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Live And Let Live - 2021

by Twelfth Night

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  • Compact Disc (CD) + Digital Album

    The whole 15-track show from Geoff's farewell gigs at The Marquee, London - November 1983. Remastered and lovingly compiled, and presented with a lavish 24-page full colour booklet with brand new artwork, sleeve-notes and photos. This is the brand-new 2021 version, repressed in June with new cover and disc artwork.

    Includes unlimited streaming of Live And Let Live - 2021 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      £11 GBP  or more

     

1.
I am the ceiling, you are the floor above me rising into real I am deceiving, you are the honesty I pray that I could feel I am confusion, you are the thought that heals clarity of vision I am delusions, you are the target struck a shot of pure precision And how I love you Some may say it's all unreal, that's not the way I feel My heartbeat dance and play, nothing more to say… How well you know me, how much you show me As you lead me to my goal Ferryman row me across deep waters to the calm side of my soul Where we can beachcomb (Chorus) Trace the feeling back to source Adopt a different kind of course The change of heart, another place to start Secret steps are in your dance, the offer of a second chance The site renewed, a clearer point of view No longer need a careful plan, no longer be the also ran I laid my life down and I picked it up again Freedom! Along the way I sing celebration I sing for the new day Freedom! Now I know So long as we're together, there's nowhere that we cannot go I called your name, no words remained … enter! I am delivered, I am a baby born into your sacred peace I was a prisoner You were the key that opened locks for my release And Christ I love you (Chorus) Nothing more to say…
2.
Human Being 07:53
Tremulous and quivering such victims as there are Contend with emotions under skin Without wearing water wings They strike against the stream Hopelessly believing they might swim Here they all come rushing down again Here they all come rushing down again Time has hardly swallowed up the evidence How is it they say they did not know? That history grows up like a weed Doctrine pinned upon it Bars across the window destroy human being Static mind solidifies, can no longer flow Up against its borders and unable to pay much attention to... Human being, human being When in doubt you turn to find a scapegoat on the wall Gaze into the mirror begging pardon If every time we tell a lie a little fairy dies They must be building death-camps in the garden Pacing back and forwards conscience in a box Barred in from the sunlight Getting pale and losing every sense of... Human being, human being The forces of oppression forge links around the earth Ordering our faces to the floor The wilful non-involvement by hirelings of the crimes Is futile and inhuman as before The sum of our best efforts shouldn't lead us back to here On the road to murder Where we can no longer admit to any... Human being, human being Human needing, human feeling Human living, human being Human loving, human being Human fragile, human being Stand up and be counted human being
3.
Instrumental
4.
We Are Sane 12:01
i) Te Dium In upstairs rooms the meals are eaten The cars in the garage ready to go-go Disco baby shed no tear hot light overhead shaking meat meet Ho ho weekend, ha ha party, moo moo sacred cow The White House some days on the lawn Well kept pedigree snap over bones Surplus requirements appetite angel going down ii) We Are Sane Meanwhile below reports flop into the in-trays, in-trays Meanwhile below reports flop into the in-trays She stares out of her window, her will is still in bed She has no memory of herself for care has drained her head The poster on the billboard says she should paint her lips Like the smiles on the TV people Would you file this please Mary? Would you file this please Mary? File # 1 "If the thought processes of an individual can be permanently limited to the point of strict conformity to an outside source of thought, the said individual need no longer be considered as such. The enforcement of order becomes possible for anybody with enough power to control what is projected. See? It's all quite simple...“ "Mary!" This woman's place is in a home, society has judged She does not fit official standards and they cannot be budged There's something in her eyes that says The struggle’s gone too deep And there's no comfort in the thought of Watching acolytes of doubt try hard to fight their problems out Excess profit has the clout to spread the message We are sane! Not insane! She reads about a will to power in papers full of lies She hears that every time she breathes Some foreign kiddy dies She's convinced it's her fault, she's tortured by the strain As words of judgement pour out of the Mouths of those who make their mark By keeping people in the dark Those who bite worse than they bark are loudly shouting We are sane! Not insane! And the chorus says - "It's all quite normal...” And the chorus says - "It's all quite normal...” The choruses... Are happy as they know no different way Except what they've been told today Accepting their limited 'truth' and blankly humming We are sane! But we are not to blame, we must protect the claim iii) Dictator's Excuse Me Praise those who hold power, they shall save the last hour Using sacred science they can stamp out defiance File # 2."Technician, we want you to build a component For each of our workers, to be with them always, At all time watch closely, so we can keep track of Their actions, their interests, their morals, their time out. Some musak to maim them, some fear to contain them. Policy will judge them, brute forces degrade them. Practical behaviour, the cleanser, the saviour. A private vocation has no sense of nation. The maintenance of power can be so fulfilling, Just as long as all the slaves are willing. So this is an order, we must curb thought disorder With a miniature transmitter, we can Pavlov the litter And train it to do what we tell it, state surgeon, the seed plant Thought soon get a new slant. So tiny a dogma, idea turn to quagmire, Thrum-humming transistor, a brain-wave insistor, Closed circuit hypnosis, an inbuilt psychosis, Not one self expression, deliberate supression. A cycle to squeeze out, anyone who we doubt Will must be pliable to be reliable“ Tuned into the media system, picture getting hard to see How did you end up as a prisoner When you were supposed to be free? Oh, wouldn't you like to know? Lebensraum for megalomania Endless song with one refrain All eyes fixed upon the conductor Baton taps inside the brain… At least We are sane!
5.
On the long night watch you are surrounded by darkness and your spirits feel tired So many around you deeply down in the dream world of the skins they have acquired Walking along the lines and contours where the pathway goes You stumble on non-places in the darkness and bang my nose Deep in the heartland, the painted window is breaking Deep in the heartland, the house that holds it is shaking Solid things seem to disappear down the grid they pour If references lead us nowhere, what are they for? (Chorus) It’s falling apart Big men drive you crazy, put their lies inside your head The voices of confusion, even follow you to bed You've seen something not exactly hidden, but someone's been trying We've all seen things are officially denied, someone's been lying! (Chorus)
6.
TV is switched on, the screen reveal a spokesperson Adverts, politics, editing the real Cheap words, money talks, naming itself to be the key to Utopia Cornucopia, to a better world you go buy and buy And if you listen carefully you can hear the bacon fly … don't make me laugh! History shows that, policy demands weapons Selfish desires simply lead to pain, The chit-chat continues a big pretence that divides into power blocks Where the orthodox have a propaganda war to fight And if you're looking closely you can see that black is white … don't make me laugh! If the "unthinkable" should happen and you hear the sirens call Well you can always find some shelter behind a door against the wall Don't make me laugh!
7.
Instrumental
8.
Kingdom come, come kingdom go That you may carve upon my grave stone When confined in a six walled box I will no longer hear the clocks Indifferently ticking in cold deserted mansion halls Kingdom come, come kingdom go Mementos relics crated cargo A million things all left behind Relationships with humankind Conducted as if I was buying slaves at auction Holding court at gross parties Where punch drunk sycophants Came slobbering, to suck my cocktails I escaped up the stairs to my collection In my collection, facets of ego Gradually eclipsing mass Between the nursery and now Struggling for meaning Walking earth insensible Flowerings of childhood turned to stringy vegetable Titians, tits and grand Goyas Glower through the high stone traceries Oily smears bequeathed by thirsty souls Studied throughout my long daze Scumbled paint in priceless fossils Many a sad sullen pieta Christ eternal held away from me Behind a brown and ancient glaze Troubled at night by... Flashbacks... Flashbacks! Flashbacks! Flashbacks! Flashbacks Whaaa... Mummy I don't want to train on my potty and I don't want to share my toys with the other children ‘cos they’re so nasty… ... Child that I was then when was I last young? When did comic wood bricks become trading in con-tricks? When did innocence shudder and die? Adolescent I planned to take total command Draped vision's guilt edge on the bars of my play-pen Hoped to arrest the swift passage of time As though by some chance I could recreate Eden… Apple pie? Lovely! So hope became a statue, my words became a gun In the hit parade of self interest, I remained at number one I was Mozart's old piano, with a special gold inlay I was always a lover of music, but I never did learn to play Thought I'd be saved by my collection, to begin with Thought I'd be saved by my collection Would you believe it? But then Nanny? Nanny Conscience? Is that you standing at the end of my bed, Nanny? My, you’ve been in cold storage for a long time, my dear You’re looking out of condition, you could do with some exercise I mean look at your skin, my god, the wrinkles! Nanny! Nan-nanny! Had her made into a table lamp for me because Because I need some light to shine but artificially From her prim portals... Nanny! Nan-nanny! Don't you think you’d better start being nice to me, Nanny? I mean one day soon I'm going to grow up big and strong And an old bag like you won’t get a job in my kingdom Nobody’s going to make me wash behind my ears, or eat my greens Or share my toys with the other children… I drank myself as dry as a desert Still in the end there was nothing left to call my own The freedom from pain with which I toyed Became a doorway to a void The only values left were relative to power The trouble with life in ivory towers The seconds stretch until they wear the skins of hours Faithless mates who come and go They run away like melted snow A temple to ego never constitutes a home And though it seems sad, this jangling junk we are amassed A passing pageant passing fast, there must be something Something that can Last more than the sense of life as just a short and pointless overture to death Fear debilitating fear and death run round in circles Turn! Kingdom come, come kingdom go Collecting clouds before the Son light On pain of death our presents pass Secreting habit over insight Human soul is fertilised Human span its wombing season Ward of conscience fragile child Aborted by unfettered reason Candle, both ends burning Collecting trash, collecting gold Vampiric ego drains and clutches When cross examined by the truth It carves the cross up into crutches Sharpened at both ends, some friend... Freedom's king is donkey borne A cross, the bleeding palms on main-street Collecting nothing but the scorn Of those who cannot bear their eyes to meet Except in artificial light Who needs to star in such a cast? I leave collecting to the past To one last party, I asked them all and one And when it was over I found that all but one had gone Did Jesus have a grave stone upon which to carve his name? We all are what we live, a truth that will never change You cannot collect worthwhile living For it is a crop that grows, from a seed of giving Diaries, drugs, a glittering crystal ball Cathedrals, palaces, sweet sugar you can keep them all; Heaven, heaven is not for sale Heaven is not for sale
9.
Afghan Red 10:59
Instrumental.
10.
Sequences 17:15
And it seems my time has passed Before me until now, in sequences of moments And now I see this poster, they seem to need me anyway I'll take the shilling sign I'll make a positive move, to be an action man The women seem to want us to go So I can't refuse, No, I can’t refuse So I find myself in a country somewhere Where mayhem's madman minions all march around a square Unquestioning obedience is the order of the day Your friends are coloured khaki and your enemies are grey The Sergeant Major’s pep talk "Alright my likely lads, you've left your mums and dads, now Our glorious leaders start a war, to protect the 'ole of 'umankind that's why they always stay be'ind What d'ya mean ain’'t it wrong to kill?‘ Not if the top men say so! Where you're going, sonny, general's top chap next to him you're a small piece of crap If none of us went out of fight, We'd never prove our side was right would we? ATTENTION!“ The Colonel’s pep talk "The front line is a pretty bloody place to be, that's why you go instead of me Now, I'd hate to send you all off thinking that if you get yours You're going to fret about your families, so don't. They'll get some lovely souvenirs A nice bronze plaque on which will be your name You'll get free crutches if you end up lame, good God 'Though the numbers of dead will contain many zeros, the survivors will return to a land fit for heroes Would I lie to you? PRESENT ARMS!“ Put next to a young boy in a knee-deep trench Whose hand even shakes when he keeps it clenched We attack tomorrow in dawn's early light And as this sinks in I'm so scared I can't wait for it and tonight to be over It and tonight to be over "ALRIGHT LADS, OVER THE TOP WE GO!“ I can't take it, I can't make it, I trip, stumbling Caught in the barbed wire, Amongst the heat and smoke of the crossfire It's madness, madness, mad mad mad mad mad mad...madness On a station platform full of stretchered flesh and bone Legacy of how easy it is to destroy whatever's grown Maybe there's a reason, hat is worthy of a name Just sick illusions I suppose will happen again Next time they ask for men at least I'm beyond recall I didn't gain my self-respect, I didn't gain anything at all If hate and war could solve anything, don't you think they'd have solved it a long time ago? There's good and evil in all of us It's up to you alone which you follow And I know which is my cause from now on The only one worth sacrifice The only one I would have remain When I'm gone, but I'm not gone... Yet! The flags we weave only deceive We must believe We must believe… in love
11.
Creepshow 12:26
Welcome, welcome First today to see the creepshow Come see the exhibits, but do not touch They cannot bear touch, here in the creepshow Please do not hang back It's hard enough to show people around The creepshow, the creepshow First, here on the rack strapped, a child's virgin mind We see the careful white-coats Affix their machines veins to the pulsing neck side Checking dials they monitor reaction She must love her daddy's banker She must love her daddy's banker For her part in the creepshow, the creepshow Amanda, so sad, Amanda … But let's brush over sadness, give her the pills and diagnose madness, madness Give her, give her, Amanda? Amanda! Anymore for any more? No! Cyril Has-Or-Might-Have-Been must fill his lust They let him bayonet robots as his morning constitutional To sate his rage unless he feels his age We can't have that! Sometimes he'll watch a war-film On the moron machine in the corner of his cell Lost in time, lost in minds Cyril writhes like smoke His bigot's eyes are slashed skin Their expression none the nicer for being blank Amanda, still mad. Amanda, still sad... "And so ladies and gentlemen, We come to the nerve centre of the whole affair. As you will see, it is a mirror. To some it is the mirror of dreams, Where every passion, desire and action flit through the still spaces behind its surface, Tantalising yet distant. Of these many stand before it until death. To others, it is distorting, Everything in it being warped and buckled by fear, Yet perceived as reality. These will cringe before it, wimpering and immobile, Though a few batter their skulls against the dull sheen Attempting to smash the horrors they believe are in the glass or at least attain oblivion, whichever comes first. Some see just a mirror, whilst some see what at first appears to be their own image, which, however, moves them saying 'COME ON, WAKE UP! WHO'S RUNNING THIS SHOW ANYWAY?'" Now, It's up to you Use your free will You decide, yes you! you! you decide Whether or not you will return For if you come again You'd better bring your ball and chain Unguided embittered attraction of The creepshow The creepshow The creepshow
12.
Magic man said "you know my dear You are living inside a dream Believing the things I do are what they seem Life is a trick that runs too quick For a volunteer from the crowd Volunteers only see what's been allowed" The players practice to deceive With paper flowers none perceive Disappearing down the top hat corridors Art and illusion The magic show won't let you go Magicians rehearse their sleights of hand They slip money-bags up their sleeves They saw you in half and then they turn to leave The tricks of the trade the ball games played By the jugglers centre stage Carefully handed down from age to age Conclusions made conclusions leapt Impressions lost and overstepped Shadows hide the truth with nobody the wiser (Chorus) They're only trying to tell you lies Trying to make you compromise To leave reality completely up to them (Chorus)
13.
East Of Eden 05:21
It seems that paradise Has been well locked and barred To all the issue of Adam It seems that children must Pay for their parents’ crimes Until they wish they never had them The clouds are fabric balls The earth machinery To gather power from the stars Each of us has a gateway Through which infinity calls To heal the heart through all it’s scars The healing, we’ve got a long, long way to go Its up to you... Who can't deny existence, is all cause and effect Who knows for sure where it is leading We are walking through A kingdom that is found Out here somewhere east of Eden East of Eden, we are east of Eden, east of Eden
14.
Aspidentropy 09:50
Easy to imagine, difficult to see We don't need, we don’t need, we don’t need, we don’t need their sympathy It seems pretty underhand all the lies they tell We don't need, we don’t need, we don’t need, we don’t need their sympathy They say, it’s all fantasy Love, we know is real We don't need, we don’t need, we don’t need, we don’t need their sympathy It will come together, we will all find our way We don't need, we don’t need, we don’t need, we don’t....
15.
Love Song 08:37
Everybody has wisdom, everyone understands Food when we are hungry, the touch of loving hands No one is anyone's property, no one should be a slave The joining of hearts in free will, begins a tidal wave Don't hold back, don't think that hope is pointless Love is a, love is a, love is a, love is an open door Don't believe that life is closed against us Love is a, love is a, love is a, love is an open door And it doesn't make any difference, the colour of anyone's skin We need the rejection of prejudice, let peace come flooding in Jealousy is just a parasite, hatred is disease Respect for human dignity, become skittering wind blown leaves (Chorus) The time is surely coming when we could all be free When eyes for so long blinded, in opening shall see That children may grow happily safe in the love of all The earth a fertile garden where nobody need crawl (Chorus) Love is a, love is a, love is an open door And if it seems that your hoping heart has led you into pain Take a tip from the carpenter forgive and love again And again

about

A PROG GOD WRITES...
"I was too young to see Twelfth Night with Geoff Mann," says Steven Wilson, "I grew up in Hertfordshire, which was just too far from London for a 15-year old. But I'd heard them on the Friday Rock Show and read about them in Kerrang!. At that time I was hugely influenced by my father's LP collection of the classic prog bands, but by the early 80s these bands were mostly inactive or simply past it. So I was intrigued by the newer prog bands such as Twelfth Night. I would listen to anything that was new in the prog field.

I remember buying Live and Let Live when it came out and it's still their perfect album for me. As a live album it doesn't suffer the over-production of some of their later material, and has a fuller sound than their self-produced early albums. It also has a perfect balance between the classic progressive sound and a new wave edge than other bands just didn't have. In my view, Live and Let Live hasn't dated at all. For Twelfth Night and their career progression, I think it was the perfect time to have released a live album, but entirely the wrong time for Geoff Mann to leave. I managed to see Twelfth Night on their Art and Illusion tour in late 1984 and although I loved the show, I still felt I'd missed something very special the year before."

Twelfth Night performed 15 pieces of music on both 4th & 5th November 1983 of which only six were recorded to multi-track for the original vinyl album. However, for this Definitive Edition we have reconstructed (and remastered) the entire set, in the actual running order, to give you the best possible indication of what it was like to be in the Marquee during those two very special nights…

The Ceiling Speaks, We Are Sane, Fact And Fiction, The Poet Sniffs A Flower and Sequences are taken directly from the original release. The End Of The Endless Majority however, has been remixed from the original 24-track tapes. The actual recording comes from the afternoon soundcheck on 5th November, and was the one used on the original LP. This was because the heat generated in the Marquee was so great that the classical guitar wouldn’t stay in tune and allow an evening performance to be used. Deep In The Heartland was also recorded live during the same soundcheck and has been included as it is the best available version of this track.

The five encores were recorded directly onto 2-track tape by the Marquee team as a gift for the band. Creepshow, East Of Eden, and Love Song were included on the Cyclops CD reissue, while Art And Illusion and Aspidentropy were first released on the Geoff Mann CD Recorded Delivery, and later on Voices In The Night. All five songs (newly remastered from the original 2-track tape) are presented here for the first time complete, and in the right order.

As both shows were recorded to video (using VHS cameras), we were able to use this source to provide the audio for Human Being and Afghan Red. The version of The Collector however, is from a show in Watford a few days earlier as we felt none of the recordings from the Marquee were quite good enough for this Definitive Edition, and we were originally given it by none other than Jane Mann!

This is intended to be the Definitive Edition of what is perhaps our best-loved album, and in crafting it we have used the best available source material. It’s not perfect, so please just think of the flaws as ‘scratches in fine leather’…


BRIAN DEVOIL's SLEEVENOTES...
Geoff deciding to leave marked the end of a very successful period for the band, but strangely also helped provide us with the impetus we needed to move forward. We had been pondering our future, and what might have happened if we had signed to CBS earlier that summer. By the time the gigs took place auditions were well underway (with Geoff taking a helpful interest) and several prospective vocalists were invited (Andy Sears was one who came along). We had also written a special song in Geoff’s honour to celebrate The End Of The Endless Majority.

Choosing the other tracks was quite straightforward. Sequences demanded to be included, as Geoff had helped make it the most popular Twelfth Night track of the time. His army uniform also gave us the idea for a photo: leaving it behind as he left the stage being a fitting and poignant image. Apart from new opening number The Ceiling Speaks the remaining tracks all came from our then current Fact And Fiction album. We could only afford to record 45 minutes worth of music, which was all that would fit on an LP record in those days!

However, and luckily for us, the engineers in the studio upstairs were so into what we were doing that they left the tape running at the end of the set on the second night and presented us with a 2-track recording of all the encores. As the last notes of Love Song faded away, we knew it was not only the end of two great shows but also the end of an era.
………………………………………………

The album was remixed a few days later with the help of Mark Chamberlain, a bright young engineer who we had met when recording the CBS demos. Apart from adding back the reverb, delay and echo (instruments and voices are usually recorded ‘dry’ and treated later), and some small adjusting of balances, no changes were required. Nothing was overdubbed!

We had originally planned to release the album on our own label (Twelfth Night Records), giving it the next catalogue number which would have been TN007. As a result it was destined to have a ‘James Bond’ type title; hence Live And Let Die became Live And Let Live. I still have the first test pressing bearing that number! However, soon after the shows, we were contacted by Music For Nations and offered a licensing deal for the album, the details of which were negotiated as the album was being mastered. Although the initial deal was only for three years, it continued for many years after because of the good relationship with MFN, and as a result Live And Let Live became our most successful album to date.

And now nearly 30 years on I can still remember the sights, the sounds, the smells, the blast of hot air when opening the stage door like opening an oven, so intense it left you drenched in sweat in an instant. They were two of the best gigs of our careers. I hope you enjoy listening, and remembering those exceptional, special nights.

ANDREW WILD writes...
Progressive rock band Twelfth Night formed as a duo in Reading in 1978. By the beginning of 1983, they were a 5-piece with extensive gigging experience and a series of self-produced albums, including Fact And Fiction, still regarded as a cornerstone of the genre.
A well-received appearance at the Reading Rock Festival in August 1983 seemed to announce their arrival as a major force. However, by the end of that summer, singer Geoff Mann had decided that he would leave.
Brian Devoil “September 1983 was a strange month for us, not least because of Geoff’s decision to leave after two years as our vocalist. It wasn’t the result of personal or musical arguments within the band, but something that came from Geoff alone: his personal feelings about what he was achieving as a member of a band; that what he was doing wasn’t really ‘him’.”
Clive Mitten “We had rambling late night discussions over a month or so during which it became apparent that he could/should not carry on.”
Jane Mann “There were two main reasons for Geoff wanting to leave. The band was based in Reading and we lived in Salford with our young son. Commuting and time commitments were taking their toll on family life. The other reason was the discussions about the religious overtones of Geoff's lyrics, particularly The Collector, between some members of the band who said that he was getting too overtly Christian. I don't know if those involved really knew, but that was the main reason that Geoff left: to be his own man and sing about what increasingly informed his life.”
Brian Devoil “I remember we felt that Geoff’s departure would give us the opportunity to move sideways and then up. The record companies did not consider Geoff a commercial prospect. I was concerned about increasing the overtness (and decreasing the subtlety) of the religious references in Geoff’s lyrics, but only to the extent that it did not reflect the views of anyone else in the band. None of us had any problems with Geoff’s Christianity as such, and we fully respected his decision to leave when he said he felt uncomfortable.”
Andy Revell “I was really upset when Geoff announced he would leave. We had discussed his lyrics but they had never become too overtly religious for my comfort, and I am an atheist. I didn’t have a problem with The Collector or any of the other songs. Rock songs should be up to taking on the biggest issues such as beliefs and values. Provided they didn’t explicitly promote a particular religion I was happy, and I felt Geoff was always more subtle and creative than that.”

Clive Mitten “Geoff was wrestling with his faith and beliefs more and more throughout this time. It was a dreadfully difficult decision for us all, but also tremendously exciting as we could look at new ideas and progress to another level, or at least move to a different path.”
After shows in Wokingham, Reading and Watford, two farewell gigs took place on Friday 4th and Saturday 5th November 1983 at the Marquee, London. Both gigs had sold out through the fan club long beforehand. The plan was to record a live album featuring six pre-selected songs.
Brian Devoil “We knew before the concerts it wouldn’t be financially possible to record the entire two and a half hour show both nights, so instead of choosing from a mass of recorded material, we knew we had to get it right first (or second) time.”
The band booked three days at Livingstone Studios in London and mixed the album between 10th and 12th November 1983. Live and Let Live was released on 27th January 1984, on an independent record label, Music For Nations.

Rick Battersby “Geoff’s farewell gigs were incredibly emotional. Restraining a tear during Geoff’s last performance of Love Song was impossible.”
Andy Revell “I remember those gigs so vividly. They were among my favourites of our career; certainly the most emotional. The crowd were just unbelievable. We played our hearts out. For Geoff.”
Andrew Wild
From “Play On: The Official Biography of Twelfth Night”

credits

released November 5, 1983

Geoff Mann: vocals, percussion, Andy Revell: guitar, keyboards, Clive Mitten: bass, bass pedals, keyboards, classical guitar, guitar, second voice, Rick Battersby: keyboards, Brian Devoil: drums, percussion

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Twelfth Night UK

Twelfth Night are an English progressive rock band of the 1980s, reformed between 2007 and 2012 and again in 2014.

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