TWELFTH NIGHT

A jaw-dropper of a live album that will always be my foundest memory of getting into the prog bands that were current in the 1980s. I actually still have the gatefold vinyl copy I bought at London's "Shades" recird store on Wardour Street (very close to the famous Marquee Club that was a launching pad for so many neo-prog bands, as well as the setting for this live classic).

The main distinction of this recording that I've been listening to for over 20 years is the way it so effortlessly transcends any stylistic trappings - it simply is a great album, however you want to classify it, neo-prog, symphonic, crossover, eclectic, etc. It's all of those and much more.

As amazing as the music is when Twelfth Night are at their instrumental peak, and especially the hugely charismatic voice of the now-deceased Geoff Mann, it's the crowd on that cramped, sweaty night at The Marquee that make this album so spine-tingling. In my opinion, "The Ceiling Speaks" is the most electrifying intro to any of the live albums reviewed on this site. On the softer moments, the interplay between guitar and bass is also special, and a real nod back to the glory days of prog not found on many records by their cotemporaries. The current CD edition expands on the original vinyl and only makes it more complete with the inclusion of "Creep Show", "East of Eden" and the bittersweet "Love Song."

Would have been, could have been huge, but alas no. Still an incredible souvenir to that brief era in the 1980s when prog, the New Wave of British Heavy Metal and post punk collided as a strong testament to the times.

Years ago I stumbled into the music world of Geoff Mann and Twelfth Night. IMHO he was an innovator and years and years ahead of his time...a true genius. I was so glad that F2 Music has re-released this original cassette only release! In fact it was released as a Deluxe edition with the 2nd CD sharing the only known live recording of this line-up from this era. A few of the songs I know from Fact and Fiction but the versions are different as well which makes this a very cool album to have. As always Geoff sounds possessed and delivers a high energy and distinct sound and actually brings the music to emotional climaxes that few can achieve. Twelfth Night is a band you have to slowly grow into and at first listening may seem a bit too punky or sub Neo prog'ish , but once you get there you will know what i mean.............welcome to the Creepshow

Here is Twelfth Night delivering a special event in their history: "Live and Let Live" brings performances from the two gigs scheduled to signal the departure of frontman/lyricist/lead actor/Grand Court Jester Geoff Mann. It is a pity that it had to happen at that time, since the existence of such strong material still left unrecorded (the rockers 'Art and Illusion' and 'Deep in the Heartland', the neo gem 'The ceiling Speaks', and the monster epic 'The Collector' that should become TN's absolute peak) was pointing at a magnificent follow-up to the iconic album "Fact and Fiction". But no, this was Mann's farewell to his bandmates Revell, Mitten, Battersby and Devoil (that is, until the functional brief reunion of this classic quintet for the long overdue studio rendition of 'The Collector' and some other stuff to be included in "Collector's Item"), and so the spirit of emotion and the gods of energy combine in these amazing performances. The machinery monotony intro tape - perhaps emulating the opening sequence of David Lynch's "The Elephant Man" - paves the way for the arrival of 'The Ceiling Speaks' in a rocking storm that develops fiercely as Mann joins in with his praise of Christian Love and the instrumentalists indulge in a tight delivery of dual guitars, atmospheric keyboards and tight drum work. With the new instrumental 'The End of the Endless Majority', we are treated with a lovely duel of soft classical guitar and picked electric guitar, which at times gets on the pastoral side of things. A lovely piece, indeed, but it mostly works as an interlude between the opening song's drive and the epic pinnacle that is 'We Are Sane', the Orwellian tale of oppressed people under a regime that digitally dictates the rules of morals and social politics. Mann shines here like the singer-pantomime-tale teller that he is, and so do the musicians in a well-developed sort of varied moods and motifs. The rapport with the audience is now totally compact, unbreakable, virtually indestructible. There are more epics in store for the remaining repertoire, but by now, TN shifts toward its lighter side (musically, that is, since lyrically Geoff Mann robustly remains raving about the many unfair sides of politics) with 'Fact and Fiction'. The energy and versatility that always existed in the TN ranks allowed the guys to build techno-oriented songs such as this and give them an extra dose of incandescent groove. Besides the drums and occasional beats on timbales, there is only a bunch of synths playing. and they still rock in a Numan-meets-punk sort of way! The segued instrumental that follows sets a typically progressive set of moods and melodies, announcing the imminent arrival of a monster track -'Sequences'!! This 16+ epic that deals with anti- belicist subjects started as one of the band's first compositions (when it was an instrumental quartet), but fate wanted it to eventually turn into a neo-prog cornerstone. There is so much to enjoy in this piece that I won't go into detail here: the heavy metal and post-punk sources mingle well with the symphonic and old-fashioned psychedelic elements that conform the piece's compositional core. While it can be somewhat regrettable that TN never had the chance to give this song a proper studio version, the intensity of this live rendition makes it somehow unnecessary - this is its definitive version and that's it. So, moving on, if you want yet another epic, here comes 'Creepshow' right immediately - Mann's social anger turns now toward the utilization of mass-media to alienate people's minds, and the whole band delivers with passion and energy as they always do, managing the mood variations and the moderately complex tempo shifts with confidence, proficiency and ease. Once we've come through these two monster tracks, it is a pleasant breath of fresh air to be treated with a straightforward rocker as 'East of Eden' (it is a pity that the CD space doesn't allow to publish the 'Art and Illusion' portion of this individual medley, anyway.). And at the end of the day, what better closure for this farewell gig than 'Love Song'? This Mann manifesto for the power of universal love as a dream and a project to bring togetherness and solidarity for all mankind has found a perfect melodic basis in Mitten's mind and a perfect set of arrangements in the whole band. The accompanying chanting by the audience and the reprised mid guitar solo (one of the finest guitar solos ever in the history of neo) make sense with this poignant momentum when the warmth of human hope and the sadness for Mann's leaving combine. Some may say that this band is not that big a deal / but that's not the way I feel / my heartbeat dance to the songs they play. / Nothing more to say!

Not bad at all, although the album is rather short.

This is the first album featuring new vocalist Andy Sears after the departure of Geoff Mann. This album in fact is imo better than the follow-up. The album rocks hard and the vocals are really good, in fact in reminds me bit of IQ's Peter Nicholls.

Brian's drumwork on this album are maybe his best till now. The production is good and for the first time the band sounds like professional band. The music on this record can be compared to It Bites.

A real highlight is drum-computer-driven anti-war song 'First New Day'. There's also a remastered version with lots of bonusmaterial, including song meant for the follow-up album.

TWELFTH NIGHT were one of the first neo-prog bands to come upon the scene in the early eighties.They were there even before MARILLION.I feel TWELFTH NIGHT deserves a special place in prog history for their music,especially this album "Fact And Fiction". Singer Geoff Mann reminds me so much of Peter Hammill,not in thier vocal tones but in their passion and theatrics.Lyrically Mann was also brilliant like Mr.Hammill.Intelligent,meaningful and often going straight to a persons conscience or heart.These songs had special meaning, even if the music at times sounded "new wave" or "punkish".This was neo-progressive music that wasn't slick or smooth.This had attitude,this got in your face.And Geoff Mann led the way in making sure that you didn't feel too comfortable.He wanted you to look at yourself,to make you feel guilty if you didn't treat your fellow man with respect,dignity and love.He felt so strongly about this that he eventually quit the music business and became a pastor. "We Are Sane" opens with synths,high pitched vocals,and samples.The song doesn't really start until 2 minutes in.Then it's interupted again by samples and synths.This contrast continues.Lots of humour in this one.The actual song is so infectious.We get some robotic vocals 7 1/2 minutes in.The guitar 9 1/2 minutes in is outstanding.Such a fun,progressive tune. "Human Beings" is such a classic tune once it gets going 2 minutes in.Some nice bass in this one,and i like the piano and calm when he sings "human being,human being".The guitar before 5 minutes is a treat.It's so uplifting when he sings slowly 6 minutes in. "This City" opens with synths and the sounds of children playing before Mann comes in singing solemnly.His vocals get very passionate. "World Without End" is a short instrumental featuring waves of synths.Gorgeous. "Fact And Fiction" is a catchy vocal tune with an eighties flavour.It has a spacey ending. "The Poet Sniffs A Flower" is a hilarious title for this instrumental.A nice atmosphere to this one.Synths,acoustic guitar and drums stand out.The tempo picks up 2 minutes in as the sound changes.Guitar a minute later. "Creep Show" is a dark song that is fairly slow paced.Some nice bass in this one.It's really all about the lyrics and the way Geoff delivers them.Check out the guitar,drums and vocals after 10 minutes followed by a wonderful guitar solo.Amazing song. "Love Song" works so well in contrast to what we just heard in "Creep Show".This might be the most beautiful yet convicting song(for me) that i've ever heard.I'd love to just quote the whole song,yet it's Mann's vocals that make this even more meaningful.Even the guitar is emotional before 4 minutes.He sings that "Jealousy is just a parasite,hatred a disease". "Love is an open door". "Respect for human dignity".It ends with "And if it seems that your hoping heart has led you into pain,take a tip from the carpenter,forgive and love again". Thankyou Geoff Mann. R.I.P. brother.

Any of both editions of this Twelfth Night compilation "Collector's Item" (and I think I've read somewhere that there was a double release or something like that. well, maybe I'm wrong) is a proper introduction to most part of the essential back catalogue of the band, in case one doesn't dare or doesn't have the chance to purchase any of the original albums. The latter was my particular personal case (regarding the edition with 'Sequences' in it), and let me tell you that this "Collector's Item" was such a prog pleasure for me while Fate was yet to put 'Fact and Fiction' in my hands. Aware of the pioneering role that TN had fulfilled during the prelude to and dawn of the British new wave of symphonic rock (even predating and inspiring the earlier compositions by IQ, Marillion and, perhaps, Pallas), the Geoff Mann-era songs comprised here revealed a powerful mixture of musical ambition and post-punk urgency within a consistent progressive work frame, plus some techno-pop friendly sensibilities settled in among the Mini-Moog leads, organ emulating synths and Gilmour-meets-Latimer guitar solos. 'We Are Sane' incarnates the myth of Mann's abundantly theatrical singing, extended instrumental excursions and clear melodic ideas instilled with energetic dynamics. The same goes for 'Sequences', a whole 16+ minute epic that regrettably never met its studio version, but live renditions take account of its amazing combination of stamina, drama and pomposity. This anti-war track can easily be described as the missing link between Genesis' 'Epping Forest' and IQ's 'Human Gateway'. The 'Hurry lads' portion is an incredible exhibition of rocking power in a bizarre mixture of Psychedelic Furs and Di'Anno-era Iron Maiden - go figure! The longest epic is the one recorded during the brief Mann-era reunion in the late 80s: 'The Collector' is perhaps the best TN epic ever. and it also suffered from having an official studio version until the recording of a couple of bonus tracks for this compilation. The succession of motifs is coherent, with a linkage of climaxes and more constrained interludes that proves quite effective: Mann's commitment to dreams for a better world from his Christian faith is properly delivered in the final paragraph, concerning the importance of the one thing that is not for sale (Heaven) as opposed to the vanity of purchasable things. 19 minutes of pure symphonic glory, be it classic, neo o retro - at this point, it doesn't matter. The other bonus recorded by the Mann-era reunited line-up (it wouldn't take many years before Mann eventually succumbed to cancer) is a new studio installment of TN's pacifist anthem 'Love Song', with a better sound production and the addition of some extra nuances, compared to the original "Fact and Fiction" album. The Andy Sears era is also well represented: there is the purely neo 'Art and Illusion', the architectural epic 'Take a Look', as well as the eerie new-romantic friendly moods of 'Brand New Day' and 'Blondon Fair'. If 80s Genesis was so determined to become a pop-rock band, these latter two tracks represent the right aim to their quest, not what they did in those embarrassingly Genesis-entitled releases. Anyway, let's not get out of focus. The other "Collector's Item" edition sacrifices 'Sequences' for 'The Ceiling Speaks' and 'Deep on the Heartland'. The former is one of the last songs recorded (and not included in a proper album) with Mann still as a frontman, and boy, what a great song it is: in few occasions like this can the massage of Christianity be translated into rock in such an exciting fashion. The moderately complex rhythm structures, the punchy dual guitars and the coherent vibe of this song easily equal the stamina of IQ's 'Awake and Nervous' or the colorful power of Marillion's 'The Web'. A great product of a restless era of new progressive rock, just like 'The Collector' and 'Sequences'. These three tracks alone make any of the "Collector's Item" editions a valid item in any good prog collection.

This review is kind of response to the recent 'Live at the target' review. Whilst I agree with that review (and also bought the LP back then) I feel that this live album recorded at the Marquee club is far superior if only for the wonderful lyrics and vocal lines the late (and great) Geoff Mann came up with for 'Sequences'. Yeah it is an all time prog classic, I wish more people would delve into Twelfth night's music and realize what a great band they were (and are again!). Those first few albums before Mann left are all wonderful prog rock.

This live album was recorded at the final Geoff Mann gigs. It is worth it alone for 'Sequences' and 'We are sane'. The 'Fact and fiction/poet sniffs a flower' combo from the 'Fact and fiction' LP is also noteworthy. The addition on the CD reissue of the song 'Creepshow' is also another reason to check the album out.

A highly underrated band who (in my opinion) never completely reached their full potential (but were still an amazing band) since the departure of Geoff Mann and the subsequent need to streamline their sound by the evil record companies resulted in not only a shift in direction away from prog but also (after the Virgin contract disappeared) the early demise (or rather long break!) of the band.

Check out this gem of a prog album and if they manage to come your way after their recent resurrection, go out and see them play. You won't be disappointed.

I Give This 5 stars because it is Essential to any one who collects Prog Music also i was there the night it was recorded, the target Pub was a small cellar venue in the heart of Reading under the Main Shopping Center it was a very Hot and Packed sweaty Night the Venue Packed out you could not even Move, what they Produced that Night is a All time Classic Prog Record and Sequences should go down in the annuals of Prog as a all time Classic, I still have the Vinyl to this day and its one of my most prized Vinyl , if you don't have this fine album then find it buy it download it NOW !!!

TWELFTH NIGHT is considered as the band that founded the neo-prog genre.This album is in the vein of MARILLION,IQ and PALLAS,although the roots of their music can be discovered in the musicianship of mid-70's GENESIS.Their sound is a little bit poppier than MARILLION or IQ but rockier than PALLAS' ''The Sentinel'' album.Geoff Mann's voice is simply outstanding,one of the best performers of progressive rock for sure.4 or maybe even 4.5 stars for the founders of neo-prog...

— First review of this album —

Seems like this WAS an excellent live show but on this recording it's hidden behind an awful mix and poor sound quality. Very unfortunate since there are precious few live recordings with Geoff Mann on vocals. Whatever you do, don't dismiss TN's live act from this time period based on this recording. Live and Let Live suffers none of the above technical problems and showcases TN at their creative peak. 3 stars for what this recording could have been but as it is, definitely non-essential.