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::::::::::::::::::::: Trancentral - the KLF mailing list :::::::::::::::::::::: ::::::::::::::::: FAQ - Frequently Asked Questions (March 97) ::::::::::::::::: ------------------------------------------------------------------------------- . \ ` ' / . ._` __^__ '_. [()=()] To post to the KLF list, email messages to klf@xmission.com /_____\ FTP archive available at xmission.com ~ftp/pub/lists/klf Justified To subscribe: Email majordomo@xmission.com with "subscribe klf" in message To unsubscribe: include "unsubscribe klf" in message to majordomo Use "klf-digest" as listname to sub/unsub digest version ------------------------------------------------------------------------------- This document is completely anti-copyright (of course) so you can copy, print, repackage, transpose, sample, quote as much or as little as you want so long as you make no money from it or pretend its yours. It was originally written by Stuart Young, < stuey@easynet.co.uk > and was last updated March 1997 by Nick Gilmour <N.W.Gilmour@scand.hull.ac.uk>, with a huge "Thank you" to all who've helped, especially to Jamm!n on the formatting and sanity issues. Nick would appreciate any comments or annotations - especially email any extra info for questions 1.008, 1.009, 1.013, 2.001, 2.005, 2.007, 2.017 and 5.011 and any merchandise you are selling for 3.001-3.003. Obviously there is a lot of information in this FAQ, but it is not intended to be comprehensive, merely a starting point for those who seek enlightenment. Many of the questions herein refer to other sources and documents, most of which are available in the ftp archive. Many answers can be found in the script for the White Room film (see 4.003) and the various other online resources (see 1.008). The KLF generally didn't like questions, they referred to them as the four Handmaidens of Evil: _Who_, _What_, _Where_ and _Why_, and urged us to accept the contradictions rather than ask for clarity. However, some of us like questions, so here they are: General 1.001: Who are the KLF? What is the KLF about? What does KLF stand for? 1.002: Why haven't the KLF released a record for ages? 1.003: Why did they retire? 1.004: Why are you still discussing a dead group? 1.005: I saw a gig by/ a flyer for a gig by the KLF. I thought you said they'd retired? 1.006: What are the various incarnations of the Drummond/Cauty partnership? 1.007: What did Drummond/Cauty do before the JAMs? 1.008: What other on-line resources are there? 1.009: How often did they appear live? Was the music live or on tape? 1.010: How can I contact them? What are their addresses? 1.011: What's the One World Orchestra? What does "The Magnificent" sound like? 1.012: Were 1300 Drums (featuring the Unjustified Ancients of M.U.) really Bill and Jimmy? 1.013: What are Bill and Jimmy both doing right now? Discordian(t) Question 1.023: What is The ILLUMINATUS! Trilogy and what are the connections between it and the KLF? How did the KLF's use of its ideology affect other bands, such as the Shamen? Record Details 2.001: Which of their records is still available? 2.002: What's the difference between the US and UK White Room albums? 2.003: What's the difference between the various Shag Times and History Of The JAMs compilations? Where do "Towards the Trance" or JAMS26T fit in? 2.004: What's the difference between the US and UK Chill Out CDs? 2.005: What are the different pressings of 'Whitney joins the JAMs? Why are some marked 'Made in Scotland'? 2.006: What's the difference between Burn The Bastards and Burn The Beat? 2.007: What are the different WTIL? 1991 (KLF 004X) releases? Where does KLF004P fit in? 2.008: What's the "original" White Room LP you talk about? 2.009: What's the Black Room? 2.010: How was Chill Out recorded? 2.011: What is Deep Shit and does it exist? 2.012: What does the Madrugana Eterna club mix sound like? 2.013: What does K Cera Cera sound like? 2.014: What does What Time Was Love sound like? 2.015: What does The Man sound like? 2.016: What do Brilliant sound like? 2.017: What is the Pure Trance series? 2.018: How much is _name_ worth? 2.019: How do I know if _name_ is a bootleg or not? 2.020: What is that horrible noise on track 3 of the bootleg 1987 CD? Merchandise: 3.001: Are there any KLF videos available? 3.002: Are there any books about the KLF available? 3.003: Are there any KLF T-shirts available? Other Creative Exploits: 4.001: Did Jimmy Cauty really paint a 'Lord Of The Rings' poster? 4.002: What were the Rites Of Mu? 4.003: What's the White Room film? 4.004: What happened at the 1992 BRIT Awards? 4.005: What was the Art Award all about? 4.006: Did they really burn a million pounds? 4.007: What's "Watch the K Foundation Burn A Million Quid"? How can I see it? 4.008: What was "Pissing in the Wind"? 4.009: Why did they push a car over Cape Wrath? What are the terms of that contract? 4.010: What is 'Bad Wisdom'? 4.011: What's 'A Bible of Dreams'? Is it on the Internet? 4.012: What's Jimmy's sonic weapon? 4.013: Why was Jimmy arrested on weapons charges? Misc.: 5.001: What was the ABBA thing all about? 5.002: What's a '99'? 5.003: Why Sheep? 5.004: Who is _collaborator_? 5.005: Who is Gimpo? 5.006: Who is Gary Glitter? 5.007: Who/What is Ford Timelord? 5.008: Who are The Fall and what's their connection with the KLF? 5.009: Did they really give beer to the homeless on New Year's Eve? 5.010: What was the Omnibus Documentary about? 5.011: What's the font used on their merchandise, adverts, etc? 5.012: Is there any connection with Coldcut/Yazz (& Plastic Population)? - I saw a KLF record in the video for "The Only Way Is Up"!! ________________________________________________________________ 1.001: Who are the KLF? What are the KLF about? What does KLF stand for? The creative partnership of Bill Drummond (alias King Boy D, Time Boy) and Jimmy Cauty (alias Rockman Rock, Lord Rock), mainly appreciated for their ground breaking dance music from 1987-92, under the names 'The Justified Ancients of Mu Mu' ('The JAMs'), 'The Timelords', 'The Kopyright Liberation Front' ('The KLF'), 'The Forever Ancients Liberation Loophole' ('The FALL'), and post-1992 as 'The K Foundation' and 'The One World Orchestra'. They have also produced other groups, including their sometime backing singers 'Disco 2000', and re-mixed tracks by 'Depeche Mode' and 'The Pet Shop Boys'. Cauty was also a founder member of 'The Orb' which he left, taking some tracks with him which were released under the name 'Space'. After producing critically acclaimed work, utilising cheap sampling technology to its fullest, yet not selling many records (albeit interrupted by a freak novelty world-wide No. 1), they finally found fame in the emerging UK rave scene, and released a string of world-wide hit singles in the 90's, selling more singles than any other band in 1991. They have also branched out into other forms: they published a book 'The Manual' and planned but never published at least two others and a graphic novel, filmed a motion picture 'The White Room' which has yet to be shown, released an 'ambient video' and planned at least two art exhibitions but never staged them. They are also infamous for various anarchic situationist 'pranks' or 'happenings' which include billboard defacements, a crop circle hoax, a pagan midsummer's ritual ('The Rites Of Mu', see question 4.002), a BRIT Awards protest involving a dead sheep and buckets of blood (see 4.004), a string of strange full-page mainstream press adverts, staging an alternative art award for the worst artist of the year (see 4.005), and they also burned a MILLION POUNDS (see 4.006) and subsequently toured the film of the burning round the U.K. Bearing in mind the wilfully perverse way they conducted their career, the group they share the most comparisons with would probably be The Residents. But what are the KLF about? One may well ask. This author believes that this is no easy question and any answer he can give will be far too simplistic for what is a very complex concept. On one level the KLF was about a duo of music business veterans who initially used their knowledge and experience to utilise cheap sampling technology later leading to commercial success and acclaim. But then they also conducted this part of their careers in such a way that it challenged the traditional models of the music-business, and even rebelled against them. To anyone wanting more, this author can only suggest they read ALL the material in this FAQ, and examine the WHOLE of the ftp archive and ALL other related literature and material (including the music itself) and then come to their own conclusions. The letters 'KLF' stood for many things, which changed many times throughout their life-span. The first documented occurrence is in 1987, when the moniker 'Kopyright Liberation Front' was mentioned on their record releases. But over the years up to the 1992 retirement, they always got asked this question in interviews and were always making up new names. One much-quoted line is "We're on a quest to find out what it means. When we find out, we can stop what we're doing now." Various examples of these names are: 'Kings of the Low(er) Frequency', 'Kool Low Frequency', 'Keep Looking Forward', 'Kevin Likes Fruit' and so on, but the usually accepted definition is 'The Kopyright Liberation Front'. [Nb. this has 24 letters, but if you spell it Kopyrite, then there's 23!!] The next question is how did this name come about. The Justified Ancients of Mu Mu came from the Illuminatus books, and possibly to some extent the name KLF was influenced by these as well. Over recent years there've been a number of organisations using an acronym ending -Liberation Front. In the 1960's was the NLF - National Liberation Front - the North Vietnamese resistance to the USA supported by 'hippies' in the US. In the 1980's was the ALF - Animal Liberation Front - British radicals who became famous for freeing animals from experimental labs. There's also the Kasmiri Liberation Front. Then in Illuminatus! there's the ELF - Erisian Liberation Front - leading the forces of chaos against order. So it could follow that for sampling in the 80's and 90's there's the KLF - Kopyright Liberation Front - Freeing Mu(sic) from copyright laws and using past sounds as much as you want. There are many other ..LF's too, but I reckon those are the important ones that led to Bill'n'Jimi choosing the name KLF. Finally, Jamm!n adds: why Kopyright in KLF was spelt with a K... Well, there are three reasons I can think of, all/some/none of which may relate to the real reasons: 1. CLF sounds considerably less cool. 2. The letter K has many mystical connections. Too many to list here, but it is linked to certain grams in I Ching and Tarot amongst others. KLF aren't the only band to spot this; for example mystic-guru-wannabes Kula Shaker with their album "K". "K" was also the letter used to mark barrels of the strongest brewed drink available, and hence is now the brand name of an 8.4% abv cider. Decide the relevance of that for yourself. 3. Kopyright has been used in Discordian circles for some time to draw attention to the complete absence of Copyright. The standard rubric is something like: Kopyright (k) 3163 Gold & Appel Transfers, Inc. All rites reversed. Reprint what you like. The use of K here of course has the additional relevance that it is the first letter of kallisti, and hence a common Erisian symbol is the golden apple with just a K on it. ________________________________________________________________ 1.002: Why haven't the KLF released a record for ages? The KLF 'retired from the music industry' on the 5th of May 1992, deleted their entire back catalogue, and burned all remaining merchandise to prove that this action was serious and not a stunt to sell more records. See 1.003 for why they retired. In an ad taken out in the UK music press they stated that for 'the foreseeable future there will be no further record releases from ... any past, present & future name attached to our activities'. Quite how long the foreseeable future represents depends on your own optimism/pessimism. They also said that 'if we meet further along be prepared...our disguise may be complete'. They did return to public attention as The K Foundation, in a series of strange press ad's in summer 1993 (see 4.005), but as the typeset, the poetic language and pyramid logo were familiar, and there was an excess of letter K's the disguise was certainly not complete. They have commercially released one single since then, the K Foundation's interstellar anthem 'K Sera Sera (War Is Over If You Want It), which is 'Available Nowhere...No Formats' until world peace has been established, although it has been played at major public gatherings including music festivals, and a limited release was arranged in Israel/Palestine to honour the limited peace that the signing of the Rabin/Arafat deal represented. Copies of this single now change hands for very large sums of money. See 2.013 for what this record sounds like. They have recently moved into the art world (see 4.005 and 4.006) and the publishing world (see 4.010 and 4.011). In September 1995 they recorded a track called "The Magnificent" for the HELP album under the name One World Orchestra (see 1.011). They agreed to make this track, (for free), as it was for a non-profit-making charity record, and Bill considered it worth doing. In an interview (June 96) Jimmy makes out he is taking a bit of a rest from the music business and art world, but there have been subsequent reports of a Cauty solo project under the name "Advanced Acoustic Armaments" or "AAA". See 4.012 for more. Bill has branched out as an author, co-writing 'Bad Wisdom' with Mark Manning (see 4.010), and Jimmy's last public project has been a contribution of artwork to the Looking Glass art experiment (see http://www.redfig.com). He also took part in the A30 bypass protests in Devon (see 4.012). ________________________________________________________________ 1.003 Why did the KLF retire? The official line taken at the time was that they were "worn out" after producing 6 hit singles and a LP over the previous 18 months, but there appear to be many other possible contributing reasons. These are documented in an excellent article in Select magazine in July '92 ('Who Killed The KLF') which is available on the ftp archive. Mainly it seems, once you've reached the top, it is both boring to continue having hits and a pressure to find follow-up's. They wrote in 'The Manual' of the Golden Rules of hit pop song composition: 'after having had a run of success and your coffers are full, keeping strictly to the G.R.s is boring. It all becomes empty and meaningless... ". Mick Houghton their publicist was in daily contact with them, as they worked on new material in the studio, and began to get the feeling that they just didn't feel there was any point to it any more. An exhausted Drummond would come on the phone, one minute proposing grandiose plans, the next saying things like, "Oh God, it's terrible". "They were just desperate for ideas," says Houghton. "And near the end Bill would ring up and say 'This is not working'. I think he felt it had become too easy to be The KLF and rattle off the hits. It had ceased to mean anything.". In a GQ interview in 1995, Bill revealed he'd almost suffered a nervous breakdown. Also since they had worked with Tammy Wynette and Glen Hughes they had been plagued by washed-up singers pleading for a collaboration to revive their careers. "I was in the studio," recalls engineer/producer Mark Stent, "and we had Neil Sedaka phoning up, we had Sweet phoning up, we had all kinds phoning up. I mean, that's just when I've been there..." In retrospect their attempt to shock the public at the BRIT Awards in February '92 (see 4.004) can be viewed as an attempt to take the decision out of their own hands. They wanted to do something so utterly disgusting that it would deliberately ruin their career. Instead the industry viewed their stunt as just another KLF prank which made it worse. And finally there's the theory that they had always planned to go out at the top, so that their future output would not suffer from "diminishing returns". Kylie said to Jason contained the line "I'm gonna leave this party now" where party has been used by Drummond as a metaphor for the music business before. The Justified and Ancient video contains the subtitle 'The fall of the empire and the death of little Mu are at hand". At the end of the BRIT awards came the announcement "The KLF have now left the music industry". And Drummond wanted the announcement to be made on the 5th of May, fifteen years to the day after he entered the music industry. _______________________________________________________________ 1.004 Why are you still discussing a dead group? Because we still hope they will do more things (and they are). Since they were ahead of their time, we believe they still have relevance. Because there are still issues to discuss, facts to discover, document and order, newbies to educate. People still think Hendrix's music has relevance and he's been dead 24 years. To be polite if you don't like the KLF don't subscribe. ________________________________________________________________ 1.005: I just heard that the KLF are playing my town! I thought you said they'd retired? The KLF did very few live performances when they were active under that name (see 1.009), and (obviously) none since their retirement. Sometime KLF guest- vocalist Wanda Dee, on the other hand, has performed hundreds of dates round the world for the past three years under the names "The KLF featuring Wanda Dee", "Wanda Dee and The New KLF", "Wanda Dee and the KLF experience" and so forth, which *strangely* always seem to be advertised by promoters as just "The KLF". This is probably what you saw a flyer for. Bill and Jimi have nothing whatsoever to do with these "concerts" and would like very much to see them stopped, but it's difficult to pursue legal action against her unless she performs in the UK, which so far she has been savvy enough not to so. (She's played dates in Russia and Estonia, though!) If you want to spend your hard-earned money to watch a woman gyrate on-stage to pre-taped KLF music, by all means, please attend. :-) There is a review by a KLF fan on the ftp archive, which you should read if you want an idea of what the show will be like. Whenever Wanda is questioned (either by the press or KLF fans in the audience of one of her shows) she comes up with an explanation somewhat like this: All 90's dance music is constructed in the studio by production teams and this can never be recreated live on stage. However the performers (dancers singers etc.) on the record can play live. She says she is the co-writer and singer of all the biggest hits on The White Room and she was the reason those songs were hits. This is a *slight* misrepresentation of the truth however. The KLF sampled vocal snatches from her (erotic?) rap record "To The Bone" on Tuff City Records and included them in WTIL? and the single version of LTTT. When Wanda's manager heard these records they sued the KLF and the out-of-court settlement was that Wanda would get a cash payment, co- co-writing credits on these songs, and hence publishing royalties, and appearances in the videos for these songs. I expect that if the KLF had known the trouble she would cause them they wouldn't have sampled her. It's up to you to decide whether the non-inclusion of "I wanna see you sweat" and "Come on boy d'ya wanna ride" would have detracted from these songs. Stuart Young has much material on how to spike her if she appears near you. E-Mail him for details. ________________________________________________________________ 1.006: What are the various incarnations of the Drummond/Cauty partnership? From when they first paired up in 1987, to when the KLF split in 1992, Drummond and Cauty progressed through many varying musical styles in their commercial releases. There are never ending discussions about how bad a certain phase of their history was. You should be aware that Drummond and Cauty had very short attention spans and changed musical direction more often than other bands changed their underwear. You don't have to like everything they've done, but have an open mind and remember the context of the time they produced those songs. Here's a short guide to the various incarnations. Or is that regenerations?: 1987-1988 as the JAMs: punk ethic, political Scottish rap, blatant cut-n-paste sampling, primitive hip-hop, they gradually got better at it. Huge influence on Pop Will Eat Itself. 1988 as the Timelords: an exercise in nauseating novelty, charting a number one house record "Doctorin' the Tardis" and explaining how they did it in 'The Manual'. Huge influence on Edelweiss. 1988-1990 as the KLF: twin styles of acid trance house and ambient soundscapes, very difficult to find the records, but check out the Chill Out album, which is still in print. The rave stuff was an influence on Black Box, and other Italians, while the ambient stuff practically started the whole '90's ambient scene. 1990-1991 as the KLF: their early singles were remixed and re-remixed and re-re-re-remixed into the Stadium house pop permutations you have probably heard on the radio. Influence on Blue Pearl, Utah Saints, Nomad etc. 1992 as the KLF: they started working on thrash guitar heavy-metal techno dance but scrapped most of the sessions. Could this have been yet another new musical style? Influence on the God Machine and Kerosene? 1993-1995 as the K Foundation: like all good post-modernists they are branching out into interdisciplinary arts but so far just one single, a limited release in Israel/Palestine to celebrate the peace accord. 1995 as the One World Orchestra: they sneaked out of retirement to record a hastily constructed orchestral/drum'n'bass track for the much hyped Help!, Artists for War Child LP. See question 1.011 for details. ________________________________________________________________ 1.007: What is the pre-JAMs biography of Drummond (and Cauty)? William E. Drummond was born in 1953 and grew up in Galloway and Corby in the Borders in Scotland. Prior to the formation of the JAMs, the teenage Drummond ran away to sea to become a fisherman off the North East coast of Scotland, which he described as "my youth years lost afloat". And he developed interests in bird-watching, nature walks and the ins-and-outs of livestock farming before going to Liverpool to study art. There he helped to put on a stage production of the cult book Illuminatus! with Ken Campbell's Science Fiction Theatre (see 1.023) (and he maintained an interest in amateur dramatics thruoghout the 80's), before becoming involved with the punk scene and forming Liverpool punk band 'Big In Japan' with Holly ('Frankie Goes To Hollywood') Johnson, and Ian ('Lightning Seeds', now top producer) Broudie, on the 5th of May 1977, a date which he would later refer to as "entering the music industry". Later Budgie ('Siouxie and the Banshees') and Jayne ('Pink Industry') Casey, joined the group, which released a couple of singles in its year-long life. Bill then formed Zoo Records in 1978 with Dave ('Food Records') Balfe to release an acrimonious posthumous 'Big In Japan' EP and then records by seminal UK independent bands 'Echo and The Bunnymen' and 'The Teardrop Explodes' whom he also managed. Balfe and Drummond were also the Zoo in-house production team 'The Chameleons' and the band 'Lori and the Chameleons'. The Bunnymen and the Teardrops signed publishing deals through Zoo with WEA, and Drummond returned this gesture by re-mortgaging his house to fund a Bunnymen tour, and on making his money back, doing it again to pay for the recording of the first Teardrops LP. Many of the people who would later work with the KLF worked with Zoo in these days: Mick Houghton was publicist for the Teardrops, and Bill Butt directed the Teardrops videos. Drummond later sent the Bunnymen on a tour of bizarre and apparently random sites, including the Northern Isles. "It's not random," said Drummond, speaking as the Bunnymen's manager. "If you look at a map of the world, the whole tour's in the shape of a rabbit's ears." As the Teardrops manager, Bill once told Julian Cope to commit suicide in order to boost record sales. Julian Cope's autobiography, 'Head On' is a good source for more info on the late 70's/early 80's Liverpool scene and all the players therein, including some great anecdotes. After an acrimonious parting with both bands, he joined WEA Records as a A&R person, working with 'Strawberry Switchblade', 'Zodiac Mindwarp and the Love Reaction', 'The Proclaimers' and 'Brilliant' who featured ex-Killing Joke member, now top producer, Youth and ex-artist, Jimmy Cauty and were produced by Stock-Aitken-Waterman. When Brilliant failed to be a hit with the British public, Drummond retired from WEA in 1986 when he was aged 33 and a third, writing a typically Drummond- esque retirement note. He recorded his solo LP 'The Man' for Creation Records as a cathartic farewell gesture to the music industry in 1986. This features the hilarious 'Julian Cope Is Dead' which is Drummond's answer to the track 'Bill Drummond Said' which appears on Julian Cope's solo LP 'Fried'. (This features Cope quoting what he must have seen as typical Drummond quotes, such as "Give me one good reason why this couldn't wait...". 'Fried' was released on Island Records in about 1985.) Many future KLF collaborators also helped with the recording and production of this album (see 2.015). When Drummond was given money by Creation to film a video, and record a b-side for the 'King Of Joy' he used it to start a new project: 'The Managers Speech' was an ambient video filmed by Bill Butt, with Drummond dressed as a street sweeper ambling up a country lane talking of the music industry and telling how if you sent him 100 pounds he would give new bands important advice on how to be successful. A extract of this featured on the cover tape of the May 1992 issue of Select magazine. His self- imposed retiral from the music industry only lasted six months until on the 1st of January 1987 he decided to form the JAMs. In a Radio 1 'Story Of Pop' documentary interview (full text on Mancentral), Bill said: "It was New Year's Day, um, the first day of 1987. I was at home with my parents, I was going for a walk in the morning, it was, like, bright blue sky, and I thought "I'm going to make a hip-hop record. Who can I make a hip-hop record with?". I wasn't brave enough to go and do it myself, cos', although I can play the guitar, and I can knock out a few things on the piano, I knew nothing, personally, about the technology. And, I thought, I knew Jimi, I knew he was a like spirit, we share similar tastes and backgrounds in music and things. So I phoned him up that day and said "Let's form a band called The Justified Ancients of Mu-Mu.". And he knew exactly, to coin a phrase "Where I was coming from". And within a week we had recorded our first single which was called "All You Need Is Love". James (or Jimmy or Jimi) Cauty was born in Devon in 1956 and not much is known about him until, as a 17-yr old artist he painted the Lord of the Rings poster for Athena (see 4.001). He has continued painting over the years, with his early reputation being "London artist, bohemian". In 1981/2 he and (now wife) Cressida were in a band called Angels 1-5 which did a Peel session. He next crops up as a guitarist with Brilliant in the 80's with Youth. Youth said he "cut the original ten (or so) members of the band down to just him, June (Montana) and Jimmy..." Brilliant sign for WEA where Jimmy meets Bill. They collaborate on the JAMs early work and Jimmy also DJ's in the Chill Out room at Paul Oakenfold's London club, Heaven, with Alex Paterson with whom he forms the Orb. He then leaves the Orb (see 2.101) and goes to work with Bill full-time. ________________________________________________________________ 1.008: What other online resources are there? There are three anonymous ftp archives for the list: at ftp://ftp.xmission.com /pub/lists/klf and it's mirrored at ftp://asylum.sf.ca.us /pub/klf and ftp://jumper.mcc.ac.uk /pub/ttl/KLF Its JAMs-packed with interesting stuff, including a very comprehensive discography, the famed KLF Communications information sheets (15 in all), scanned record covers, many articles and interviews from the music press, press releases, the List's sample identification list, the KLF's book 'The Manual', the screenplay to their partly-completed movie "The White Room" (see 4.003), the script to Neil Kelly's fictional radio play about the end of the KLF, and the complete archive for the old KLF/Orb mailing lists. There's also an increasing number of digitised sound files around, from complete tracks and sound-bites. Find links to them from the list of sites below. Ask your system administrator how to carry out ftp file transfers, or read the how to ftp FAQ on the usenet newsgroup news.announce.newusers. If your system is not fully on the Internet, or you're not allowed to use ftp, it is still possible to access these files via email. Two addresses which provide FTP by email access are ftpmail@decwrl.dec.com and ftpmail@sunsite.unc.edu FTP commands should be placed in the body of your message to these addresses. Note that a human will not read your messages, so don't bother putting anything other than FTP commands for the message body. To get a list of available commands and some information about this service, send a mail with 'help' and then 'quit' in the body of the message. You should place the following FTP Commands in the body of the mail. Arguments you should specify and explanations are described in <>s. connect xmission.com chdir pub\lists\klf\<etc.> <only one directory per session> dir <return a listing of the current directory's files> get <name of file you want sent to you> In general, you should use connect once, followed by a chdir, and if retrieving files, as many gets as you have file requests. Note that some sites limit the number of gets in a single message, usually to 10 or so. After a while you should get a mail response informing you that your request has been received and is being processed, with a list of what commands you sent, and your place in the job queue. You cannot delete an FTPmail request once sent, so be careful. Nor can you request that only part of a file be sent. Large files will be divided up into equal sized chunks of a set number of characters (except for the last chunk, of course). There are numerous World Wide Web sites. But space prevents a detailed listing. It's probably best to use a search engine, as there's so many. Most have links to other sites. Some main ones are: http://www.swcp.com/~lazlo - Lazlo's links to the WWW KLF Discography and Xmission list archives plus other sites. http://jumper.mcc.ac.uk/~ttl/KLF - Jamm!n's Mancentral archive which has all of the ftp site content and MUCH MUCH more... - VERY RECOMMENDED http://www.ubl.com/artists/001992.html - KLF entry at the Ultimate Band list. Wide selection of links to online resources. http://www.student.brad.ac.uk/~alradtke/kf01.html - Drew Radtke's K Foundation site, with pics, links and an old version of this FAQ in HTML format http://www.club.innet.be/~ind1991/music.htm - HTMLised version of some of the questions of this FAQ, but in less detail. http://www.algonet.se/~anders/klf - Anders Hultman's site, including a scientific paper on the KLF (in Swedish) and links. http://www.lysator.liu.se/~johol/KLF - KLF Mainpage by John Olsson. Good links to resources/sites plus the discog (with sleeve graphics). http://www.NMR.EMBL-Heidelberg.DE/croft/just4laffs/klf/ - David Croft's site, with all the info-sheets and more. http://easyweb.easynet.co.uk/~stuey/klf/kollab.htm - Stuart Young's kollaborators list - replete with mini-biogs. http://www.geocities.com/SunsetStrip/Alley/2399/badwisdom.html - Jai Nelson's Bad Wisdom site. Reviews, articles etc. And links. http://www.geocities.com/SoHo/lofts/1353/page2.html - Michael Beck's KLF site with pics and links. http://www.atomiser.demon.co.uk/klf - Stuart Bruce's 'The K-Files site' with pics, includes many Bad Wisdom related ones. And a few links. http://www.fme.vutbr.cz/~xbrtni00/klfpage.html - Petr Brtnik's page with mirrored docs, lyrics and pics, but in a Slavic language. http://www. lysator.liu.se/~stco/ - by Stefan Collryd. Basic info on the various KLF guises. http://www.york.ac.uk/~mrl103/klf/klf.htm - Mike's Moo Moo Land. Some pics and links. http://www.interport.net/~jrq - Jerry Quartley's KLF screensaver. "...it has a couple of bugs and was really just a test. It requires VBRUN300.DLL. It also requires that you be running in thousands of colors on most VGA cards, millions on others." http://ourworld.compuserve.com/homepages/chillout - Tim Richards sells off KLF vinyl, tapes, CDs, videos and other things http://people.netcom.co.uk/j.taylor/ - Selling KLF vinyl, tapes, CDs, videos and other things - reliable http://hyperreal.com:2000/music/artists/klf/ - Not much more than a few links, and a mirrored version of this FAQ. http://w4u.eexi.gr/~ancient/klftop.htm - underdevelopment by Dionysios Lialios. ________________________________________________________________ 1.009: How many live appearances did the KLF make? What sort of performances did they really do? How much was live and how much was on tape? In lots of the early info sheets (and interviews) they said they were going to do "some live dates", "a heavy metal tour", high and low profile shows", a "JAMs world tour in 1989" and so on, but none of these seem to have happened as info sheets 6 and 8 state that their premier live performance was: 31st July 1989 Land Of Oz, Heaven, London. "...they were making their debut live performance at the London Club HEAVEN. The performance consisted of a 15 minute version of "WHAT TIME IS LOVE". During which they splattered their audience with polystyrene pellets fired from a giant wind machine. The event was deemed a strange success." This is the live version included on JAMS LP4 - The What Time is Love? Story. Infosheet six then says that "the lads have done a few impromptu live performances (as K.L.F. not The JAMs). These will develop in their own way, but please don't expect regular gigs". Info Sheet 11 says "the huge orbital raves, at which The KLF became a regular live attraction, blasting their audience with polystyrene pellets some weeks, showering them with Scottish pound notes at others." Apparently there was a club date at which some sheep appeared on stage too. 30th Sept 1989 Woodstock 2, Brixton Academy, London "They will be in full effect (lasers, smoke, go go dancers etc.) at Woodstock 2 at The Academy in Brixton on Sept. 30th, in the illustrious company of Liz Torres, Corporation of One, Lollita Holloway, Frankie Bones, Little Louie Vega and more! Feb? 1990 Bootle? Kirby? Community Hall?, Liverpool The KLF joined the Ian McCulloch-less Echo and the Bunnymen who were playing a benefit concert for a community centre, for an encore of What Time Is Love? which became the record version later that year. early July 1990 Isle of Rhodes, Greece no known details Info sheet nine announces "as usual there will be the odd unannounced performances. The only official one will be happening on The Isle of Rhodes in early July." Bearing in mind all the false promises in the past, whether or not these took place is a matter of conjecture. late Oct 1990 DMC Convention, Paradiso, Amsterdam "THE KLF are at the centre of a controversy again after causing a disturbance during the Disco Mix Club's European Convention at Amsterdam's Paradiso Club. During one of their public appearances, as headline act at the DMC Convention, the notorious pranksters decided to 'liberate' the organiser's equipment and re-distribute it to the audience. Reports say they were coming to the end of a 23 minute version of their hit 'What Time is Love?' when Bill Drummond decided to give the Technics decks, mixers and other sound gear away to fans in the crowd. Organisers were forced to step in to try and retrieve the equipment as security staff clashed with Drummond himself. As the melee developed, Drummond's partner Jimmy Cauty allegedly blew up the mixing desk. Most of the equipment was salvaged, but not surprisingly the KLF have been banned from the Dutch venue." late Dec 1990 Rage, Heaven, London "It's the day after the all night video shoot [3am Eternal embankment version] and The KLF are building a prop for the night's 'performance' at Heaven. 'We're both quite practical people," says Bill casting a proud eye over rickety heap of wood ... they start to explain their plan to use a wind machine to blow a sackful of one dollar notes into the audience at Heaven that night. That evening, at the Rage club night at Heaven, the joy- boys and gooned-out girls on the dancefloor have their evening's disco-pigging interrupted by a thoroughly strange performance from two men dressed head to toe in deep sea fisherman's garb. For 15 minutes The KLF stand absolutely motionless on stage, one on either side of a pyramid which supports two battered speakers arranged in a 'T' shape, blinding lights beam from behind them. The club sound system plays the crushing acid grind of 'It's Grim Up North'. And video cameramen record the half- struck, half-delighted crowd." 23rd June 1991 Festival Of Comedy, Liverpool Accompanied on stage by the robed and hooded guests from the Rites of Mu (see 4.002), who chanted Mu Mu in an accapella version of Justified and Ancient. Apparently a lot of Liverpudlians got on stage too and it wasn't very funny. They gave out ice creams from an ice cream van they had borrowed from a man who parked it in the street outside Trancentral. 13th Feb 1992 BRIT Awards, London Drummond, wearing a kilt and supported by crutches, announced, "The Justified Ancients Of Mu Mu versus Extreme Noise Terror: This is television freedom", before the two bands launched into a raucous noise-fest of screaming guitars, super-fast drums, and guttural hoarse shouts of "3 A.M. 3 A.M. ETERNAL" from the two E.N.T. vocalists. This was live on prime-time TV, and performed in front of banks of seats of British music industry executives, at the annual BRIT Awards where the KLF had been nominated for best group and best LP. "Bill was at the front of the stage, leaning on one crutch, practically shouting the vocals into the microphone. The lyrics were all-new (and different to the released version the KLF had just made available which was based on the original 3AM lyrics), but with the Extreme Noise Terror guys charging around the stage, screeching guitars, and the drummer going into overdrive, most of the actual words tended to get lost. I did pick out "The BRITs" and "BPI" (British Phonogram Industry), but little else. Jimmy had his coat with the hood down right up, so his face was practically concealed, but he was weaving around with his guitar. The few shots of the audience during the performance tended to suggest that they couldn't believe what they were seeing - popular 'dance' music act becomes a thrash metal band, with a mind- numbing fusion of guitar and drums to a vague rendition of a well-known tune. Actually, Bill lost his way part through the second verse, and broke up laughing, but he managed to pick it up again just before slamming into the chorus." Bill hobbled off the stage to return with a large automatic rifle instead of a crutch, and a cigar in his mouth, and the whole thing ended with sparks and explosions from the rear of the stage, and Bill shooting blanks into the audience. They left the stage with the audience incredulous, as the voice of Scott Piering announced "The KLF have now left the music industry". For the full dead sheep, buckets of blood, and tabloid press indignation story see 4.004. ________________________________________________________________ 1.010: How can I contact them? What are their addresses? As of March 1997, Bill was known to be resident on a farm near Aylesbury, Buckinghamshire and Jimmy had moved from Trancentral (aka. the Benio in Stockwell, London) to Knowle House, near Broadhempston, Totnes, Devon. However the two main address contact addresses are as follows. A number of other addresses have been used over the years, contact Nick if you're interested. The WTKFBAMQ info-sheet gives the K-F address as: THE K FOUNDATION P.O. Box 91 HP22 4RS The U.K. This is in Aylesbury, near where Bill lives and members have received replies from Bill from writing to this address so I suppose this is the one to use (1996). The Curfew Press address (but we imagine they're rarely there) is: The Curfew Press The Curfew Tower Cushendall The Parish of Layde in The Barony of Lower Glenarm County Antrim Northern Ireland. Other useful addresses are: Mick Houghton (was the KLF's Publicist) Brassneck Publicity 2nd Floor 112-6 Old Street London EC1V 0DB Phone: 0171 336 8855 Scott Piering (Plugger/PR/collaborator) Appearing 61-71 Collier Street London N1 9BE Phone: 0171 833 2841 (NB old address/tel number - may have changed) Domenic Free (Lawyer handling KLF's response to Wanda Dee) Simkins Partnership 45-51 Whitfield Street LONDON W1P 5RJ UK Goddess Empire Inc (Wanda Dee's managment) FAX: 703 569 9103 Attn: Ray McCumber NY Office: Sal DiSanto 212 947 1322 Addresses of other music industry collaborators (e.g. Mark 'Spike' Stent and Nick Coler/Ian Richardson) can be found in any UK music trade directory. ________________________________________________________________ 1.011: What's the One World Orchestra? What does "The Magnificent" sound like then? To aid the War-Child charity effort in Bosnia, a compilation album featuring original tracks by some of the best artists around was recorded, pressed and shipped in a mere six days (now the fastest recorded studio album ever), in September 1995. The musicians contributing tracks included Oasis, Blur, Stereo MCs, Stone Roses, and the One World Orchestra (Featuring The Massed Pipes And Drums of the Children's Free Revolutionary Volunteer Guards). This turned out to be a new moniker for Bill and Jimmy. (Further information on the album and samples of the song can be obtained from http://help.fma.com/) The OWO track, entitled "The Magnificent", is a short but spicy drum'n'bass reworking of the orchestral theme from the film 'The Magnificent Seven', with samples from a Serb radio station. It is track number 15 on the CD. Mark Hawker, K-F friend and operative (see 4.008, 4.009) made a film called "Zombie Town" about underground culture in Belgrade, which was first shown on Channel 4 in 1995 and again in July 1996. A lot of the film centres around Beograd 92, the Serb radio station and the "humans against killing...that's like junkies against dope" and "Radio B92" samples comes from Fleka, the blind DJ on B92. Bill and Jimmy wanted to get Robbie, who'd just split from Take That, on the record but he was on holiday with his mum. In the months following the album, Bill tried to deny responsibility for the track, but this contrasts with earlier interviews where he talked about how and why they made it. In a Radio 1 interview (full transcript in ftp archive) Jimmy said "It's a novelty record. which is something we're good at.". It is possible that the OWO recorded more tracks (see 5.010). The thinking behind the name One World Orchestra in unknown. ________________________________________________________________ 1.012: Were 1300 Drums (featuring the Unjustified Ancients of M.U.) really Bill and Jimmy? Shortly after Manchester United FC won the 1995/6 English Football League and FA Cup 'double', a record was released by a group calling themselves '1300 Drums (featuring the Unjustified Ancients of M.U.)', called "Ooh Aah Cantona". The song is a 'tribute' to the Man Utd. footballer Eric Cantona, revered by some Mancunians as a deity. The song is a techno-bassy dance attempt with some sampled crowd noises and keyboard work. The group appeared on Top Of The Pops, hiding behind rubber Eric masks, and with an Eric-"look-a-like". They held up "Ooh Aah Cantona" posters, the font of which seemed familiar. These were also distributed to the crowd at a game against Nottingham Forest the same season. However, to the best knowledge of the list members, 1300 Drums has NO CONNECTION with Bill or Jimmy. Letters to the record company remain unanswered (in fact some have been returned marked "Address Unknown"), but there is no factual evidence to suggest a link. The most probable explanation is that 1300 Drums are probably fans of both Man Utd and KLF, maybe read the Manual and decided to try out the advice, and the only reason they mention the un-JAMs is because Man Utd = M.U. = Mu. ________________________________________________________________ 1.013: What are Bill and Jimmy both doing right now? As of February 1997: Bill and Jimmy have yet to collaborate musically on any new projects (their last was the Magnificent - see 1.011). Bill and Mark Manning completed a tour to promote their book 'Bad Wisdom' at the end of 1996 (see 4.010) and it is thought they are currently working on the next volume in the Search for the Lost Chord. Bill occasionally pops up in the Public column of the NME, having been spotted at gigs by the hacks there. Jimmy was recently seen on UK TV turning up with his APC's to the protests in Fairmile, Devon, UK to help in the demonstrator's campaign against the Government's road-building program there. He was identified as " Jimmy- 'money burner' ". There are unconfirmed reports that he has recorded an album for Paul Smith's Blast First label, under the name "AAA- (Advanced Accoustic Armaments)" or "Triple 'A' Attack Formation Ensemble", BUT these are only rumours. See 4.001 for more. An exhibition on his artwork is currently showing on the Internet and outside a gallery in London as part of the Looking Glass project. Check out http://www.redfig.com/ for more on this. For the latest info on what's happening, check out the current list traffic. ________________________________________________________________ 1.023: What is The ILLUMINATUS! Trilogy and what are the connections between it and the KLF? How did the KLF's use of its ideology affect other bands, such as the Shamen? ILLUMINATUS! is a huge cult sex-drugs-occult-paranoid conspiracy theory-science fiction book, where reality shifts and nothing is as is seems. Or is that what I want you to believe? It was first published in the mid seventies, written by Robert Anton Wilson and Bob Shea (who were employees of 'Playboy' when they wrote it), originally as three separate novels: 'The Eye In The Pyramid', 'The Golden Apple', and 'Leviathan', but now most readily available as the collected Dell edition (ISBN 0-440-53981-1). It tells the tale of the international conspiracy the Illuminati, who attempt to order and control mankind, and receive individual power (become illuminated) by causing mass deaths. Their arch enemies The Justified Ancients of Mummu (The JAMs), are "an organisation (or disorganisation) who are at least as old as the Illuminati and represent the primeval power of Chaos". Along with affiliated groups the LDD and the ELF (Erisian Liberation Front), the JAMs are engaged in a secret war to prevent the Illuminati from 'immanentizing the eschaton' (bringing closer the end of the world). "Whether the above is fact or fiction is irrelevant. What definitely is the case is; 'The Chaos versus Order War' has been raging on, ever since Time first *got it on* with Space and created the Universe." The JAMs were members of the Illuminati, but were expelled at the behest of a faction protesting "kick out the JAMs". The Illuminati control all the record companies, which is why all music is very dull, and how they managed to incorporate the anti-JAMs jibe "kick out the jams" into a MC5 song. The JAMs started their own company to bring out good music, and combat the Illuminati. The book is obviously a product of the sixties US counterculture, and of the liberated sexual attitudes prevalent in the Playboy offices. It mixes factional sources with fiction and constantly re-interprets and changes the 'facts' until the reader is left utterly confused. It makes a use of the concept of synchronicity, where connections are made between apparently unrelated incidences, and of numerology, and brings to the readers attention the occult significance of the number 23. Whether there is more significance to 23 than any other number is questionable, but what is definitely true, is that once the reader is informed, and shown where 23 crops up, they will notice 23's popping up oddly themselves. A large part of the fun the book introduces one to, is either spotting 23's or hiding them in works deliberately for others to spot. Finally the book promotes discordianism, "a religion disguised as a joke or a joke disguised as a religion?" Discordians worship the goddess of chaos Eris, and are involved in the chaos vs. order war. Drummond was 'involved with the set design' for the first ever stage production (adapted by Ken Campbell and Chris Langham as a 5 part 10-hour science-fiction rock-opera epic), which opened in Liverpool on the 23rd of November '76. Drummond was at art college at the time. The play featured 'Illuminatus!' author Robert Anton Wilson as a naked extra, and the 23-strong cast contained a number of actors and actresses, who would later be quite successful. The play moved to London where it was seen by the young Cauty who would read the books because of the production. Bill said in March 1997, over 20 years after the event: "When Ken Campbell put the Science Fiction Theatre together in Liverpool in the early 70s, it was to do Robert Anton Wilson's Illuminatus trilogy. .. I remember there was a part for a Chinese woman in this play, an Oriental woman. He asks me, who's the biggest Oriental woman in the world today? So I said Yoko Ono And he said, 'Okay, the magic of the phone is that it connects everywhere in the world; every village in China will have a phone and there will be a wire that goes there - you can get anybody1' Within half an hour he was speaking to Yoko on the phone, saying, 'Look, we've got this blah, blah, blah.' Obviously she wasn't up for the part, but I was thinking: if you want to do something, what's going to stop you? That was a big influence" When Drummond and Cauty decided to "kick out the old" and attack the music industry, they named their group the Justified Ancients of Mu Mu and their record company the Kopyright Liberation Front (The KLF). Much of their recorded output features chants of Mu Mu! And their recordings are (c) "the sound of Mu(sic)". They took many concepts from the book and incorporated them into their work. If you haven't read the book you might want to spot them yourself (that was a poor attempt at a SPOILER WARNING): 'What Time Is Love? and the original version of 'All You Need is Love' feature a sample of the MC5 shouting "kick out the jams motherfuckers". 'All You Need is Love' also features the lyric: "We're back again/ They never kicked us out/ 20,000 years of shout shout shout" which must refer to the real JAMs and also after suggesting an AIDS conspiracy ("Southern Texas seventy-nine/ Killer virus meets the world outside... With this killer virus who needs war?...Swinging sixties all part of their plan"), King Boy shouts "Immanentize the Eschaton". Then in 'The Porpoise Song' on JAMS LP2 King Boy meets a talking porpoise who tells him to join the JAMs! (While on the huge submarine, the 'Leif Erikson' several of the books characters meet Howard, a talking porpoise). Scott Piering, their radio and video plugger announces the motto of The JAMs 'OK everybody lie down on the floor and keep calm...' at the beginning of 'Last Train To Trancentral' as says John Dillenger when he robs banks. The Stadium House video is supposedly a KLF live concert at Woodstock Europa. At the real Woodstock Europa Maria Imbrium vocalist with the 'Sicilian Dragon Defense' hallucinates angels in golden robes coming out of Lake Ingolstadt. At the Rites of Mu (which of course was held on the lost continent of Mu) the four Angels of Mu rose out of the water at sunset in white robes. The confusion over their name (Kopyright and Kallisti Liberation Fronts, and Kings of the Low Frequencies) may just have been journalistic cleverness inventing them, or the KLF may have deliberately put them about, to mirror Hagbard Celine who keeps changing the name of the LDD (Legion of Dynamic Discord, Lawless Delicacy Dealers, Little Deluded Dupes). I think the multiplicity of names that they took on may be related to 'the JAMs can't do it alone'. The JAMs need help from The ELF and The LDD in their battle with the Illuminati. The JAMs need help from The KLF, The Timelords, Disco 2000 and The Forever Ancients Liberation Loophole in their battle with the music industry. The KLF stated all through their career that they intended to buy a submarine, and at the end of the 'Justified and Ancient (Stand By The JAMs)' video, they climb into a submarine and are waved off by the rest of the cast, 'all bound for Mu Mu land'. An insert shows the JAMs- mobile driving off into the sunset, with "The KLF would like to thank the five for making all of this impossible" superimposed. The five of course are the secret leaders of the Illuminati. Allegedly, there is a reference to "3am eternal" somewhere in 'Schroedinger's Cat', and another obscure reference to an art gallery with a "picture" consisting of a frame with lots of bills nailed to it, but these have yet to be found. The KLF also hid many 23's in their canon of work for 'Illuminatus!' readers to spot. 'Justified Ancients Of Mu Mu' is 23 letters long. Kopyright Liberation Front unfortunately has one too many letters, unless of course you spell 'Kopyrite' thusly, giving 23 letters :) . The first single 'All You Need Is Love' was JAMS 23. Then "23 years is a mighty long time" is a line in 'Next' on 1987. Also on 1987 is the song 'Rockman Rock (Parts 2 and 3)'. The JAMs-mobile (Ford Timelord) has 23 on its/his roof (all US cop cars have a two-figure number on their roofs). It can best be seen in the 'Doctorin' The Tardis' video. The model car in the 'Last Train To Trancentral' and Stadium House videos also has a 23 on its roof. The Italian bootleg of the Madrugana Eterna club mix has a cat. no of ETERNAL 23. At the Disco Mix Convention in Amsterdam in late Oct 1990 (it may well have been the 23rd!) they played a 23 minute version of 'What Time Is Love?' additionally they did a PA at the Heaven club at the end of December 1990 (could it have been?). The KLF's appearance at the Liverpool Festival of Comedy was on Sunday June 23rd 1991. The final KLF Communications info sheet was #23. There's a Cauty drawing of the cop car in this info sheet, it has a 23 on its side. The K-F's award was announced on the 23rd of November (the 17th anniversary of the opening of the Illuminatus! Liverpool production). The K-F's award was the 1994 award, while the Turner award it was subverting was the 1993 award; could it be because 1+9+9+4=23?. And they burnt the million quid on Jura on the 23rd of August 1994. And there are several times in Bad Wisdom where Bill includes the number 23. HOWEVER, at the end of Bad Wisdom, Bill says "...all those 23s were just shoved in for the junior members of the Numerology Club". Make of this what you will, but this author actually has an idea of to whom he might be referring! There are some other poor ones which only fit if you force them, but are often mentioned by fans as possible ones (it's also stretching a point to believe that the KLF with their short attention span would bother to count up how many of each thing they had or hadn't done). However: There are 23 bricks in the KLF's pyramid blaster logo. Well there are 22 complete rectangular bricks. If you count either the ghetto blaster or the top triangle or the bottom left hand almost complete brick as the missing brick then yes. You can also manipulate the KLF's releases to produce 23 releases. There's JAMS LP1-6 (six) JAMS 23-28T (six) KLF 001-005, 008-011 & 99 (ten). So you need to dig up one more possibly the Stadium House video or ETERNA1 or the unreleased Black Room. Personally I don't like this one as I feel that their actions/stunts/pranks should be counted too, as well as just the records, book and videos. Then there's definitely not 23 mixes of 'What Time Is Love?' but by selectively discounting some or including some based on your own prejudices you can come up with either 13 or 17 (other significant numbers)[however the latest total count is 33!!]. Taking the alphabetical positions of the letters KLF (K=11, L=12, F=6) you can get: K+L= 11+12 = 23, and K+F = 11+6 = 17. It is often asked whether the Shaman's "Destination Eschaton" single was influenced by the KLF, or just RAW. Bill often 'compares' and contrasts the KLF's work with the Shamen's, as they were around at the same time and doing the same sort of thing (very approx). But despite the influence both groups may have had on each other, and the numerous Eschaton references in the JAMs' music, it is more likely that the single, "Destination Eschaton" was influenced by the concept of eschatology as a whole. The Shamen were big on the work of a certain other American weirdo, namely Terrance McKenna. You are cordially referred to "Re:Evolution" which featured Mr McKenna sounding forth (and completely ruining the underlying music) about tribal shamanism, psychadelic drugs, and how "history is the shockwave of the Eschaton. History is the shockwave of eschatology." ________________________________________________________________ 2.001: Which of their records is still available? All releases on the band's KLF Communications label (UK) were deleted when they retired, but non-UK licensors of the music (including Arista and TVT in the US, Liberation in Australia, and Toshiba/EMI in Japan) will still have the right to produce KLF records for several years. But it will be a finite amount of time, and it seems likely that Drummond and Cauty will never release their product again, so you should think seriously about purchasing what you can now, while you can. Of course, original KLF Communications releases still crop up in second-hand record shops. And list members occasionally sell some things off. In the UK most of the foreign CD's are available on import quite easily. This then is what's available: History of The JAMs (US: TVT) Chill Out (US: WaxTrax!/TVT 7155-2) The White Room (US: Arista) What Time Is Love? (JAP: EMI TOCP 7401) 3 a.m. Eternal (JAP: EMI TOCP 7402) Last Train To Trancentral (JAP: EMI TOCP 7403) Its Grim Up North Justified And Ancient America: What Time Is Love? In addition there are two widely available bootlegs: Ultra Rare Trax (KLF URT1) (CD) Chill Out/Space (Wix Trax! KLF URT3) (CD/tape) Many list members are often selling some records, eg. http://ourworld.compuserve.com/homepages/chillout - Tim Richards' sales of vinyl, tapes, CDs, videos and other things http://people.netcom.co.uk/j.taylor/ - Selling vinyl, tapes, CDs, videos and other things - reliable and there are a few other online catalogue mail order companies which still sell things like Chill Out and the White Room. ________________________________________________________________ 2.002: What's the difference between the US and UK White Room albums? The US version is, unfortunately, edited. The UK version presents the first five tracks ("WTIL?" through "Last Train") as a kind of "mini-concert" with sampled crowd noise from, among other places, U2's 'Rattle And Hum'. All five tracks are segued and mixed. The US version eliminates the crowd noise, with some tracks ending very abruptly. It doesn't work nearly as well, and in some places (right after the "Justified" lead-in to "WTIL?") is downright stupid. This is probably as the crowd noise was sampled from a Doors album and hence the obvious copyright problems. The US edition also has the single mix of "Last Train" instead of the mellower UK album version, edits "No More Tears" down from 9:24 to 6:42, and adds a little more wind noise at the end of the closing "Justified and Ancient". The Japanese version follows the US format, and in addition includes three extra tracks. See the discography for more info. ________________________________________________________________ 2.003: What's the difference between the various Shag Times and History Of The JAMs compilations? Where do "Towards the Trance" and 'JAMS26T' fit in? Here are the tracks from the releases in question: [Shag Times (UK double album)] All You Need Is Love / Don't Take Five (Take What You Want) / Whitney Joins The JAMS / Down Town / Candyman / Burn The Bastards / Doctorin' The Tardis // Whitney Joins The JAMS (remix) / I Love Disco 2000/ Down Town (remix) / Burn The Beat (club mix) / Prestwich Prophet's Grin (dance mix) / Porpoise Song (dance mix) / Doctorin' The Tardis (minimal) The last seven tracks (the second disc on the LP version) are labelled only by (innacurate) BPM; these above are the actual tracks. [Shag Times (European single album)] All You Need Is Love / Don't Take Five (Take What You Want) / Whitney Joins The JAMS / Down Town / Candyman / Burn The Bastards [edit] NB. Some discographies note a release "Towards The Trance KLF LP1". "Towards The Trance" was the second part of the Shag Times UK double LP. The first part, "Shag Times" was definitely released as a single album in Europe (and omitting "Doctorin' the Tardis"). No-one has ever seen "Towards The Trance" as a separate single album release. It may be that it never got released, and then they decided to run with "Shag Times" in the UK to cash in on the "Doctorin' the Tardis" success, and bundled it with "Towards The Trance". The catalogue number and above details came from Bill himself when asked in a letter from Culf, what happened to "Towards The Trance". Most of the LP is the second disc of Shag Times, i.e. a collection of remixes showing the JAMs progressing towards the KLF. The thing that was released in Europe was the remix 12 inch (JAMS 26T) which has remixes of tracks off Who Killed The JAMs? (JAMS LP2). From JAMs info-sheet 001: "JAMS 26T? When we put Downtown out and gave it the cat no. JAMS 27T it was a mistake. We forgot we hadn't made a 26T. Then we decided to release Dance Mixes of tracks from the LP. This would be the missing JAMS 26T. We pressed up 2,000 then decided we didn't like them, so we sold them into Europe. One of the tracks we remixed and is coming out titled 'Burn The Beat' by The KLF with the cat no. KLF 002T. If you are confused so are we." [History Of The JAMS a.k.a. The Timelords (US version)] All You Need Is Love / Don't Take Five (Take What You Want) / Whitney Joins The JAMS / Porpoise Song (dance mix) / Down Town / Candyman/ Burn The Beat / Doctorin' The Tardis / Gary In The Tardis [CD only] [History Of The JAMS a.k.a. The Timelords (Australian version)] All You Need Is Love / Don't Take Five (Take What You Want) / Disaster Fund Collection / Burn The Beat (ext. 7" mix) / Porpoise Song / Down Town / Candyman / Burn The Bastards / Doctorin' The Tardis "Burn The Beat" is labelled "Whitney" on this release. ________________________________________________________________ 2.004: What's the difference between the US and UK Chill Out CDs? The UK CD has only one track, 45 minutes long. The US CD separates this into 14 tracks, based on the 'song' titles and approximate timings printed on the label of the UK LP. It seems that the KLF consider Chill Out to be one continuous piece of music, but had to invent a separation into songs so that song-writing royalties can be paid to those sampled. For instance P. Green is credited with co-co-writing "3am Somewhere Outside of Beaumont" with Drummond and Cauty, and of course this is Peter Green of Fleetwood Mac, writer of Albatross, the melody that is heavily sampled on this track. ________________________________________________________________ 2.005: What are the different pressings of 'Whitney joins the JAMs? Why are some marked 'Made in Scotland'? There are at least two releases on 12" vinyl in existence. Both are one-sided and feature the same mix as on "Shag times", but both have numerous intrinsic variations: 1. (Scottish release) September 87, limited to 500 copies, the etched matrix is "JAM 24T A2", however, at least one copy is known to have the matrix "JAMS 24T". One sided (B- side is smooth). The A side label reads: "bpm 120 Whitney joins the J.A.M.s" This is repeated on the B side, but some DJ copies have blank B-labels. There might even be a small "MADE IN ENGLAND" sticker. Comes in plain black sleeve or generic KLF sleeve A. 2. Re-release at a later date, unknown quantity, etched matrix is "JAMS24T". The B side is not smooth, but has a tone-groove which plays as a high-pitched whine. One run-out groove on the B-side it may say LP FB 12 X, where the 'X' is a '3' and a 'O' overlaid. This matrix is typical of tone-grooves. Comes in generic KLF sleeve A. Some labels state "bpm 120 Whitney joins the J.A.M.s" with "Made in Scotland JAMS24T" but others don't. Most of the differences can be put down to different production runs. The reason for the "Made in Scotland" inclusion is probably because it was, despite rumours that it was only ever released in Scotland. But most of their other releases state "Made in England" and various other locations. We think this is due to a EEC regulation which means records pressed in the EEC must state the country of origin. The 1987 album was "Made in France" also because it was! As with many 'independent' records at that time, it was pressed by MPO in France, because they were cheaper even with re-importation costs and actually better quality that many of the existing UK plants at the time, and would do more limited runs of records too. However the 'Who Killed the JAMS' LP label says "Made in Wales", which is a complete mystery to all, as it wasn't an MPO pressing. ________________________________________________________________ 2.006: What's the difference between 'Burn The Bastards' and 'Burn The Beat'? The swear words were removed from the 'Burn The Beat' 7" in an attempt to receive radio play. There may be some minor mix differences between the 12" version and 'Burn The Bastards' but they're not obvious. Also the bells/party outro is cut so that all that's left is Den shouting: "Shut Up! its that time again kick out the old, welcome the new". Which could almost be the JAMs motto. The instrumental club mix is more trancey and contains more samples. ________________________________________________________________ 2.007: What are the different WTIL? (KLF 004X) releases? Where does KLF004P fit in? As far as we know, KLF 004P was never a pressing in it's own right, the matrix was always 004X. We have identified several common variants in this release. Again each may have intrinsic variations: 1. The commercially released version. Dark charcoal grey/blue sleeve, with 'KLF' in large black letters on front, Pyramid Blaster on reverse. These and/or the background on the cover may be glossed to different levels or not - put this down to different production runs. The label is in very dark blue print, and may look black under artificial light - probabl |