Unknown Soldier

I'm one of those guilty of not participating but I should. I think the reason that this doesn't work is that the democratic process of voting for albums just takes too long and draws away from actually listening to the albums. My recommendation is that the thread manager in this case Trollheart picks an album and we all discuss the album over the week, Trollheart then picks at random or however he wants to do it another member to pick an album for the following week and so on, Trollheart every three or four albums can also choose another himself.

Metal Wars works like this and since I've started it, I found the thread has to adapt to survive, which it has.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Big Ears

An excellent idea, Unknown Soldier (taking turns to suggest an album).

Guybrush

As we're all generally here to enjoy ourselves and not do work, we should all be completely free in choosing what to do with our time here and so noone should really feel like they have to spend time here doing something they don't want to. So, I don't believe in blaming people for album clubs not working. As Ants writes, there are just too few people interested in this. It's just hard for a prog rock album club to survive in this kind of environment.

No album club should be fueled by guilty consciences. Participation should always be completely optional. Or that's how I see it at least!

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Something Completely Different

Unknown Soldier

I agree with what you're saying here, but since starting my own journal I'm really into discussing albums now in more detail. So if this gets up and running again I'm in.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Trollheart

All right then, we'll give it one more go.
Here's the one I've selected, great prog rock album from the early eighties, a band who are no longer together and whose pinnacle I believe was reached through this album.

Fact and fiction ---- Twelfth Night --- 1982
Here's the Wiki article for background
Fact and Fiction - Wikipedia, the free encyclopedia

It's an album that's pretty much bookended by two epics, the opener "We are sane", which runs for 10:27, and the not-quite-closer "Creepshow", which hits almost the twelve minute mark, coming in at 11:57. There are other good tracks too --- in fact, I wouldn't really rate any of the tracks as bad --- but these two I believe portray the best this album has to offer.

Interested to hear what you think. Let's give it two weeks, to allow everyone time to hear the album and formulate a view on it, and we'll all meet back here to discuss it.

Anyone who can't get the album and needs a link, PM me.

Oh, and I also reviewed it in my journal, if you want some more inspiration...

Last chance saloon? Saddle up, prog pardners!

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Trollheart: Signature-free since April 2018

Unknown Soldier

I'll listen to it in the next few days. I understand that giving people 2 weeks is good, but it also drags things out too much and the thread can lose focus, but I'll leave it to you as you're the boss here.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Big Ears

Two weeks seems sensible to me.

Trollheart

Look, I'm easy, but both US and Ant have their own journals and Ant has another offsite blog to run, plus he's obviously devising some more fiendish plans to get "that pesky ant!" (sorry, that's an aardvark, isn't it?) so I thought 2 weeks was a decent amount of time, not to rush people. But if everyone thinks they can do it in one, then that's fine by me. Whatever suits yaz.

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Trollheart: Signature-free since April 2018

jackhammer

Always preferred XII by Twelfth Night although it is far more commercial. I should give Fact Or Fiction more of a listen though.

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Big Ears

Twelfth Night - Fact and Fiction (Twelfth Night Records, December 1982)

Twelfth Night are sane and have their doctor's permission to say so!







Fact and Fiction was recorded at Revolution Studios, Cheadle Hulme, Greater Manchester, during the summer of 1982. It was produced by Twelfth Night and Andy MacPherson. All the songs were written by Twelfth Night.


Fact and Fiction Tracklist

1. We Are Sane (a. Te Dium; b. We Are Sane; c. Dictator's Excuse Me) (10:27)
2. Human Being (7:50)
3. This City (4:01)
4. World Without End (1:54)
5. Fact and Fiction (3:59)
6. The Poet Sniffs a Flower (3:51)
7. Creepshow (11:57)
8. Love Song (5:38)

Bonus tracks on August 2002 reissue

9. East of Eden (3:27) single a-side
10. Eleanor Rigby (3:22) single b-side
11. Constant (Fact and Fiction) (2:27) demo, spring 1982
12. Fistful of Bubbles (3:18) demo, spring 1982
13. Leader (2:40) demo, spring 1982
14. Dancing in the Dream (2:58) demo, spring 1982
15. Human Being (3:56) session outtake - alternate version


Fact and Fiction Lineup

Geoff Mann: Vocals, tape effects
Clive Mitten: Keyboards, bass, classical guitar
Andy Revell: Electric and acoustic guitar
Brian Devoil: Drums, percussion
Jane Mann: Additional vocals on World Without End and Fact and Fiction


When considering Twelfth Night, the timing of this, their first LP, is everything, because they can be considered one of the first so-called neo-progressive rock bands, if not THE first. Fact and Fiction was released in December 1982, before Marillion's debut, Script for a Jester's Tear, appeared in March 1983, and IQ's Tales From the Lush Attic, was released at the end of 1983. In fairness to IQ, they did issue an earlier cassette, but then so did Twelfth Night. Pallas's The Sentinal and Solstice's Silent Dance did not see the light of day until 1984. Pendragon's first album, The Jewel, came even later in 1985. Among the rare Exceptions could be Quasar's Fire in the Sky, released in 1981, about which I know little; and Saga's self-titled debut in 1978, which is unique in that it does not fit comfortably into either seventies progressive rock or the later neo. Pink Floyd's first eighties album after The Wall and The final Cut did not emerge until 1988 and they were the progressive rock establishment.

The first track We Are Sane opens with a high-pitched mock-operatic or choral voice, followed by a deep voice, over the top of a sparce synthesizer and percussion arrangement. The singing is replaced by spoken voices, with a rhythmic typewriter sound effect, then returns, this time peppered with la-las, staccato chants and the declaration, "We are sane, not insane". Instrumentation from the band, led by Clive Mitten's synthesizer, has a light-touch, with an interesting cowbell effect at the half way mark and a Yes-style guitar solo from Andy Revell in the second half. Unfortunately, much of the band playing is buried in the mix, while Geoff Mann's voice(s) never seem to let up. It is ironic that, despite coming from a time when production could be ruined by too many layers of intruments, this avoids the trap, yet spoils things with a messy vocal arrangement. Nevertheless, I am Sane closes with more conventional vocals and another guitar solo. Human Being has a brief watery sound effect, vocal and synthesizer, followed by a contrasting punchy bass line and bright guitar. However, the voice, this time reminding me of an out-of-tune Rob Halford in deep voice mode, dominates again. At around four-and-a-half minutes, there is a Genesis time-signature with galloping guitar solo and tom toms, recalling that band's The Musical Box from the Nursery Cryme album. Geoff Mann returns to make his presence felt in the fade-out.

Synthesizer, children's voices and a radio commentary-like sound effect open This City quietly, but the vocals are harsh. Echo-y drums, economical Pink Floyd-style guitars and sparse piano cannot rescue the ambience. World Without End is a more successful quiet track, perhaps because the vocals are absent. A sprightly Vangelis-style synthesizer introduces the title track, which is reminiscent of arty punk rock band, Magazine, but Howard Devoto makes a more judicious use of his limited vocal range. The Poet Sniffs a Flower has a menacingly quite intro of synthesizer and acoustic guitar, redolent of Faith No More, albeit a staggering seven years before The Real Thing album. There are more Genesis time signatures and, again, this seems more satisfying because it is an instrumental.

At just over ten minutes running time, We Are Sane is the second longest track on the album; the lengthiest being Creepshow which is nearly twelve minutes long. Is it mere coincidence that Twelfth Night attempt to expand their ideas in a TWELVE minute piece? Acoustic guitar is joined by synthesizer and then Brian Devoil's cymbals, before Geoff Mann warbles, "Welcome, welcome, first today to see the creepshow/ come see the exhibits/ but do not touch/they cannot bear touch/ here in the freak show". Although I do not care for his phrasing, this is some of his best singing on the album, yet one cannot help be reminded of Pete Sinfield and ELP's superior Karn Evil 9. After a chanted vocal filler, there is more KE9 imagery with, "First, here on the rack strapped a child's virgin mind". Mann goes into falsetto for a verse on someone called Amanda, until we even get a spoken, "And so ladies and gentlemen, we come to the nerve centre of the whole affair." At just under six minutes, there is a superb instrumental section, needless to say with more Genesis, which is appropriate to the subject matter. The lyrics, however, turn from KE9 to Twelfth Night's own brand of unpleasantness with battered skulls and smashed horrors. Never one to shy away from a re-interpretation, Clive Mitten adds some KE9 3rd Impression sci-fi synthesizer.

The original Fact and Fiction album ends with Love Song, not a short song itself, but which has an improved lyric. Mann uses an effective 'Love is a, love is a, love is a, love is a . . .' motif and continues with another better quality performance. Revell provides a Mike Oldfield-style guitar solo. In previous reviews (on other forums) I have criticised singers, like Geddy Lee with Clockwork Angels, for not varying their voices enough, so it may seem hypocritical to suggest that less could have been more where Twelfth Night's vocal arrangements are concerned. But, a wisely uncluttered production is spoiled by too many vocals. If I had heard this album at the time of its release in 1982, I would have suggested they put more emphasis on the instruments and (uncharitably) find another singer. However, in 1983 Geoff Mann amicably left the band for a solo career, but tragically died of liver cancer ten years later. Clearly, there is no denying the ambition of the band or their willingness to experiment and add variety.

East of Eden is another Magazine, or Buzzcocks, inspired track, with overtly punk rock vocals, stuttering guitars and spacey keyboards. Tackling Eeanor Rigby was brave, or a mistake, depending on one's viewpoint. It is certainly different, but, with harsh vocals and an Ultravox feel, comes across as clumsy. Fistful of Bubbles, with guitar and drumming redolant of Andy Summers and Stewart Copeland respectively, is Police or Rush-type reggae-rock. Mann is to be congratulated for using his Cheshire accent throughout and final track, Dancing in the Dream, is no exception, serving as a reminder of The Psychedelic Furs. Another motif, a spoken 'Dancing in the Dream', is quite compelling.

Although a diehard seventies heavy and progressive rock fan, I am not averse to a bit of neo. Indeed, I prefer neo to much of today's 'new' progressive rock, but, as with the latter, it can suffer from indifferent vocals. These are particularly noticeable after the performances of Greg Lake, Jon Anderson, Chris Thompson and Peter Gabriel. On this basis, I found Geoff Mann's vocals a bit difficult to take onboard, but after repeated listens, I enjoyed Fact and Fiction very much and it has made me want to seek out another album by the band, or maybe just listen to a bit more neo-progressive. I could not claim to be a neo expert and have referrred to Allmuusic, PA and Wikipedia, in researching the background to the album. Finally, thanks to Trollheart for suggesting Fact and Fiction.