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At the centre of this package are two features from the 1980s reformation of King Crimson, produced specifically for the burgeoning home video market. The August 27, 1982 set -- at the Arena in Frejus -- finds Adrian Belew (guitar/vocals), Bill Bruford (drums/percussion), Robert Fripp (guitar) and Tony Levin (bass/Stick) during a European excursion as the opening act for Roxy Music, hence the somewhat abbreviated programme. With the notable exception of "Larks' Tongues In Aspic (Part II)," the vast majority of the show is derived from their concurrent effort Beat (1982) and its predecessor Discipline (1981). Although Bruford and Fripp had returned from the mid '70s line-up, the infusion of Belew and Levin are undeniable forces behind this incarnation, especially when considering the strong material from the former. Commencing with the driving syncopation of "Waiting Man," the programme traverses through the poignant ballad "Matte Kudasai" and the languid vocal-less "Sheltering Sky." "Neil And Jack And Me" slashes incisively, propelled by the rhythm section's precision and the tightly-woven double lead guitar interplay from Fripp and Belew. Additional highlights include the intense instrumentals "Indiscipline" and a sole oldie in the form of the aforementioned "Larks' Tongues In Aspic (Part II)." Clocking in just shy of 90 minutes, the Kani Hoken Hall performance in Tokyo on April 28, 1984 was recorded as the quartet toured in support of Three Of A Perfect Pair (1984) . Once again, the song selection relies heavily on their most recent work, repeating all but "Sheltering Sky" and "Neal And Jack And Me" from the '82 offering. They likewise present a bounty of newer tunes, beginning with the title composition "Three Of A Perfect Pair," "No Warning," "Industry," "Dig Me" and "Man With An Open Heart." The latter are worthy of special mention as King Crimson have rarely displayed as paradoxical a persona as the abrasive beauty found within these disparate contexts. Fripp is clearly inspired during both the third and latest instalment of "Larks' Tongues In Aspic" and an equally incendiary "Indiscipline," easily besting the version from '82. There are also a couple of extras, such as the MTV-style promotional film for "Sleepless," a five-minute musical montage with Levin's photos and an interactive discography of the '81 -- '84 aggregate.
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