While working on my upcoming book on rock concerts and films of the 1970’s, I’m thinking about how to organize the chapters. A recent idea is to break down the list of bands into categories, like “Rock Gods,” “Entertainers,” “Shaman,” and a few others. I left a chapter open for Happy The Man, and am thinking that of all the types of bands we loved in that decade, they belong most firmly in the category of “Virtuosos.” I discovered Happy The Man quite by accident, as an epic composition from their debut album “Mr. Mirror’s Reflections On Dreams” was played on a local radio station in San Luis Obispo just before a feature on the band Camel. My college roommates and I had just become fans of Camel, and planned a trip to the Roxy theater in Los Angeles to see them for the first time supporting the album Breathless (1978). Little did we know we would not be hearing their amazingly talented keyboardist Pete Bardens at that show, as he sadly left the band prior to the tour. Even more surprising was when Camel’s follow-up I Can See Your House From Here (1979) included compositions and keyboards from Happy The Man alumni, Kit Watkins, the “slow-hand” of the bending synth lead (yes, that’s a Clapton reference!). With all this kismet, my friends and I became avid fans of these guys and their brand of complex polyrhythmic progressive rock.
The band was enamored with the engineering and production on Birds of Fire (1973) by the Mahavishnu Orchestra, and when Arista asked them to submit a three producer “wish list” it read: 1. Ken Scott, 2. Ken Scott, and 3. Ken Scott. Ken was known for work with artists such as Jeff Beck, Supertramp, Elton John, David Bowie and the Beatles. In a mix-up that benefited the band, their demos were sent to the west coast Arista office in the east-to-west coast “pouch.” Ken went over to Arista expecting to pick up another project he was considering, but the HTM Demos were handed to him instead. He loved the band and came to Washington D.C. for a showcase at the Cellar Door a week or two later. As he already had time on hold at A&M Studios for another project, everything came together very quickly. The result is a debut album that is striking in its beauty and complexity – bridging jazz, classic and symphonic rock to produce a unique sonic experience. It’s been justly hailed by critics over the years, most recently making the top 50 list of “The Greatest Progressive Rock Albums of all Time” at Rolling Stone magazine. The band toured around the east coast of the U.S. with their largest show supporting Hot Tuna for more than 10,000 festival goers in Long Island, New York.
It’s tragic and short sighted that Arista declined to release and distribute their 3rd effort, which was recorded with the fantastic French drummer Coco Roussel, leading to their breakup. The group never had the label’s support to tour west of the Mississippi; much less the U.K. and Europe. Kennell added, “In 1979, with the advent of the disco and punk movements, and bands like Talking Heads becoming popular, the suits at Arista had a three martini lunch – and decided to drop every progressive act on the label – including our band, Phil Collin’s Brand X, Aldo Nova and Stomu Yamashta’s Go.”
Listening through their entire catalog, which was augmented in the 1980’s with releases of their earlier work, their 3rd effort, and a live concert recording, it’s hard to describe the emotional impact this band’s adventurous music can have on attentive listeners. Passages of dreamy atmospheric beauty mix with challenging, assertive, serpentine adventures. For the uninitiated, take a listen to the opener on their debut “Starborne,” which invokes a sonic trip to the stars. Brace yourself then for the amazing interlocking leads on “Stumpy Meets The Firecracker in Stencil Forest.”
Now try to compare these sounds to any band you’ve ever heard – very difficult indeed. I’ve heard a few tracks from the Mahavishnu Orchestra and Frank Zappa that could be referenced, but this band was clearly onto something utterly unique and exceptional. The interplay between Watkin’s keys, Whitaker’s guitars, and Wyatt’s keys and winds backed by Kennell’s exquisite bass leads and Beck/Riddle’s percussion – demonstrate a level of musical competence that places this rare band above most of their contemporaries.
The group reunited in the year 2000 with new keyboardist David Rosenthal replacing Kit Watkins for a show at Nearfest followed later by release of The Muse Awakens (2004). Though this was a very worthy new start for the band, no additional work has been released since under this original moniker. However band members are always busy, working together on albums under the names Oblivion Sun and Pedal Giant Animals. Stan Whitaker also lent his chops to the short-lived ensemble Ten Jinn. Anyone captured by their work would be well served by picking up any of these more recent albums.
Also notable is the long solo career of keyboard and winds player Kit Watkins. After working with Camel, his solo recordings ranged from songs that invoke the allegro jams of his former band, to lighter jazz-influenced collections like the fabulous album In Time, on which he worked again with drummer Coco Roussel. In addition, Kit has recorded and released more than two-dozen peaceful, ambient albums and occasionally darker works beginning with Azure (1989). Hard to pick favorites from so many wonderful albums, but interested listeners might start with Sunstruck (1990) and Beauty Drifting (1996). Check for these recordings on CD Baby.
In addition, Kit can be seen playing live on the film The Gathering (2005) in his most contemplative mode, ala Beauty Drifting, performing solo works during a rare one-man concert. All of these releases are recommended for any fan or interested collector.