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on 2 November 2000
This album is a more thoughtful follow-up to "Discipline", starting exactly where the latter left. I doesn't have the power and freshness of "Discipline", but still it yielded great music, and even a chart-hit. This album is as close to "normal" music as King Crimson ever got. It starts with "Neal and Jack and Me", the only Crim song with a few words from Robert Fripp. If you ever thought the ostinato chords in the chorus are synth, you're wrong - it's Chapman Stick's melody side, played by Tony Levin. The most important song on the album is "Heartbeat", which actually is Adrian Belew's solo song. It's simplicity is mind-striking. After buying the album I listened to it endlessly. And it even won a status of a (relative) hit on the charts. Fripp's backward solos in "Heartbeat" are the best backward-recorded guitar solos ever published. It's one of those songs that get better, more emotional every time you listen to it. "Sartori in Tangiers" and "Waiting Man" are a showcase of Stick-played accompaniment - virtuosity in simplicity, once again. "Neurotica" sounds like a companion to "Elephant Talk" and "Indiscipline" from the previous album, populating the streets with animals and your mind with never-ending stream of words. "Two Hands" will sound good listened to just after "Heartbeat" - both musically and textually. "Howler" and "Requiem" end the album with "frippery" - odd meter first, then somewhat abstract monotonous guitar solo. If you don't know King Crimson and want some easy listening from them - get the album. If you know King Crimson and want some lighter side to it - get the album. If you are a crimhead and don't have it yet - get the album. And, finally, if you happen to write a master thesis on Robert Fripp's solo work - get the album and analyze "Requiem" :)
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on 23 May 2002
OK, I come clean... I have this one on vinyl. Another confession - I can't really get away with early 'Crim'. This album is one of three stunning albums produced between 1981 and 1984; Discipline, Beat, Three of a perfect Pair.
I urge anyone with an ounce of musical feeling to buy all three albums IMMEDIATELY !!!! Each outing is packed with musical virtuosity which will make you weak at the knees. However, dextrous jiggery pokery isn't all you'll find. It's all here; power, beauty, passion, pain.
Whoops, went off on a KC 'chit chat... chit chat' again. More on 'Beat'...
There's a whole range of tracks, from the (deceptively) simple, gorgeous tones of 'Heartbeat', 'Two Hands', on to the unbelievable melee of guitars and Chapman sticks in 'Neal and Jack and Me' and 'Sartori in Tangiers'. Then the deadly crescendo cacophonies of 'Neurotica' and 'The Howler'. Every track is awesome. The only problem with this album is, there's not enough tracks !
As I said... BUY NOW.
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`Beat' was the second album from the 1980s Anglo-American Crim line-up of Fripp-Belew-Levin-Bruford, released in 1982 one year after `Discipline'. In overall style the two albums are similar, but whereas `Discipline' is universally recognised as a minor landmark in rock music history `Beat' is sometimes seen as a kind of also-ran sequel, neither ground-breaking nor particularly original. In fact it's a very good (though not flawless) album containing some fine songs and truly inspired moments.

An eclectic mix of 1980s dance music with prog-rock and flavoured by jazz-fusion characterises the music of `Beat', spiced with the usual dash of Crimson quirkiness. The opener `Neal and Jack and Me' is a fine song with a driving dance beat immediately accessible; Andrew Belew's song `Heartbeat' even more so. The very quirky `Neurotica' is in the same vein as `Elephant Talk' with stream-of-consciousness lyrics almost shouted rather than sung by Belew. `Two Hands' is a poetic observational close-up about human connectedness, and `Waiting Man' borrows some rhythms and ideas from the `world music' boom of the period.

The closer `Requiem' is a Fripp-guitar-led piece which takes us back to the occasional sound-experiments of the Wetton-Muir period and at the same time predicts the distinctly un-tuneful diversions found on the follow-up album `3 of a perfect pair'. This ain't easy listening folks, and is not premium radio-play material.

Each of Crim's three 1980s albums has a distinctive artwork theme-colour: `Discipline' is red and the third of the trio `3 of a Perfect Pair' is yellow. `Beat' is `the blue album.' The `30th anniversary' mix is considered the best version, though it contains no extra material.
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Many People may consider this to be the worst King Crimson album. Many People who even like the other two 80's dance Crimson albums ('Discipline,' and '3 of a Perfect Pair,') which I feel is totally unfair.

The production on beat is good for an 80's album, the lyrics may be a little poncy but thousands of people complain about the lyrics on the Crimson albums that they do like, so it shouldn't matter here either.

The songs 'Heartbeat,' 'Requiem,'and the very rockin yet beautiful 'Neal, Jack and Me,' are all fantastic.
The rest of the album is similar to the talking heads at the disco thing the band had adopted on the previous album.

The Pulsating and rhythmic 'Waiting Man,' deserves a mention as well, with its bouncy inter winding drumming and great building music.

Adrian Belew has a great voice and attitude, that shines out on this record more so than the previous or subsequent one.

Beat may not be the best Crimson album but it doesn't deserve to be dismissed in the manner that it is... and I feel its much better than the other two 80's albums... much less convoluted and superiorly crafted.

A great album to go to sleep or journey on public transport listening to
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on 9 February 2015
On my first listen, I felt that my "bubble of King Crimson appreciation" had burst and I expected this to be my least favourite album.
On my second listen, I realised I was starting to enjoy the songs and accepted that I had judged too harshly and too quickly.
Now after several listens... I really enjoy this album.
In some ways, I enjoy it even more than Discipline (the previous album) - an album which I was instantly impressed with.

This album really shook up my opinion of "Adrian Belew era song-writing" Crimson.
I really prefer to think of Belew era as being a different band, from the first 7 albums......
After Discipline, I felt that "This new Crimson" was not as good as the "Old Crimson"....
But after really getting into this album.... I now very much feel that this era of Crimson is NOT less than old Crimson - it's just different.
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on 13 June 2002
This was the second album featuring King Crimson IV (Belew/Bruford/Fripp/Levin) and although it lacks the punch of Discipline this is still a great album with many great songs. The music follows the same general path as Discipline being a mixture of progressive rock, world music and jazz. If you're new to King Crimson then this album is not a bad place to start although you may find the improvisation Requiem a bit hard to take. Most of the music is very accesible with highlights of the album being Neal and Jack and Me, the almost radio friendly Heartbeat, the frenetic Neurotica which has to be one of the craziest rock songs ever recorded, and the very world music influenced Waiting Man. If you've never heard King Crimson before you coudl do alot worse than to start with this one. If you like any of the King Crimson albums of the 80s, 90 or 2000 then this album is virtually essential.
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on 19 October 2012
After the disbanding of King Crimson after the superb Red album few people reckoned they'd show up with a brand new look at music, but this is King Crimson. For me it was a culture shock to go from the rock of the mid 70's Crimson to the more Talking Heads orientated 80's Crimson. The introduction of Adrian Belew completely changed the way Crimson approached their reincarnation. Yep, it's dated, the 80's programed drums don't help stifling the superb Bill Bruford. But there are some gems on this album. It's not going to be remembered as a classic but it's a sign on the King Crimson road pointing towards their future sound. It may be hard to move on from 70's Crimson to the 80's electronic beast, but at times it's worth it. Just don't expect too much!
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on 9 August 2001
When the "Discipline" incarnation of the King Crimson did their first album, Discipline 1981, they had plenty of ideas. The result was an album full of ideas. The Beat album has not this melting pot of creativity, but tells another story. The lyrics (by Adrian Belew) is made in the tradition of, and to the honour of, the original beat poets. In the music we find a very interesting 80's thin sound, mixed with the original craftmanship of the "Discipline" album. One of the problems for a band who works in strictly periods (well; it might just be the Crimsons really doing that) is that albums will be grouped and compared to each other. In many terms the Discipline album is too perfect, too easy to enjoy, while the Beat album actually have the same qualities, but more surprices - if that can be said without spreading darkness to the "Discipline" or "Three as a perfect pair". The new series of "vinyl-replicas" from Crimson is really nice. I will refer to what of my best friends said, when I wanted to show it to him: "I really don't wanna see them, I've already bought these albums twice!".
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on 19 June 2014
Bryan Ferry came up to me in a hotel in Frejus France and gave me three tickets for the Avalon Tour on which KC were supporting. Fan ever since!

Reviewing this album I thought would be easy. It isn’t!

No matter how closely I study it,
No matter how I take it apart,
No matter how I break it down,
It remains consistant.
I wish you were here to see it.

I like it!

I didn’t think Lime and Chilli Ice Cream would work?

It does!

Get this and Discipline.
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on 4 March 2010
I bought this album on the strength of the previous album Dicipline. It took a couple of playings before it started to have an effect on me,but it was worth the wait. I do prefer this album out of two although it is on the same style as Dicipline,I think this one has the slight edge.
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