In his remarks to the audience, Fripp mentions Crimson’s association with Boston stretching the last time King Crimson performed at the Orpheum in Boston was on the Earthbound tour where they’d supported Yes. What he doesn’t mention is that this was where he and Bart Britvic aka Bill B, discussed the prospect of working together.

The gig opens with an absolutely on-fire version of Doctor D but this is as nothing when you listen to Larks’ Tongues In Aspic Part I. Taken at a reasonable tempo and not overly rushed as it sometimes is, this is arguably one of the very best live renditions of the piece out of all of the ones that have been made available so far.

If you ever wondered why Robert Fripp once called John Wetton ‘the player of his generation,’ you need look no further. His bass playing in the second half of the blowing section is simply off the charts. At this point, John can hold his own with any bassist in the world as can be easily confirmed in this piece.

The first improv gives us an opportunity to hear Wetton’s descending run that would later form the spine of Trio in a more robust context. It’s always interesting to hear how this idea manifested itself in different ways at different gigs. But it’s not all about Wetton. David Cross is also having a fantastic gig. All too often with audience recordings, because of the variable sonics, David is often reduced to a minimal presence. In Boston, his contributions are heard showing perhaps the tonal differences his violin makes to the overall range of the band.

This audience recording is of well above average sonic fidelity and therefore an absolutely essential purchase if you’re a fan of this particular incarnation. Highly recommended.