Three of a Perfect Pair is the tenth studio album by English progressive rock band King Crimson, released on 23 March 1984 in the UK by E.G. Records.[4] It is the group's final studio album to feature the quartet of Adrian Belew, Robert Fripp, Tony Levin and Bill Bruford, which broke up later that year, though all four would appear in the sextet lineup featured on THRAK in 1995.
Music
According to Robert Fripp, the album "presents two distinct sides of the band’s personality, which has caused at least as much confusion for the group as it has the public and the industry. The left side is accessible, the right side excessive."[5]
The "other side" of bonus material on the 2001 CD remaster consists of two instrumental outtakes from the 1983 sessions, three alternate mixes of "Sleepless", and a 1989 a cappella recording (first published in the 1991 "Frame By Frame" box set) in which Tony Levin performs the barbershop quartet "The King Crimson Barber Shop".[6]
The title of the album is based on the idea of “perfect opposites”, or someone's truth, someone else's truth, and an objective truth (the idea of “three sides to every story”).[citation needed]
The Peter Willis designed artwork illustrates the sacred–profane dichotomy while being a simplified version of the Larks' Tongues in Aspic cover; a rising phallic object represents a male solar deity about to penetrate the crescent figure, a female lunar deity.[citation needed] According to Fripp, the artwork is “a presentation of a reconciliation of Western & Eastern Christianity...the front cover has the two elements, representing the male & female principles. The back cover has the third element drawing together & reconciling the preceding opposite terms”.[7][8]
Released in March 1984, Three of a Perfect Pair peaked at number 30 in the UK Albums Chart.[13]
Trouser Press described it in a mixed review as "a most disjunct album from a band that prided itself on carefully matched contradictions. The Left Side sports four of Adrian Belew's poorer songs and a self-derivative instrumental; the flip is nearly all-instrumental, nearly free-form, nearly brilliant...apparently the Frippressive 'discipline' that forged the critically acclaimed pop/art synthesis of the first two latter-day Crimson albums is not a permanent condition."[14]
