01	Three Of A Perfect Pair						04:13
	02	Model Man						03:49
	03	Sleepless						05:24
	04	Man With An Open Heart						03:05
	05	Nuages (That Which Passes Passes Like Clouds)						04:47
	06	Industry						07:04
	07	Dig Me						03:16
	08	No Warning						03:29
	09	Larks' Tongues In Aspic (Part III)						06:05
	10	King Crimson Barber Shop						01:37
	11	Industrial Zone A						01:44
	12	Industrial Zone B						04:33
	13	Sleepless (Tony Levin Mix)						07:26
	14	Sleepless (Bob Clearmountain Mix)						05:24
	15	Sleepless (Kevorkian Mix)						06:17

remastered by Robert Fripp, 2001

Three of a Perfect Pair
Originally released: 1984

Personnel:
Adrian Belew (voice, fretted and fretless guitars)
Robert Fripp (guitar)
Tony Levin (bass, stick, synth and background voice)
Bill Bruford (acoustic and electric drumming)

All songs written by King Crimson.
All words by Adrian Belew.

4'11 Three of a Perfect Pair
3'56 Model Man
5'16 Sleepless
3'00 Man with an Open Heart
4'42 Nuages (That Which Passes, Passes Like Clouds)
7'22 Industry
2'59 Dig Me
3'28 No Warning
6'01 Larks' Tongues in Aspic Part III

Details courtesy of the Robert Fripp discography, compiled by John Relph and Robert Steinberger.




Three of a Perfect Pair


AMG REVIEW: This is the title as well as opening track of the third and final album featuring the '80s incarnation of King Crimson. Adrian Belew's lyrics are schizophrenic, layered, yet refreshingly pop. They complement the churning, syncopated and interlocking rhythms which typify the multi-faceted musical complexities that have become seemingly inherent within this quartet. The title might also be considered a clever nod to the long-player which became the last entry in the '80s trilogy. While diplomatically vague about the origins of the lyrical content, Belew has gone on record to state that they are rooted in "pretty much typical relationship stuff". Then, added to the title image is the off-centred logic in which 'a pair' would consist of anything other than two. Belew's cut-and-paste guitar solo - which is equally as effective in performance - recall his notable yet brief contributions as a band member of the Talking Heads ( "Born Under Punches") and with Frank Zappa circa 1977 ((&"Black Page"). The band toured in support of the LP and "Three Of A Perfect Pair" became a concert staple remaining throughout the '90s double-trio incarnation. In 2000 Belew reworked it as a solo, although it eventually fell back into the group repertoire. - Lindsay Planer




Reviews:
All reviews were submitted by ET readers. Thanks!

Three of a Perfect Pair (Entire Release)
Date Submitted: 27-Apr-96
By: Tim Foster (FosDesign at aol dot com)

"When Belew sings "one, one too many schizophrenic tendencies" in the title track, he describes this album perfectly. The two sides of King Crimson (the song-oriented side and the improvisational side) split this album right down the middle. The first four songs are the most commercial and fun songs the band has produced, while the rest of the album is dense, dark and wildly frantic. Track by track: "Three of a Perfect Pair" is a continuation of the Discipline style of writing the band has pursued on their first two records. "Model Man" is a curiously overlooked song that boasts a playful Fripp smashing away on rhythm guitar while Belew provides soaring fretless guitar phrases in the chorus. Levin and Bruford provide an angular cut to the song that drives it forward. My favorite song on the album. "Sleepless" is an obviously commercial track driven by Levin's pulsating slap-bass work. "Man With an Open Heart" is Belew at his best, a wonderful, twisting & bending guitar phrase underlies the verses while the chorus instantly reminds you of the Talking Heads. The rest of the album is made up of instrumentals, from the lightness of "Nuages" to the appropriately named "Industry", the instrumentals explore the improvisational side of the band to great effect. "Dig Me" probably exemplifies what this album should have been, chaos and order come together magnificently in Belew's ode to an abandoned car. The best surprise is at the end, though, as the band resurrects "Larks Tongues in Aspic" and gives it an 80's twist. The album overall is a slight disappointment, in that one can see the 80s incarnation of the band running its course. Fripp is strangely subdued, his one shining moment is at the beginning of "Larks Tongues", but otherwise he has reduced himself to occasional guitar-synth phrasing and rhythm work. Fripp's dissatisfaction with his role in the band was becoming clear (he said as much in interviews at the time) and the band dissolved shortly thereafter. (****)"



Date Submitted: 27-May-96
By: George Korein (Mopobeans at aol dot com)

"I have a problem with this album. 80's KC was great on Discipline, ok on Beat but here they lose it. I like the title track, and Model Man and Man with an Open Heart are ok, but Sleepless is techno-drenched, Nuages and No Warning are boring, and the rest are jerky, unfocused improvisations that I can't take."



Date Submitted: 8-Aug-96
By: Bill Nicholas (newguy at buttercup dot cybernex dot net)

"To accuse Crismo of some kind of commercial sellout here is absurd. Crimson have always had some relationship to pop forms--I talk to the wind, Fallen Angel, Book of Saturday, Frame by Frame. It is the context they put these forms in that make them so good. Three of A perfect Pair is no different. Here, they were simply expanding their range, with polished, spectacular results. One has to remember that 1984 was the year of garbage like the Thomson Twins and Culture Club. Viewed in the context of the sickly, limp mid-80s music scene, Three Of a Perfect Pair is no more a pop album then Book of Saturday was an AM ballad.

"Don't be fooled by the song-structures of side one: these are still full of knotty, hairpin rhythm shifts. As for side two, all it really does is take the work Fripp had done with the 73/74 band and with Eno, and put it into a more modern, more polished context. Listen to the sounds on "Industry." This is like modern classical music concrete. Not to fear: Perfect Pair is the same KC we all know: expansive, loopy, and miles, miles, miles away from being a pop group. How can any fan not like this? The only thing the group did wrong was to break up after they made it. *****"



Date Submitted: 31-Mar-98
By: A. De Wailly (ad051 at students dot stir dot ac dot uk)

"I think that this KC album, more than any other, is very much influenced by the musical trends of the time of release. It is less brilliant than 'Discipline' (of course) but slightly better than "Beat".

"Everyone knows about the Talking Heads influence, but to me "Sleepless" sounds a bit like Ultravox's 'We Stand Alone', which is good, and 'Industry' like 'Architecture and Morality' in the album of the same name by OMD, which is bad (this is the album on which OMD started becoming rubbish, even though half of the songs are still great).

"'Man with an Open Heart' is the perfect pop song and 'Nuages' prefigures some passages of 'THRaKaTTaK'. The end of 'Larks' Tongues in Aspic part III' features these typical Fripp chords which I hardly heard anywhere else as in Nirvana's uncredited songs at the end of their albums."



Date Submitted: 10-Nov-98
By: Jason Farrell (farreljs at northnet dot net)

"I originally picked up Three of a Perfect Pair in a grocery store, in a bargain bin that was selling it for $2.98 since the jewel box had been damaged. At that point, I'd heard of King Crimson but I hadn't heard them. So I gave it a chance.

"A year and a half later, I'd sold it to a used CD store. The album had been an albatross around my neck for the whole span of that time; it was frustrating, inaccessible, pointless...and yet I couldn't help feeling that I ought to love it. I'd be lying if I tried to suggest that I didn't like the album at all, but it was no easy task. And, when I dumped it in the lap of the pawn shop owner, I thought I'd be able to forget and move on. Easy enough, right?

"Well, not so easy, not so enough, and not so right. If someone had suggested that the songs from 3PP would linger with me for years afterward, I'd have chuckled mirthlessly and punched them in the face. But that's just what happened. I'd catch myself humming the title track or that part from "Man With an Open Heart" about how she "could be irregular, or singing in her underwear" on the bus, in the library... and in the grocery store, aptly enough. The album had resonated with me and germinated within me, and now I felt chained. And it would have been okay if it had just been the four vocal numbers at the very beginning of the album, but I was also recalling fondly the manic-depressive tranquility of "Nuages" and "Industry"--which proves that industrial music isn't as young as it thinks it is, and it owes more to these fusty, prog-rock forbears than it will ever admit. I thought of "Sleepless" and the "submarines lurking in my foggy ceiling" every time I had insomnia. "Dig Me" had always been sort of irritatingly cool, anyway.

"Alright, I broke down, okay? My new copy of 3PP arrived in the mail about two weeks or so ago, and I've played little else since. My wife hates it. My cats hate it. But, hell, I don't think it sounds very much like Talking Heads at all (Belew might phrase like David Byrne, but he's preferrable to DB in every other way, including lyrics and general songsmanship) and I can't understand why this thing got so far under my skin."



Date Submitted: 27-Nov-98
By: Roberto Manrнquez (rmanriquez at ipade dot mx)

"Three of a perfect pair, like the other albums of King Crimson, is a masterpiece."



Date Submitted: 13-Mar-01
By: Warren Butson (Warren.Butson at getty-images dot com)

"The final part of the trilogy and as someone mentioned before a song side and an impro side, which was quite a good idea for those that prefer one or the other. For me above all else it's the songs that really get me. people spend many sentences explaining how great the musicianship is but miss the point that KC write great tunes. model man gives me shivers with the sad and powerful chorus combined with melancholic lyrics, sleepless is just a great pop song and T of a PP has great rhythm to the melody. side two leaves me cold although i love the dig me bit reminds me of early xtc. to my mind if you gather the songs from all three albums (am I the only one who loves "two hands"?) you have probably the greatest rock/pop album ever made. Can't wait for the remasters, will we get any bonus outtakes surely there must be some??!!!!"



Date Submitted: 24-Apr-01
By: (earthworksman at yahoo dot com)

"Still stuck in "Red mode" (and not having heard Discipline or Beat), a friend tells me he has KC's new tape, Three of a Perfect Pair, and wants to know if I want to listen to it. "Of course!" The first song was okay but less than two minutes into Sleepless I hit the stop button. After One More Red Nightmare, I thought I was listening to a drum machine; an abomination to my ears! Consequently, not only do I pass on buying Discipline and Beat, but pass on seeing KC in Seattle that year (very regrettable, I admit).

"Fast forward a few months, and I'm driving alone very late at night in the rain when I hear the most incredible song on the local college radio station in my hometown. The DJ announces that it's Industry from Three of a Perfect Pair. I purchase the tape the next day and listen to it with mind completely open.

"Seventeen years later, I still think this is an excellent album (though I still can't stand Sleepless). And while TOAPP (or Beat) is not the masterpiece Discipline is, it is still a great recording.

"I am convinced it was kismet that I heard Industry that rainy night."



Industry
Date Submitted: 30-Dec-97
By: Frank Palumbo (Frank_Palumbo at tvratings dot com)

"I had the pleasure of seeing Crimso' perform Industry LIVE in New York on the Perfect Pair Tour back in the Big '80's. Industry performed live was the highlight of the evening and displayed the true, deep talent of bassist Tony Levin. As Fripp performed, he seemed to be studying and evaluating Levin's performance (like a teacher to a student). Levin successfully played a bass, stick bass and bass pedals (3 instruments) at various times during this selection, nailing every lick with studio-type precision. Fripp was pleased and so was the crowd. Tony Levin may not be the most talented bass player on the planet, but that night on the Pier he was the hardest working performer."



Larks' Tongues in Aspic Part III
Date Submitted: 9-Jul-96
By: Chris Mitchell (squonk at utkux dot utcc dot utk dot edu)

"This third installment of Larks' Tongues makes references to parts 1 and 2 in the guitar lines, and in its introduction features one of the most impressive Fripp moments ever. It's been noted, though, that the ending of Larks' Tongues 3 is not as earth-shattering as it could be, especially compared to parts 1 and 2 of ten years earlier. But a close listen to this version reveals its own strengths.

"After a dual-guitar break, the final section starts in on a four-count. The chord progression is very interesting. Starting on the tonic of A, things shift up to C for a few bars, then down to B for a few more, then back to A. The next change goes from A to C#, then down to C, back to A again. A pattern is established:

A----C--B--A----C#--C--A----D--C#--A----D#--D--A---etc.
"That is, the changes keep ascending a half-step, always returning to the homebase of A. This makes for some dramatic changes in tone. For example, when the band reaches the D#-D-A section, there is a sense of release in the music. The next chord in the pattern is E, which furthers the familiar harmony: D to A to E. Then comes the half-step drop to E-flat, and the tone changes again. Listen and you can hear what I mean.

"Also of note in this section are the dynamic changes, i.e., Bruford going from a simple count on the kick drum to sudden cymbal punctuations to a joyous ride cymbal on that aforementioned chord change. No, he's not riffing at top speed, but he's in tune with the musical development of this section.

"All of the above might answer why this track fades out instead of coming to a definite close like Larks' Tongues pt.2. The chord progressions imply a continually changing state that could go on forever, a pattern that eventually folds back on itself and starts over. My own feeling on hearing this piece is that the final section just keeps playing after the CD stops spinning."



Date Submitted: 18-Sep-96
By: Will Henson (chrissy at compunet dot net)

"The best part of the album for me is the last 30 seconds of Larks' Tongues in Aspic Part III. That is when Bill Bruford finally is allowed (or was he?) to "lean" on the cymbals. Something that Robert Fripp never allowed him to do in previous recordings. How ironic that the moment that Bruford really cuts loose the music fades out like the band did for the next 10 years. I wish that there could be a new version of that recording that was extended at the end so we could hear the complete jam at the end of the song. That song sounded like it was really building up and it was just a shame to hear it fade out when it was really getting hot!"



Date Submitted: 25-May-99
By: Stephen De Prospero (StephenfromNY at webtv dot net)

"Lark's Tongues in Aspic 3 is much different in format than the first two versions. The style of Levin and Belew vs Wetton and Cross's influence is rather interesting and does stand up well given a few listenings. Not to mention truly exceptional guitar work."





Tentative Review #151
King Crimson
Three Of A Perfect Pair
(released 1984)

--------------------------------------------------------------------------------
Track: Rating:
1. Three Of A Perfect Pair
2. Model Man
3. Sleepless
4. Man With An Open Heart
5. Nuages
6. Industry
7. Dig Me
8. No Warning
9. Larks' Tongues In Aspic, Part III

Personnel:
Adrian Belew: voice, fretted and fretless guitars
Bill Bruford: acoustic and electric drumming
Robert Fripp: guitar
Tony Levin: bass, stick, synth and background voice
Credits:
All tracks written by King Crimson. All lyrics by Adrian Belew.



--------------------------------------------------------------------------------

Comments:
When originally released, Three Of A Perfect Pair (1984) was given a rather ambivalent response from King Crimson fans. To some, the album was conclusive proof of the band's drift towards commercial pop territory, as evidenced by Adrian Belew's song-oriented material on the album's first side. For others, the rather disjointed union of the album's two sides was proof of some fundamental disorganization within the band [an opinion recently repeated by the Trouser Press Record Guide]. Many interested observers were of the opinion that the band had lost the plot -- and no doubt felt vindicated when KC dissolved not long after their tour to promote the album.

Since the reformation of KC in 1994, opinions toward 3oaPP have tended to be more balanced. With the benefit of hindsight, Belew's poppisms no longer seem quite so dangerous, and the division of the album into two semi-autonomous sides seems an accurate reflection of the band's status at the time. Most web-connected Crimson enthusiasts now seem to recognize the album a credible release, if not a career highpoint. And most would probably agree that the album is something of a hidden gem in KC's catalogue, underrated and still somewhat underappreciated.

... but Robert Fripp would not be a part of this consensus.

Fripp's recent discussions on Three Of A Perfect Pair indicate that he has not entirely come to terms with the album. Once, when a fan commented that Beat and Three Of A Perfect Pair were mere replicas of Discipline, Fripp took issue with this assessment ... and, in the same breath, wished that it were correct. By Fripp's understanding of the events in question, the band that had triumphantly emerged upon the music scene in 1981 with Discipline was veering off-course on its two following projects. More recently, he has also commented that the live Absent Lovers release is probably the only album that young KC enthusiasts need purchase to become familiar with the early '80s band.

Fripp's assessment is undoubtedly somewhat biased, and is probably more sensitive to perceived weaknesses in the band than the views of most outsiders. Nevertheless, his comments do point to a fundamental problem with the Three Of A Perfect Pair album, which has not disappeared with the passage of time: the album was a testimony to the confusion in the band at the time, and is an indication that they weren't quite following through on their creative intentions. That much should be obvious to anyone who listens to the album. But this assessment leads to another question: how important is the state of the band's constitution for an appreciation of the album, from an audient's standpoint?

The answer, it would seem, depends upon how the band was failing to follow through with their intentions.

I'm sure Fripp would take issue with this, but I would argue that the band's constitutional troubles allowed it to create some of the best music of its '80s incarnation. And I'd also try to demonstrate this by way of analogy with another troubled album from KC's past -- 1971's Lizard.

Fripp's recent criticisms of Lizard have, of course, made his musings on Three Of A Perfect Pair seem like the syncophantic flattery of an ambitious courtier in comparison. Shortly after completing the remastering process of the album, he referred to it as an abysmal failure, most suitable for clearing out loitering guests at parties. He's also referred to it, on many occasions, as the result of a period of extreme confusion within the band. It may not have been an accident that the lyrics to the "Lizard" suite focus on the upheavals of the English Civil War -- there were clearly more than a few leveling tendencies at work on the King's constitution, at the time.

But what were the fruits of this confusion? I would argue that Lizard, with its dazzling timbric colours and multifaceted musical surprises, is one of the best releases of KC's career. The first three tracks on the album, as well as most of the "Lizard" suite which follows, rank among the most ambitious music that the band has yet created. And of course they represent a form of musical confusion -- not simply in the free-form jazz ethos which permeates much of the album, but also in the apparent lack of a centre around which the music can be focused. But this resulted in a work of fierce and defiant beauty, all the same.

To some extent, this same defiance can be found on the second half of Three Of A Perfect Pair. Divorced from their pop leanings, the '80s Crimson ensemble were able to go all-out into free-form assaults on traditional concepts of harmony and polite composition. It isn't quite "beautiful" in the sense that the Lizard tracks were, but it's still ambitious music that should move the equally ambitious listener. In a sense, it represents the best of what the band were capable of.

The instrumental track "Industry" probably represents the pinnacle of this approach. After a base support is set in place by Levin and Bruford, the music literally explodes in all variety of directions, with all four Crims showing the full limits of their creative side. "Dig Me", the track immediately following, is no less incredible in its execution -- with lyrics from Belew describing an abandoned auto wreck, it's the perfect illustration of how pop forms can be almost completely subverted (even the relative straightness of the chorus section just makes the surrounding music appear all the more strange). And, following this, "No Warning" marks another leap into uncharted territory.

"Larks' Tongues In Aspic, Part III" is sort of the odd-man-out of the second-half tracks, in that it's obviously more of a through-composed track than the others. There's some free-form material here (particularly in the opening guitar solo), but much of this track shows a bit more focus than the rest of the side. For the most part, this isn't a bad thing -- Belew's guitar lead in the middle section of the song is one of the best riffs of his career. Unfortunately, the slowed-down section of the extended fade-out takes the track down a little bit -- it's not as bad as some detractors have claimed, but it does overstay its welcome by at least a minute. Still, it seems an appropriate enough end to the side -- and, in retrospect, to this particular lineup of King Crimson.

The majesty of the album's second-half was, to a large extent, facilitated by the relative separation of the album's pop and progressive habits. The unfortunate side of this separation, of course, is that the pop material on the first side of the disc was deprived of some of its more interesting features.

The dichotomy isn't absolute, of course. There are still a number of interesting effects throughout the side, particularly the digital-effects solo in the middle of the title track. But are some low points too: "Man With An Open Heart" is one of the weaker songs in KC's catalogue, due mostly to a degenerative effect in Belew's lyric-writing tendencies (ie. on Discipline, Belew wrote really clever lyrics; on this song, he really doesn't). "Model Man" is a decent pop song in its own right, but still seems like "slumming" material for the Crimson band. The band does seem to show a bit of irony about this track, though; there's a moment towards the end which seems the perfect location for an extended solo -- instead, it's quite noticeably left empty.

Not all of Side One comes up disappointing, though, as "Three Of A Perfect Pair" and "Sleepless" prove to be very successful pop songs. The former is nicely constructed, even aside from its mid-song diversion; the multi-tracked vocals in the verses, moreover, give the lyrics a direct tie-in to "I Wonder", from Belew's Twang Bar King album (1983). "Sleepless", for its part, may actually have benefited from the pop/prog division -- the multi-layered instrumentation of the song is clearly rooted in pop sensibilities, but still works out to be one of the most moving passages on the album.

And then, in the middle of the album's fissure, there is "Nuages (That Which Passes, Passes Like Clouds)". It seems fairly obvious that this track was meant to stand apart from both sides, overseeing the divisions from a semi-detached standpoint. Although thematically closer to the second half of the album, it was positioned on the first side for the original vinyl release -- and even aside from this, the track doesn't quite seem to mesh with the chaotic advances of Side Two. In a sense, this track could almost be regarded as an updated version of "Prince Rupert's Lament", conveying a wordless paean for the shattered unity. Perhaps not surprisingly, this is also the track most thoroughly dominated by Fripp's trademark guitar tones.

[Of course, on a more practical level, it should also be noted that the track is a revision of "The Sheltering Sky". Fittingly, it isn't quite as successful as the source material.]

*

Perhaps there are to be lessons to be drawn from this album, and from the overall history of the '80s Crimson band.

When a band's creative energies can be successfully channeled in a relatively holistic way -- as per Discipline -- they should be directed accordingly. When a disruptive force (such as market pressures, divisions in personnel, or unwarranted expectations) enters onto the scene, the band might be best advised to channel its failure in the most interesting manner possible. Whether intentional or not, the division of Three Of A Perfect Pair represents a compromise of sorts, allowing both elements to be developed in isolation. One wonders, however, if it might not be more productive to jettison any hope of "balance" in these situations, and to simply highlight the more interesting side until the equilibrium returns.

And, in fact, the recent emergence of THRaKaTTaK and the ProjeKcts after the compromises of the THRAK album might indicate that Mr. Fripp senses the benefits of this course, whether he knows it or not.

*

Two additional comments:

One side-effect of the breakdown of the band's constitution was that Tony Levin's bass parts were able to come more directly to the foreground. Whereas his performances were often coherently meshed into the band setting on Discipline, they are much "freer" here. If I were to recommend only one KC album for a hardcore Levin fan, ToaPP would probably be my choice.
For those of you who own ToaPP on record, I present the following challenge:

Play "Nuages" at 45 RPM.
Tell me it doesn't sound like Aphex Twin.

*

In the final assessment, this album is an important release in the KC catalogue, and should be a part of any true fan's collection. Newcomers, however, should still begin their exploration of the '80s band with Discipline.

The Christopher Currie
(review originally posted to alt.music.yes on 9 May 2000)






King Crimson - Three of a Perfect Pair

Member: I.M. Weasel

Three of a Perfect Pair is the 3rd album in the 1980s King Crimson trilogy that began with Discipline and Beat. Once again, the lineup features Belew, Fripp, Levin, and Bruford. This album stays true to the sound that was established in the two albums that came before it. In my opinion it's the second best album in the 80s trilogy. 3oaPP is a strange album though, because it almost has two different halves to it; almost seems like you are getting two albums in one. The first half is a decidedly more song-oriented side, where as the second half takes a dramatic left turn into realms unknown. Detractors of the Belew era point mainly to the first songs of this album as "too poppy" and label the whole release that way. However many don't see what is contained later.

3oaPP starts off with the title track "Three of a Pefect Pair", an excellent song about a dysfunctional relationship. It then launches into "Model Man", another shorter Belew song. The 3rd song "Sleepless" is a great Levin-driven rock song though that often gets the worst reputation as being way too pop or techno. Levin's playing alone is enough to make this song worthwile. "Man With An Open Heart" is, in my opinion one of the more underrated songs by KC. It's another short Belew tune, but it has some incredibly quirky and infectious guitar playing and pretty memorable lyrics.

Then comes a shift in the direction of this album. It starts out with "Nuanges" which is reminiscent of "The Sheltering Sky" from the Discipline album. It provides a short interlude until you arrive at one of the standout tracks in the King Crimson discography, "Industry". Powerful and ominous, this song builds up slowly until it reaches a climax of insanity, then lets the listener off the ride much the same way they came on, with that evil "dum dum dum" provided by Levin and Bruford. After that comes "Dig Me", the only vocal piece on the second half of the album. This is a very interesting song told from the perspective of a car dying in a junkyard. Because of my own personal love for classic cars, I can very much sympathize with the automobile in this song! "No Warning" is another short avant piece by KC, and seems to be in the vein of "Industry". Lastly, theres "Larks' Tounges in Aspic III". Fans of the classic 1973 album probably wont find many similarities between that and this song, except for the fact that its another great instrumental by King Crimson. This is another favorite of mine. The song has a great intro before launching into full force with the rhythm section. Belew provides some great guitar noises here.

However as "Larks 3" fades out, KC would be silent for another 10 years. Three of a Perfect Pair provides a great finish to 80s KC and leaves the listener wanting more and more.