The American prog rock band, Happy the Man, released their self-titled debut album in 1977. It has always been regarded as a particularly fine example of the genre, and it was re-released in 2024 as Starborne.

This band has been likened to Yes (which is stretching a point, I think) and Gentle Giant (which is closer to the mark). There are echoes of Bill Bruford’s band in its Gradually Going Tornado incarnation in places, too. And, if you factor in that the founding members list among their influences Genesis and King Crimson, you will appreciate that they have a lot to live up to. Fortunately, Happy the Man passes this test with flying colours.

On the opening track, Kit Watkins¹ flexes his fingers over the synthesiser keys, taking inspiration from the likes of Mike Oldfield and Vangelis. Next comes the first of four tracks with long and peculiar names². You have to wonder what we are supposed to make of Stumpy Meets the Firecracker in Stencil Forest. It’s a Frank Wyatt³ composition that butts together snippets of frantic keyboard runs. But it feels quite disjointed, and it’s the least successful of the nine pieces, to my ear. Then, we are offered a philosophical song revolving around a rainbow bridge, one of only two pieces with vocals. The Gentle Giant and Bill Bruford influences are strong here.

The rest of the album takes us on a tour of keyboard-led prog rock, incorporating nuggets of acoustic guitar, lyrical flute, off-kilter rhythms and an occasional nod to bands like Weather Report and Refugee. If this is new to you, have a listen, and I think you will be able to forget about the horrors that tomorrow may bring because you have lived today.

Happy the man, and happy he alone,
He who can call today his own:
He who, secure within, can say,
Tomorrow do thy worst, for I have lived today.
Be fair or foul or rain or shine
The joys I have possessed, in spite of fate, are mine.
Not Heaven itself upon the past has power,
But what has been, has been, and I have had my hour.

John Dryden, from “Imitation of Horace”, 1685