I guess by this point, Beyond had realized that they were losing out to the
money machine.  They had started to do things that were not even remotely
related to music: they were playing small parts in movies and in TV shows.
Even when they were doing stuff related to music, it wasn't necessarily for
their own satisfaction; most notably, they were writing music for other
singers in Cinepoly.  I guess as a backlash that they *can* perform their
own music, instead of relying on others to do that, they put together a CD
called "Jun dik Geen Jing/Real Testimony", with a few songs that other
singers had performed, one that was live, and one that was a re-performance
of an original track on their debut tape.  (In my personal opinion, this is
their best CD since "Joi Geen Lei Seung" in terms of content: once I start
listening to it, it's hard to make me stop.)  This CD also made it to
platinum status, just like Beyond IV.  How much of that is due to the
"bandwagoners" and how much of that is due to real enjoyment of music is
hard to say.  However, I *do* know that this release is what hooked me to
Beyond (I wasn't able to get the CD until much, much later, but from a tape
that a friend of my sister's loaned to me, I determined that this was one
band that I could not miss).

Slowly, they gained control of their expression of music, especially after
the release of "Real Testimony".  In "Ming Wun Pai Dui/Party of Fate",
their next great release under Cinepoly, a significantly greater portion of
their music was message-based, and the rock side of them was starting to
come back out again.  In addition, I guess due to the "folk" nature of
"Environmentalism", their music was heavily influenced by western folk
music ("Ho Gee Doh/Do You Know?" and "Given to Individuals who Don't Know
how to Protect the Environment (including me)").  This CD showed
(especially from their previous works) that they really subscribed to using
music as a tool for conveying a message, and I guess it was effective,
since it surpassed platinum status.

Soon after, the band headed off to Nairobi, in Kenya.  They visited many
Africans, and helped many of the people there by acting as their
"ambassador" to HK, letting people know of the problems the Africans face
on their continent.  This visit inspired them to write the song "Amani",
which means "peace" in Swahili.  Since this point onwards, they have been
actively promoting assistance of the Third World, going to the point of
actually setting up the "Beyond Third World Foundation".

In their next release, "Deliberate Yau Yee", a couple more songs were more
"commercial" than their previous release, but this didn't take away from
the effect of their main message, which is "want not, waste not", and
"there are others less fortunate that require your assistance".  This
release achieved double platinum status, and would be the last release
under Cinepoly and Kinn's Management.

Their "farewell, Kinn's" concert tour, staged in HK in September of 1991
(and onwards to Malaysia and Singapore in the following months), was the
last time Ka Kui would rock Hung Hom Stadium.  I guess Ka Kui and Beyond
had done all that they could do to get Kinn's back on its feet, and they
finally chose to ensure their musical freedom.  During the final months of
their tour, they completed negotiations on a contract with Amuse and Fun
House.  They were moving their home base off HK to fight for a market in
Japan.