As mentioned many times on this blog, when I first started collecting progressive rock, there was no contemporary scene for me to relate to. Nothing from my generation to follow and collect. Everything I was gravitating to was from the 70s - and likely the early part of the decade at that. It was late in my high school years of 1983 that I began to learn of a new movement coming out of England called The New Wave of British Progressive Rock (from UK metal magazines no less). And Twelfth Night were one of the more prominent bands receiving attention along with Marillion and IQ. I was in college by the time I finally heard Twelfth Night. Live and Let Live (1984) was being imported into the States, and I snapped up a copy "like a bulldog on a pork chop". My reaction was positive but not wowed. The one exception to that comment is the finale 'Sequences'. After this, I also picked up quickly their new album Art and Illusion, and it was clear Twelfth Night were no longer interested in being a progressive rock band, and those dollars were forever lost. Buying import records on a college budget was a very expensive endeavor. At least before I landed that plum engineering intern job in 1985...
And that was my initial history of Twelfth Night. Around 1990 or so, we (the Dallas contingent) were visiting a local friend in Fort Worth - someone who was to release many prog albums of his own or in groups. Underground Railroad would be one band you may recognize him in. In any case he was selling off a number of records and CDs, and one of those was Live at the Target (1989 UGUM). There's 'Sequences' again with 3 other tracks. Once home, I spun the disc and was listening to something completely different than expected. First thing to note is the album is all instrumental. Secondly, this album has nothing to do with what is normally associated with neo prog. This is space rock of the highest order. More in line with Nektar, Gong, or Hawkwind than anything Genesis related. Had I heard this album first, I would have been a big Twelfth Night fan from the off. Which I guess would have ultimately led to a great disappointment similar to what I experienced with IQ in the mid 80s. All 4 tracks here are great. Well written tunes, executed perfectly, and the jams are exhilarating. Andy Revell is a master of the wah-wah peddle, Brian Devoil's drumming is kinetic, while Clive Mitten distinguishes himself as a strong bass lead. Rick Battersby's keyboards provide more color than solos, but is seamlessly blended. Even though I was familiar with this album for over 30 years, I enjoyed a +1 listen.
In addition to the album, the Definitive Edition CD offers a full second disc of mostly live material, some of it unreleased, or only on other archival issues. The music found here is very similar to the Target concert. Some of the recordings are a bit rougher, but still enjoyable throughout, especially as bonus material. And at 73 minutes, it's a double LP's worth of extra music.
Ownership: CD: 2011 Festival. Brilliant reissue with the extra CD as noted above. Purchased new not long after release and quickly replaced the original bare bones UGUM reissue. Incidentally that reissue is called out in the liner notes as "unauthorized", though no one on Discogs has bothered to label it as such. I doubt I'll do it either. Anyway, not only do you get the bonus disc, but also a thick booklet with many historical perspectives, photos, newspaper articles, and other memorabilia. A first class job all the way, and this remains my primary copy.
6//90; 2//11; 2/20/12; 11/13/22 (new entry)
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