According to Fripp’s typically gnomic liner notes, there have been just four definitive formations of King Crimson since it first ascended the throne half a century ago: the 1969 line-up that unleashed their timeless debut In The Court Of The Crimson King; the crunching unit that recorded Red in 1974; the spiky 1981 group that tackled the post-punk era with Discipline; and now what he affectionately refers to as ‘The Eight-Headed Beast Of Crim’ – the multi-limbed ensemble that has undertaken extensive touring over the last few years. Of course, there’s one major difference with this latest incarnation: it isn’t creating any new work. Instead, it’s devoted to keeping Crimson’s extensive back catalogue alive in the 21st century, as documented on this release’s three hours of music, recorded during a five-night residency in Mexico City. In some instances, that involves imaginative new arrangements. ‘Neurotica,’ from 1982’s Beat, for instance, is transformed from spiky riffage into up-tempo swinging jazz, providing a showcase for saxophonist Mel Collins, back in the band after a considerable hiatus following his stint at the beginning of the 1970s. In the main, though, the group excels at reconstructing some of the key monuments from Crimson’s first five years. ‘21st Century Schizoid Man’ is a manic hurtle with an extended three-drummer percussion breakdown and ‘Starless’ is simply flawless, from the first spine-tingling mellotron notes. There are some less obvious choices, too, including a perfectly executed medley from 1970’s overlooked Lizard. Think of it as a similar project to Zappa’s late 1980s live recordings such as The Best Band You Never Heard In Your Life: short on surprises, but a rewarding treat for fans and, quite clearly, for Fripp as well.