As remarkable as Happy the Man's self-titled debut album was, it was only the beginning; an appetizer for an even more sumptuous artistic banquet. Happy the Man's sonic vocabulary evolved by the time they returned to the studio with new ideas, sharper execution, and an even clearer sense of identity. 1978's sophomore album 'Crafty Hands' is more rhythmically intricate, placing a greater emphasis on counterpoint and complexity. Despite the acrobatic interplay amidst the complicated time signatures, the accessibility of the music never suffers. The lush, analog warmth of the debut album remains, but with more polished production and a crisp mix that emphasizes the tight arrangements. And like Happy the Man's debut album, 'Crafty Hands' eschews the prog rock cliche of a "concept album," choosing instead to offer eight mini-epics that say more in a few short minutes than most of their genre brethren would say in their entire careers. If 'Happy the Man' was the band introducing itself-an intricate yet cinematic statement that fused progressive rock's classical leanings with jazz fusion's fluidity-then 'Crafty Hands' was the sound of that vision sharpening into focus. Leaner, more direct, yet paradoxically more complex, 'Crafty Hands' built upon the successes of their debut while showcasing an increased confidence in their ability to push rhythmic and harmonic boundaries. Arguably their finest hour, the album featured only one vocal track and ranks as one of the most important in U.S. progressive rock history. Happy the Man celebrates the reclamation of their rights to their classic Arista albums with a new band-approved remasters by Ray Staff. Features a 32-page booklet with a new 5000-word liner notes essay by Syd Schwartz and a 3000-word piece by Happy the Man bassist Rick Kennell.
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As remarkable as Happy the Man's self-titled debut album was, it was only the beginning; an appetizer for an even more sumptuous artistic banquet. Happy the Man's sonic vocabulary evolved by the time they returned to the studio with new ideas, sharper execution, and an even clearer sense of identity. 1978's sophomore album 'Crafty Hands' is more rhythmically intricate, placing a greater emphasis on counterpoint and complexity. Despite the acrobatic interplay amidst the complicated time signatures, the accessibility of the music never suffers. The lush, analog warmth of the debut album remains, but with more polished production and a crisp mix that emphasizes the tight arrangements. And like Happy the Man's debut album, 'Crafty Hands' eschews the prog rock cliche of a "concept album," choosing instead to offer eight mini-epics that say more in a few short minutes than most of their genre brethren would say in their entire careers. If 'Happy the Man' was the band introducing itself-an intricate yet cinematic statement that fused progressive rock's classical leanings with jazz fusion's fluidity-then 'Crafty Hands' was the sound of that vision sharpening into focus. Leaner, more direct, yet paradoxically more complex, 'Crafty Hands' built upon the successes of their debut while showcasing an increased confidence in their ability to push rhythmic and harmonic boundaries. Arguably their finest hour, the album featured only one vocal track and ranks as one of the most important in U.S. progressive rock history. Happy the Man celebrates the reclamation of their rights to their classic Arista albums with a new band-approved remasters by Ray Staff. Features a 32-page booklet with a new 5000-word liner notes essay by Syd Schwartz and a 3000-word piece by Happy the Man bassist Rick Kennell.
