names! Now THAT'S how you make someone interesting on lyrics. Seriously, I want to know who's Stumpy and Firecracker and where is that Stencil Forest.

However, those features don't save the album from being overall uninteresting. None of the tracks stuck to my head after listening to it, and I wasn't impressed by the elements featured in pretty any all tracks. Overall, HAPPY THE MAN is an average record. I would recommend it for people that like old prog but have nothing new to listen to, but nothing more.

 The Muse Awakens by HAPPY THE MAN album cover Studio Album, 2004
3.61 | 139 ratings

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The Muse Awakens
Happy The Man Eclectic Prog

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars The late 70s and 80s may have been the greatest test for progressive bands to weather out the storm with some, mostly neo-prog bands holding out and carrying the torch against hurricane force winds but the 90s saw a calm in the storm with bands like Anglagard and Dream Theater unapologetically reviving the complexities of 70s prog traditions and updating their sounds. The second generation of prog was born! and that coupled with digital technology making it infinitely less expensive to produce music and the popularity of the internet to by-pass record company whims was the perfect recipe for old school bands of the 70s to re- emerge from their slumber. HAPPY THE MAN was one of those bands who emerged just a little late in the game in the 70s to really garner a huge following. Their only two studio albums of the 70s came out in 1977 and 78 just when 'Saturday Night Fever' and the Sex Pistols were crashing the party and changing the musical soundscape. The band was, frankly, lucky to achieved what they did at that period but it is a testament to the outstanding musicianship that the band engaged in and it's no wonder they have kept a cult following after all the years that have passed.

Fast forward to the year of 2004 and HAPPY THE MAN finally, at long last, graces the world with a third full-length studio album. Forget all those demo and archival albums ('3rd - Better Late,' 'Death's Crown,' 'Beginnings') which are fine and dandy for collectors but not what i'd call real albums that you can just get lost in. THE MUSE AWAKENS is the real thing that stylistically fits somewhere between the band's 70s studio releases with an updated sound and production that suits the band sound, oh quite well! THE MUSE AWAKENS features only three original members, those being Stanley Whitaker (guitars and vocals), Frank Wyatt (saxes, keyboards and woodwinds) and Rick Kennell (bass). The newbies are David Rosenthal on keyboards and Joe Bergamini on drums and percussion. HTM had the Spinal Tap complex with all three studio albums having different drummers. As far as i know, there were no bizarre gardening accidents or spontaneous combustible moments! One of the first things i noticed is the use of much more prominent guitar making itself heard above the symphonic touches.

The album pretty much continues where the last two left off. The beginning track 'Contemporary Insanity' humorously lets the listeners know that HTM is quite aware of its current timeline and yet opts to anachronistically take us to that point in time in that imaginary universe where 'Crafty Hands' was a huge success and this was the much anticipated followup release. And yes, the energy, the jazz-fusion meets symphonic prog leanings, the syncopated rhythms and time sigs gone wild are all on board dictating to the world that true 70s prog is back and this is no joke. Is this album really good? Well, yes it is! However, it doesn't take long to prove that this album doesn't have a really good flow pattern to it. Starting with the second track which is the title track we get the first of some really slow 'soft' jazz-fusion tracks that as always bring The Weather Report to mind, however at least this one picks up the energy level after a bit. The track is redeemed by its intensity build-up. The one thing that keeps me from giving this album a higher rating are the smooth jazz moments that are counterproductive to the overall feel of the album.

The band can rock like nobody's business but there is a deliberate holdback as found on the mellower tracks like the title track, 'Maui Sunset,' 'Slipstream,' 'Adrift.' I should emphatically state that mellow doesn't mean boring. Tracks like 'Stepping Through Time' are mellow yet awesomely effective in carrying out a successful progressive rock inspired fusion that blows the mind utilizing all the members on boards to create an addictive atmosphere. Tracks like 'Psychedelicatesson' are magical and i truly wish the album was stuffed with these kinds of tracks and my absolute favorite HTM track of all time 'Barking Spiders' which takes their jazz- fusion approach and REALLY marries the rock really make this album worth the price of admission alone including the most guitar oriented track of the band's existence.

Yes, this sounds like a collection of tracks composed through the track of a couple decades and yes, this doesn't flow as nicely as a 'true' organic album should and yes, this may have more mellow tracks than it should, but i am quite enthralled with not only the diversity of the album but by the compositional skills involved and the fact that a 70s band created a really beautiful album that still resonates into the 21st century. Given all the obstacles placed in their way and the fact that this is not the most perfect album that could ever exist, i'm still very pleased with its achievement. When all is said and done, this album has more than enough to deliver to the hardcore HTM fans who were craving the top notch musical deliveries with a pleasing retro feel and musical repertoire that could transport the listener to the classic days of prog albeit the latter tracings. Perhaps a worked for 4 star appreciative effort but after many listens, one that i have found it to be

Thanks to Ivan Melgar M for the artist addition. and to Quinino for the last updates

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