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The KLF

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The KLF
The KLF
Background information
OriginLondon
Years active1987 – 1992
MembersBill Drummond
Jimmy Cauty

The KLF were one of the seminal bands of the British acid house movement during the late 1980s and early 1990s. Beginning in 1987, Bill Drummond (alias King Boy D) and Jimmy Cauty (alias Rockman Rock) released hip hop inspired and sample-heavy records as The Justified Ancients of Mu Mu and, on one occasion (the British number one hit single "Doctorin' the Tardis"), as The Timelords. As The KLF, Drummond and Cauty pioneered the genres "stadium house" (rave music with a pop-rock production and sampled crowd noise) and "ambient house". The KLF released a series of international top ten hits on their own KLF Communications record label, and became the highest internationally selling UK band of 1991. The duo also published a book - The Manual - and worked on a road movie called The White Room.

From the outset they adopted the philosophy espoused by esoteric novels The Illuminatus! Trilogy, gaining notoriety for various anarchic situationist manifestations, including the defacement of billboard adverts, the posting of prominent cryptic advertisements in NME magazine and the mainstream press, and highly distinctive and unusual performances on Top of the Pops. Their most notorious performance was at the February 1992 Brit awards, where they fired machine gun blanks into the audience and dumped a dead sheep at the aftershow party. This performance announced The KLF's departure from the music business, and in May 1992 the duo deleted their entire back catalogue.

With The KLF's profits, Drummond and Cauty established the K Foundation and sought to subvert the art world, staging an alternative art award for the worst artist of the year and burning a million pounds sterling. Although Drummond and Cauty remained true to their word of May 1992 - the KLF Communications catalogue remains deleted - they have released a small number of new tracks since then, as the K Foundation, The One World Orchestra and - most recently, in 1997 - as 2K.

History

Bill Drummond was an established figure within the British music industry, having co-founded Zoo Records, played guitar in the Liverpool band Big in Japan, and worked as manager of Echo and the Bunnymen and The Teardrop Explodes. In 1986, he resigned from his position as an A&R man at record label WEA, citing that he was nearly 33.3 years old (33.3 revolutions per minute being significant to Drummond as the speed at which a vinyl LP revolves), and that it was "time for a revolution in my life. There is a mountain to climb the hard way, and I want to see the world from the top...".[1] He released a well-received solo LP, The Man, judged by reviewers as "tastefully understated"[2], a "touching if idiosyncratic biographical statement"[3] encapsulating "his bizarrely sage ruminations"[4], and "a work of humble genius: the best kind"[3].

Artist and musician Jimmy Cauty was, in 1986, the guitarist in the commercially unsuccessful three-piece band Brilliant - an act that Drummond had signed to WEA Records and managed. Cauty and Drummond shared an interest in the esoteric conspiracy novel The Illuminatus! Trilogy, and, in particular, its theme of Discordianism, a form of post-modern anarchism. As a 1970s art college student in Liverpool, Drummond had been involved with the set design for the first stage production of The Illuminatus! Trilogy, a 12-hour performance which opened in Liverpool on November 23, 1976.[5]

 
1987 (What the Fuck Is Going On?), Drummond & Cauty's debut album

Re-reading Illuminatus! in late 1986, and influenced by hip-hop, Drummond felt inspired to react against what he perceived to be the stagnant soundscape of popular music. Recalling the moment in a radio interview, Drummond said that the plan came to him in an instant. He would form a hip-hop band with former colleague Jimmy Cauty, and they would be called The Justified Ancients of Mu Mu.

It was New Year's Day... 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, 'cause, 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 [Jimmy], 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".[6]

He recounted this - in a more hyperbolic fashion - in the October 1987 KLF Communications "Info Sheet", the first in a series of despatches from Drummond and Cauty to subscribers and journalists:

At the end of last year I was reading the ultimate paranoid conspiracy book(s) The Illuminatus! Trilogy. I was bored by all music bar the almost unlistenable hip-hop, scratch and rap that John Peel was playing between the safe shambolic bands. I was wanting to kick over, blow up, tear down most of what I thought was shit. At the end of last year I couldn't understand why not everybody else was wanting to do the same... After the end of last year I asked Rockman Rock [Jimmy Cauty] if he wanted to tear some things down, he did. So we made a record, pressed five hundred, the fuse was lit.[7]

This was an attitude that, despite the international mainstream popularity of their later work, did not soften throughout their creative partnership.

The Justified Ancients of Mu Mu

 
The sleeve of "All You Need Is Love", depicting a billboard with "Shag Shag Shag" graffiti.

Early in 1987, Drummond and Cauty's collaborations began. They assumed alter egos - Kingboy D and Rockman Rock respectively - and they adopted the name The Justified Ancients of Mu Mu (The JAMs), after the fictional conspiratorial group "The Justified Ancients of Mummu" from The Illuminatus! Trilogy. In those novels, the JAMs are opposed to the Illuminati, a political organisation which seeks to impose order and control upon society. As The Justified Ancients of Mu Mu, Drummond and Cauty chose to interpret the principles of the fictional JAMs in the context of music production in the real world. Shrouded in the mystique provided by their disguised identities and the cultish Illuminatus!, they mirrored the fictional JAMs' gleeful political tactics of causing chaos and confusion by bringing a direct, humorous but nevertheless revolutionary approach to making records, often attracting attention in unconventional ways.

The JAMs' primary instrument was the new Akai digital sampler[8], "the first truly affordable digital sampler", with which they would plagiarise the history of popular music, cutting chunks from existing works and pasting them into new contexts, underpinned by rudimentary beatbox rhythms and overlayed with Drummond's raps, of social commentary, esoteric metaphors and mockery.

The JAMs' debut single "All You Need Is Love" dealt with the media coverage given to AIDS, sampling heavily from The Beatles' "All You Need Is Love" and Samantha Fox's "Touch Me (I Want Your Body)". Although it was declined by distributors fearful of prosecution, and threatened with lawsuits, copies of the one-sided white label 12" were sent to the music press, receiving positive reviews and being made "single of the week" in Sounds[9]. The JAMs re-edited and re-released the single, removing or doctoring the most antagonistic samples; lyrics from the song appeared as promotional graffiti, defacing selected billboards. The re-release rewarded The JAMs not just with further praise (including NME´s "single of the week"[10]), but also with the funds necessary to record their debut album. Said Drummond,

With the money from the single we booked five days in a cheap studio and recorded 1987: What the Fuck Is Going On?. We made it, not giving a shit for soul boy snob values or any other values, we just went in and made the noise we wanted to hear and the stuff that came out of our mouths. We lit a bonfire and put what we could get hold of on it, and then recorded the sound of the flames licking up the pyre. Not a pleasant sound but it's the noise we had. We pressed it up and stuck it out. A celebration of sorts. The future? We won't be trapped by a career. If we get some money back on our LP we will make another one before Christmas and do some live dates, after that fuck it![7]

The JAMs again ran afoul of copyright laws due in large part to the song "The Queen and I", which sampled large portions of the ABBA single "Dancing Queen"[11]. After a legal showdown with ABBA and the Mechanical-Copyright Protection Society, the 1987 album was forcibly withdrawn from sale. Drummond and Cauty travelled to Sweden in hope of meeting ABBA and coming to some agreement, taking an NME journalist and photographer with them[12], along with all the remaining copies of the LP. They failed to meet ABBA, so disposed of the copies by burning most of them in a field and throwing the rest overboard on the North Sea ferry trip home. Some copies, however, were secretly kept: The JAMs took out a full-page advert in The Face magazine, offering to sell the last five copies for £1000 each. This served Drummond and Cauty's legend-making aspirations well, and added to the notoriety of the album. In a December 1987 interview, Cauty maintained that they "felt that what [they]'d done was artistically justified."[13]

 
The back cover of Who Killed The JAMs? : a photograph of the bonfire of illegal 1987 discs.

Two new singles followed 1987, on The JAMs' "KLF Communications" independent record label. Both reflected a shift towards house rhythms. According to NME, The JAMs' choice of samples for the first of these, "Whitney Joins The JAMs" saw them leaving behind their strategy of "collision course" to "move straight onto the art of super selective theft".[14] The song opens with the theme to Mission: Impossible and Drummond rapping "Mission impossible we were told, she'll never join the JAMs". Drummond goes on to beg and plead Whitney Houston to "join the JAMs" until, at around 1:30, the first strains of her voice can be heard. Full-on samples from Houston's "I Wanna Dance With Somebody" follow, as Bill Drummond ecstatically announces "Whitney Houston joins the JAMs!". Ironically, Drummond has claimed that The KLF were later offered the job of producing or remixing a new Whitney Houston album as an inducement from her record label boss (Clive Davis of Arista) to sign with them.[15][16] Drummond turned the job down but nonetheless The KLF signed with Arista as their American distributors. The second single in this sequence - Drummond and Cauty's third and final single of 1987 - was "Down Town", a rather more conventional dance record built around "Downtown" by 1960s star Petula Clark[17]. These early works were later collected on the compilation album Shag Times.

A second album, Who Killed The JAMs?, was released in early 1988. Who Killed The JAMs? was a rather less haphazard affair than 1987 and earned The JAMs at least one five-star review (from Sounds Magazine, who called it "a masterpiece of pathos"[18]).

The Timelords

File:The Timelords- Doctorin' The Tardis (UK CDV).jpg
"Doctorin' the Tardis" (KLFCD 003)

In 1988, Drummond and Cauty became "Time Boy" and "Lord Rock", and released a 'novelty' pop single, "Doctorin' the Tardis" (sampleⓘ) as The Timelords. The song is predominantly a mash-up of the Doctor Who theme music and Gary Glitter's "Rock and Roll (Part Two), with sparse vocals inspired by The Daleks and Harry Enfield's "Loadsamoney" character. "Doctorin' the Tardis" reached number one in the UK Singles Chart on 12 June, and also charted highly in Australia and New Zealand.

Also credited on the record was "Ford Timelord", Cauty's 1968 Ford Galaxie American police car (claimed to have been used in the film Superman IV filmed in the UK). Drummond and Cauty claimed the car had spoken to them, giving its name as Ford Timelord, and advising the duo to become "The Timelords".

Drummond and Cauty often claimed that the song was the result of a deliberate effort to write a number one hit single. However, in interviews with SnubTV and BBC Radio 1[19], Drummond said that the truth was that they had intended to make a house record using the Dr Who theme. After Cauty had laid down a basic track, Drummond observed that their house idea wasn't working and what they actually had was a Glitter beat. Sensing the opportunity to make a commercial pop record they abandoned all notions of underground credibility and went instead for the lowest common denominator. According to the British music press, the result was "rancid"[20], "pure, unadulterated agony" and "excruciating"[21], and - in something of a backhanded compliment from the normally supportive Sounds Magazine - "a record so noxious that a Top Ten place can be its only destiny".[20] They were right - the record went on to sell over one million copies.[22]

The Timelords released one other product, a 1989 book called The Manual (How to Have a Number One the Easy Way), a tongue-in-cheek but nonetheless insightful step-by-step guide to achieving a number one hit single with no money and little talent.

The KLF

By the time the JAMs single "Whitney Joins The JAMs" was released in September 1987, their record label had been renamed "KLF Communications" (from the earlier "The Sound of Mu(sic)"). However, the duo's first release as The KLF was not until March 1988, with the single "Burn The Bastards"/"Burn The Beat" (KLF 002). Although the Justified Ancients of Mu Mu name was not yet retired, most future Drummond and Cauty releases would go under the name "The KLF".

File:The KLF-The White Room (album cover).jpg
The White Room, The KLF's Stadium House tour-de-force (KLF Communications JAMS LP6)

The name change accompanied a change in Drummond and Cauty's musical direction. Said Drummond (as 'Kingboy D') in January 1988, "We might put out a couple of 12" records under the name The K.L.F., these will be rap free just pure dance music, so don't expect to see them reviewed in the music papers". Kingboy D also claimed that he and Rockman Rock were "pissed off at [them]selves" for letting "people expect us to lead some sort of crusade for sampling"[23] In 1990 he recalled that "We wanted to make [as The KLF] something that was... pure dance music, without any reference points, without any nod to the history of rock and roll. It was the type of music that by early '87 was really exciting me... [although] we weren't able to get our first KLF records out until late '88"[19].

The 12" records subsequently released in 1988 and 1989 by The KLF were indeed rap free and house-oriented; remixes of some of The JAMs tracks, and new singles, the largely instrumental acid house anthems "What Time Is Love?" (sampleⓘ) and "3 a.m. Eternal" - the first incarnations of later international chart successes. The KLF described the sound of these new tracks as "Pure Trance".

In 1989 The KLF embarked upon the creation of a road movie and soundtrack album, both titled The White Room, funded by the profits of "Doctorin' The Tardis".[24] Neither the film nor its soundtrack were formally released, although bootleg copies of both exist. The soundtrack album contained pop-house versions of some of the "pure trance" singles, as well as new songs, most of which would appear (albeit in radically reworked form) on the version of the album which was eventually released to mainstream success. A single from the original album was released, however: "Kylie Said to Jason" (sampleⓘ), an electropop record featuring references to Todd Terry, Rolf Harris, Skippy the Bush Kangaroo and BBC comedy programme The Good Life. In reference to that song, Drummond and Cauty noted that they had worn "Pet Shop Boys infatuations brazenly on [their] sleeves".[25]

The film project was frought with difficulties and setbacks, including dwindling funds. "Kylie Said To Jason", which Drummond and Cauty were hoping could "rescue them from the jaws of bankruptcy", flopped commercially, failing even to make the UK Top 100 and forcing the entire film and soundtrack project to be put on hold.[26]

In the meantime, "What Time Is Love?" was generating acclaim within the underground clubs of continental Europe; according to KLF Communications, "The KLF were being feted by all the 'right' DJs"[26]. This prompted Drummond and Cauty to pursue the acid house tone of their Pure Trance series. A further Pure Trance release, "Last Train to Trancentral" followed. At this time, Cauty had co-founded The Orb as an ambient side-project with Alex Paterson. Cauty and Paterson DJ-ed at the monthly "Land Of Oz" house night in London, and The KLF's seminal 1990 "ambient house" LP Chill Out (sampleⓘ) was born partly from these sessions. The ambient album Space and The KLF's ambient video Waiting were also released in 1990, as was a heavier, more industrial sounding dance track, "It's Grim Up North", under The JAMs' moniker.

In 1990 The KLF launched a series of singles with an upbeat pop-house sound which they dubbed "Stadium House". Songs from The White Room soundtrack were re-recorded with rap vocals (by guests labelled "Additional Communicators"), a sample-heavy pop-rock production and crowd noise samples. The Stadium House singles, including "What Time Is Love?", "3 a.m. Eternal" (sampleⓘ) and "Last Train to Trancentral" (sampleⓘ) were international hits along with the 1991 UK top ten album, The White Room. A new version of "Justified and Ancient" (sampleⓘ) featuring vocals from American country star Tammy Wynette was also released.

In 1990 and 1991, The KLF remixed tracks by Depeche Mode ("Policy of Truth"), The Moody Boys ("What Is Dub?"), and the Pet Shop Boys ("So Hard" from the Behaviour album and "It Must Be Obvious"). Pet Shop Boy Neil Tennant described the process: "When they did the remix of 'So Hard', they didn't do a remix at all, they re-wrote the record... I had to go and sing the vocals again, they did it in a different way. I was impressed that Bill Drummond had written all the chords out and played it on an acoustic guitar, very thorough."[27]

After successive name changes and a plethora of highly-influential dance records, Drummond and Cauty ultimately became, as The KLF, the biggest selling singles act in the world for 1991, still incorporating the work of other artists but in less gratuitous ways and predominantly without legal problems.

Retirement

On 12th February 1992, The KLF and hardcore heavy metal group Extreme Noise Terror performed a live version of 3 a.m. Eternal at the Brit Awards, the British Phonographic Industry's annual awards show. Drummond and Cauty had planned to throw buckets of sheep's blood over the audience, but were prevented from doing so due to opposition from BBC lawyers[28][29] and "hardcore vegetarian" Extreme Noise Terror.[30][22] The performance was instead garnished by a limping, kilted, cigar-chomping Drummond firing blanks from an automatic weapon over the heads of the crowd. Later in the evening the band dumped a dead sheep with the message "I died for ewe - bon appetit [sic]" tied around its waist at the entrance to one of the post-ceremony parties.[30]

File:Bill Drummond at the 1992 Brits Awards.jpg
Bill Drummond on vocals during The KLF and Extreme Noise Terror's infamous appearance at the 1992 Brit Awards.

Reactions were mixed. Piers Morgan - writing in The Sun, under the headline "KLF's Sick Gun Stunt Fails To Hit The Target" - called The KLF "pop's biggest wallies" [31] and producer Trevor Horn is reported to have called their antics "disgusting"[30]. NME, on the other hand, said that The KLF "stormed" the show and that after their performance the Brits show went "downhill all the way".[29]

Scott Piering's announcement over the PA as the band left the stage that "The KLF have now left the music business" was largely ignored at the time. NME, for example, assured their readers that the tensions and contradictions would continue to "push and spark" The KLF and that more "musical treasure" would be the result, but they noted: "[Drummond has] himself nicely skewered on the horns of an almighty dilemma. He has taken over pop music and it has been a piece of piss to do so. And he hates that. He wants to be separate from a music industry that clasps him ever closer to its bosom. He loves being in the very belly of the beast, yet he wishes he was something that'd cause it to throw up too. He wants not only to bite the hand that feeds but to shove it into an industrial mincer and stomp the resultant pulp into the dirt, yet pop, as long as you continue to make it money, would let you sexually abuse its grandmother. There is, Bill old boy, no sensible way out."[30]

In the weeks following the Brits performance, The KLF continued working with Extreme Noise Terror on the album The Black Room[22], but it was never finished. On May 14 1992, The KLF announced their immediate retirement from the music industry and the deletion of their entire back catalogue:

We have been following a wild and wounded, glum and glorious, shit but shining path these past five years. The last two of which has led us up onto the commercial high ground — we are at a point where the path is about to take a sharp turn from these sunny uplands down into a netherworld of we know not what. For the foreseeable future there will be no further record releases from The Justified Ancients of Mu Mu, The Timelords, The KLF and any other past, present and future name attached to our activities. As of now all our past releases are deleted.... If we meet further along be prepared...our disguise may be complete.[32][33]

In a comprehensive examination of The KLF's announcement and its context, Select Magazine called it "the last grand gesture, the most heroic act of public self destruction in the history of pop. And it's also Bill Drummond and Jimmy Cauty's final extravagant howl of self disgust, defiance and contempt for a music world gone foul and corrupt."[22] Many of The KLF's friends and collaborators gave their reactions in the magazine. Movie director Bill Butt said that "Like everything, they're dealing with it in a very realistic way, a fresh, unbitter way, which is very often not the case. A lot of bands disappear with such a terrible loss of dignity...". Scott Piering said that "They've got a huge buzz off this, that's for sure, because it's something that's finally thrilling. It's scary to have thrown away a fortune which I know they have. Just the idea of starting over is exciting. Starting over on what? Well, they have such great ideas, like buying submarines...". Even Kenny Gates, who, as a director of The KLF's distributors APT, stood to lose financially from the move, called it "Conceptually and philosophically... absolutely brilliant". Mark Stent voiced the doubts of many when he said that "I [have] had so many people who I know, heads of record companies, A&R men saying, 'Come on, It's a big scam.' But I firmly believe it's over". "For the very last spectacularly insane time", the magazine concluded, "The KLF have done what was least expected of them".

The final KLF Info sheet discussed the retirement in a typically offbeat fashion, and asked "What happens to 'Footnotes in rock legend'? Do they gather dust with Ashton Gardner and Dyke, the Vapours, and the Utah Saints, or does their influence live on in unseen ways, permeating future cultures? A passing general of a private army has the answer. 'No', he whispers 'but the dust they gather is of the rarest quality. Each speck a universe awaiting creation, Big Bang just a dawn away'."[34]

There have been numerous suggestions that in 1992 Drummond was at the edge of a nervous breakdown.[22][35][36] Drummond himself said that he was on the edge of the "abyss".[37]

K Foundation and post-retirement projects

The K Foundation was an arts foundation established by Drummond and Cauty in 1993 following their 'retirement' from the music industry. From 1993 to 1995 they engaged in a number of art projects and media campaigns, including the high-profile K Foundation art award (for the "worst artist of the year").[38][39] Most notoriously, they burnt what was left of their KLF earnings - a million pounds in cash - and filmed the "performance".[40][41]

 
The KLF come out of retirement for 23 minutes to make an appearance as 2K

In 1995, Drummond and Cauty contributed a song to The Help Album as The One World Orchestra ("featuring The Massed Pipes and Drums of the Children's Free Revolutionary Volunteer Guards").[42] "The Magnificent" was a drum'n'bass version of the theme tune from The Magnificent Seven, with vocal samples from DJ Fleka of Serbian radio station B92 ("Humans against killing... that sounds like a junkie against dope").

In November 1995, the BBC aired an edition of the Omnibus documentary series about The K Foundation entitled "A Foundation Course in Art". Jayne Casey (Drummond's former bandmate from Big in Japan) jokingly scolded Drummond on continuing to claim that he and Cauty were retired from the music business, as, she said, he had the DAT (digital audio tape) in his pocket. At another point in the film, Cauty is shown rummaging in a bag for the DAT of "The Magnificent". Drummond is clearly heard to say "Make sure it isn't the DAT with 3 tracks on it". Only one track was ever released.

In 1997, ten years after their debut album 1987, Drummond and Cauty re-emerged briefly as 2K.[43] They released one single, "Fuck the Millennium" (a remix of "What Time Is Love?" featuring Acid Brass and incorporating elements of the hymn "Eternal Father, Strong to Save"), and made a one-off performance at London's Barbican Arts Centre[44] with Mark Manning, Acid Brass, the Liverpool Dockers and Gimpo. This was preceded by the usual full page press adverts, this time asking readers "***k The Millennium: Yes/No?" with a telephone number provided for voting. 2K briefly became K2 Plant Hire with plans to build a "People's Pyramid" from used house bricks, but this plan never reached fruition.[45][46]

Bill Drummond continues to work as a writer and conceptual artist. Jimmy Cauty has been involved in several post-KLF projects including the music and conceptual art collective Blacksmoke and the electronic music group The Transit Kings, which saw him reunite with his former partner from The Orb, Alex Paterson.

Themes

Several threads and themes unify the many incarnations of Drummond and Cauty's creative partnership. Mostly these are esoteric or opaque in nature, which has lead some people to compare Drummond and Cauty's incarnations to The Residents for their antics, if not their music[47][48].

Illuminatus!

Drummond and Cauty made heavy references to Discordianism, a modern chaos-based religion originally described by Malaclypse The Younger in Principia Discordia, but popularised by Robert Shea and Robert Anton Wilson in the Illuminatus! books, published between 1969 and 1971.

While the duo's well-documented attitudinal and tactical endeavours resembled those of the fictional JAMs, their references to themes of Discordianism and Illuminatus! also manifested their musical, visual and written work, meticulously and often covertly.

File:The KLF - What Time Is Love video (Cornfields Version).jpg
The KLF's "T"-shaped speaker stack in the "What Time Is Love?" video

The attitude of Drummond and Cauty's partnership matched that of the fictional cult whose name they had adopted, disregarding authority and subverting established order, in a range of humorous, innovative and unpredictable ways. They wilfully violated copyright law; their publication of The Manual challenged the credibility of the UK Singles Charts, by offering the premise that the top position in the charts was available to anyone, irrespective of talent; and they made several extravagant situationist attempts to subvert the art world.

Throughout the partnership, these tactics were often interpreted by media commentators as "pranks" or "publicity stunts". However, according to Drummond, "That's just the way it was interpreted. We've always loathed the word scam. I know no-ones ever going to believe us, but we never felt we went out and did things to get reactions. Everything we've done has just been on a gut level instinct."[49]

The JAMs' debut single "All You Need Is Love" includes the words "Immanentize the Eschaton!", in reference to the opening line of Illuminatus!, "They immanentized the Eschaton", interpreted as "they brought about the end of the world" or "they brought heaven to Earth". The JAMs' "The Porpoise Song", from the album Who Killed The JAMs?, in which Kingboy D and a talking porpoise converse, references the talking porpoise, Howard, in Illuminatus!. The KLF's single version of "Last Train to Trancentral" opens with the demand "Okay, everybody lie down on the floor and keep calm", which is also taken from Illuminatus!.

The refrain "All bound for Mu Mu land", from The KLF's final single, "Justified and Ancient (Stand by The JAMs)" is a reference to the Lost Continent of Mu, which Shea and Wilson identify with the fictional land Lemuria in Illuminatus!. Some research suggests that archeological remains located in waters off the coast of Japan may be Mu; at the end of the "Justified and Ancient" music video, The KLF exit in a submarine.

Drummond and Cauty's output is also highly self-referential, in common with Illuminatus!. In particular, the The KLF's hit singles of 1991 and 1992 reference themselves and each other extensively, re-using original vocal samples in a variety of musical contexts.

The number 23, significant within numerology, is a theme of Illuminatus!, where instances of the number are both overtly and surreptitiously placed. Similarly, an abundance of such occurrences were deposited throughout Drummond and Cauty's collective output, for example:

  • in lyrics to the song "Next" from the album 1987: "23 years is a mighty long time".
  • in periods of time: for instance, they reportedly signed a contract preventing either of them from publicly discussing the burning of a million pounds for a period of 23 years[50]; and their 1997 return as 2K was "for 23 minutes only"[51];
  • in numbering schemes: the debut single "All You Need Is Love" took the catalogue number JAMS 23, while the final KLF Communications Information Sheet was numbered 23; and Cauty's Ford Galaxie police car had on its roof the identification mark 23;
  • in significant dates during their work: for instance, a rare public appearance by The KLF, at the Liverpool Festival of Comedy, was on 23 June 1991; they announced the winner of the K Foundation award on 23 November 1991[52]; and they burned one million pounds on 23 August 1994.[41]

When questioned on the importance that he attaches to this number, Drummond has been evasive, responding enigmatically "I know. But I'm not going to tell, because then other people would have to stop having to wonder and the thing about beauty is for other people to wonder at it. It's not very beautiful once you know".[53] Drummond's penchant for living by numbers has also been observed in his choosing to align the ages at which he undertook creative projects The Man and 45 with the standard revolution speeds of a turntable (33.3 and 45 rpm).

File:PBlaster.JPG
The "Pyramid Blaster" logo.

The "Pyramid Blaster"[26] was a logo and icon frequently and prominently depicted within the duo's collective work: a pyramid, in front of which is suspended a ghetto blaster displaying the word "Justified". This references the All-Seeing Eye icon, often depicted as an eye within a triangle or pyramid, a significant symbol of Illuminatus!. The pyramid was also a theme of the duo's 1997 re-emergence, with the proposed building by K2 Plant Hire of "a massive pyramid containing one brick for every person born in the UK during the 20th century"[54]

There is no definitive explanation of The KLF's name, nor of the origin of 'K' in the names of the K Foundation and 2K. KLF has been variously reported as being an acronym for "Kopyright Liberation Front", "Kallisti Liberation Front" and "Kings of the Low Frequencies". This mirrors Illuminatus!, where the fictional JAMs are in alliance with The LDD - who regularly change the origins of their name - and The ELF ("Erisian Liberation Front").

Although Drummond accounted for the adoption of The JAMs name in the first KLF Communications Info Sheet, the reasoning behind Drummond and Cauty's decision to reference the Illuminatus! mythology with such consistent intricacy is unknown. Indeed, it has been suggested by journalist Steven Poole that the public's inability to fully understand The KLF results in all their subsequent activities (as a partnership or otherwise) being absorbed into The KLF's mystique. In a review of Drummond's 1999 book, 45, and an appraisal of The KLF's career, Poole stated that "[Bill Drummond] and collaborator Jimmy Cauty are the only true conceptual artists of the [1990s]. And for all the eldritch beauty of their art, their most successful creation is the myth they have built around themselves."[55] He concluded,

A myth like The KLF's is peculiarly omnivorous. Just as there can never be any evidence to disprove a conspiracy theory because the fabrication of such evidence - don't you see? - is itself part of the conspiracy, so the pop myth of The KLF can never be blown apart by anything they do, no matter how dumb or embarrassing. The myth will suck it up, like a black hole.

Trancentral, Eternity, Sheep

Trancentral (aka the Benio[56]) was the operations centre of The KLF, their mythological home, and their studios. Despite the grandiose lyrics of "Last Train To Trancentral", Trancentral was in fact Cauty's residence in Stockwell, South London, "a large and rather grotty squat" said David Stubbs in Melody Maker. "Jimmy has lived [there] for 12 years. ('I hate the place. I've no alternative but to live here.') There's little evidence of fame or fortune. The kitchen is heated by means of leaving the three functioning gas rings on at full blast until the fumes make us all feel stoned... And, pinned just above a working top cluttered with chipped mugs is a letter from a five-year-old fan, featuring a crayon drawing of the band."[47]

Eternity is a recurring theme in song titles ("3 a.m. Eternal", "Madrugada Eterna") and lyrics, and also - Drummond and Cauty asserted - 'Eternity' was the author of an ambiguous, far-reaching contract offered to The JAMs.[26] See The KLF films: The White Room.

Following the February 1991 release of Chill Out, sheep had recurring roles in the duo's output until their 1992 retirement. Drummond has claimed that the use of sheep on the Chill Out cover was intended to evoke contemporary rural raves[15], and insisted that the dead sheep gesture at the Brit Awards was a compromise, replacing his earlier intention to literally cut off his hand at the ceremony[41]. Sheep feature in The KLF ambient video Waiting, and some sheep were guests of honour at the launch of The KLF's ultimately unreleased film The White Room. It is unclear whether the theme of sheep had any particular artistic meaning. Indeed, the inner sleeve of The White Room CD pictured Drummond & Cauty each holding a sheep, with the caption "Why sheep?".

Graffiti

Beginning in 1987, Drummond and Cauty practised the promotional tactic of what they described as "illegal but effective use of graffiti on billboards and public buildings" in which "the original meaning of the advert would be totally subverted".[11] Much as The JAMs' early recordings carried their messages on the back of existing musical works, their promotional graffiti often derived its potency from the context in which it was placed. For instance, The JAMs' "SHAG SHAG SHAG" graffiti, coinciding with their release of "All You Need Is Love", was drawn over the "HALO HALO HALO" slogan of a pre-existing billboard that depicted Greater Manchester Police Chief Constable James Anderton, who had decried homosexuals amidst the UK media's AIDS furore.

Music press journalists were occasionally invited to witness the defacements. In December 1987, a Melody Maker reporter was in attendance to see Cauty reverse his car Ford Timelord alongside a billboard and stand on its roof to graffiti a Christmas message from The JAMs.[13] In February 1991, another Melody Maker journalist watched The KLF deface a billboard advertising The Sunday Times, doctoring the slogan "THE GULF: the coverage, the analysis, the facts" by painting a 'K' over the 'GU'. Drummond and Cauty were, on this occasion, caught at the scene by police and arrested, later to be released without charge.[47]

In November 1991, the slogan "It's Grim Up North" appeared as graffiti on the junction of London's M25 orbital motorway with the M1 which runs from the South to Northern England. The graffiti, for which The JAMs denied responsibility, led to a House of Commons motion being timetabled by Member of Parliament Joe Ashton regarding regional imbalance.[57] In September 1997, on the day after Drummond and Cauty's brief remergence as 2K, the graffiti "1997: What The Fuck's Going On?" appeared on the outside wall of London's National Theatre, ten years after the slogan "1987:What The Fuck's Going On?" had been similarly placed to mark the release of The JAMs' debut album.[58]

Legacy

Despite their protestations of 1988 about not wishing to be seen as crusaders for sampling[23], The JAMs continue to be associated with the cultural movement which retrospectively bundles together those literary and artistic works that make use of 'creative plagiarism'. 1987: What the Fuck Is Going On?, is considered a landmark work in the early history of sampling music in the United Kingdom. (See Bastard pop).

 
KLF Communications' advert for "Justified and Ancient", with a quote from the lyrics - "They travel the world in their ice cream van, they've voyaged to the bottom of time. They've been to the place where the Mu-Mu mate, and the children still cry 'Mine's a 99!'"

Similarly, Chill Out is cited as "one of the essential ambient albums".[59] In 1996, Mixmag named Chill Out the fifth best "dance" album of all time, describing Cauty's DJ sets with The Orb's Alex Paterson as "seminal".[60]

The Guardian have credited The KLF with inventing "stadium house"[61] and NME named The KLF's stadium house album The White Room the 81st best album of all time.[62][63] Elements of The KLF's stadium house concept - sampled crowd noise, and the re-use of vocal samples across singles - were adopted by several less successful rave acts of the early 1990s, including Utah Saints, N-Joi and Messiah.

Sound on Sound magazine credited The KLF with "set[ting] the trend for a new approach to mixing". Engineer Mark Stent is quoted as saying:

It was in working with Bill Drummond and Jimmy Cauty that things really started to happen in a new way, using mixing as a work-in-progress, rather than an end stage. We were running everything live in the studio, from sequencers and samplers. Obviously there was also stuff on tape, but they would come in with their Ataris and Akai samplers, and we would end up rearranging the whole song whilst mixing things. They would then take away what we did, work on it again, and come back a while later, and I'd mix stuff again. My KLF work put me in the picture, and after that the phone never stopped ringing[8].

Opinions of contemporaries

In 1991, Chris Lowe of the Pet Shop Boys said that he considered the only other worthwhile group in the UK to be The KLF. Neil Tennant added that "They have an incredibly recognisable sound. I liked it when they said EMF nicked the F from KLF.[64] They're from a different tradition to us in that they're pranksters and we've never been pranksters." [27]

At the time of The KLF's retirement announcement, Drummond's old friend and colleague David Balfe said of Drummond's KLF career that "the path he's trod[den] is a more artistic one than mine. I know that deep down I like the idea of building up a very successful career, where Bill is more interested in weird stuff... I think the very avoidance of cliche has become their particular cliche..."[22].

In March 1994, members of the anarchist band Chumbawumba expressed their respect for The KLF. Alice Nutter referred to The KLF as "real situationists" categorising them as political musicians alongside The Sex Pistols and Public Enemy. Dunst Bruce lauded the K-Foundation, concluding "I think the things The KLF do are fantastic. I'm a vegetarian but I wish they'd sawn an elephant's legs off at the Brit Awards."[65]

Direct influence

The KLF have been imitated to some degree by German techno band Scooter, and were themselves apparently the victims of a "hoax" when an outfit called "1300 Drums featuring the Justified Ancients of M.U." released a novelty single to cash-in on the popularity of footballer Eric Cantona. 1300 Drums even made a KLF-style Top of the Pops appearance, with the "band" wearing Cantona masks. The authorship of "Ooh Aah" remains unresolved - at least one source continues to claim that Drummond and Cauty were 1300 Drums.[66]

The Timelords' book, The Manual, was reportedly used by the one-hit-wonders Edelweiss to secure their number one hit "Bring Me Edelweiss".[67][68]

"Last Train to Trancentral (Live from the Lost Continent)" is used in the finale of the Blue Man Group's theatrical show, The Complex Rock Tour, which features pieces from "The Rock Concert Instruction Manual", a tongue-in-cheek deconstruction of pop music and the rock concert experience. Their album Audio also uses samples from The KLF's The White Room.

Career retrospectives

In 1992, NME referred to The KLF as "Britain's greatest pop group" and "the two most brilliant minds in pop today"[30], and in 1993 listed the duo in their "Top 50 Icons" (at number 48).[69] The British music paper also listed The KLF's 1992 Brits Awards appearance at number 4 in their "top 100 rock moments".[70] In 2003, The Observer named The KLF's departure from the music business (and the Brits performance in which - the newspaper says - "their legend was sealed") the fifth greatest "publicity stunt" in the history of popular music (Elvis joining the army being hailed as the greatest).[71]

In a largely cynical piece, Trouser Press reviewer Ira Robbins referred to The KLF's body of work as "a series of colorful sonic marketing experiments"[2].

Drummond and Cauty have made frequent appearances in the British broadsheets since The KLF's retirement, most often in connection with the K Foundation and their burning of a million quid. It is worth noting that The KLF in their various incarnations have been to an extent "media darlings" who have received largely unqualified praise from the printed media. This may or may not be due to what NME called their "Master[y] of manipulating media and perceptions of themselves".[72] (Similarly, Billboard magazine called them "noted self-publicists" and "media pranksters").[43]

Instrumentation

Early releases by The JAMs, including the album 1987, were performed using a Apple II computer with a Greengate DS3 sampler card, and a Roland TR-808 drum machine.[73] On later releases, the Greengate DS3 and Apple II are replaced with an Akai S900 sampler and an Atari computer respectively.[8] The house music of Space and The KLF involved much original instrumentation, for which the Oberheim OB-8 analogue synthesiser was prominently used.[74]

The KLF's 1990-1992 singles and The White Room LP were mixed by Mark Stent, using a Solid State Logic (S.S.L.) automated mixing desk. This is referenced in the subtitle of The KLF single "3 a.m. Eternal (Live at the S.S.L.)". The Roland TB-303 bassline and Roland TR-909 drum machine feature on "What Time Is Love (Live at Trancentral)".[74]

Several of Drummond and Cauty's composition feature distinctive original instrumentation using non-electronic instruments. Drummond played Gibson ES-330 semi-acoustic guitar on "America: What Time Is Love?",[75] and Cauty played electric guitar on "Justified and Ancient (Stand by The JAMs)" and "America: What Time Is Love?". Graham Lee provided prominent pedal steel contributions to The KLF's Chill Out and "Build a Fire". Duy Khiem played clarinet on their "3 a.m. Eternal" and "Make It Rain".[74] The KLF track "America No More" features a pipe band,[75] and 2K's "Fuck The Millenium" incorporates a full brass band.

Selected discography

Main article: The KLF discography

Albums:

UK top 10 singles:

Notes & references

  1. ^ Special K, GQ magazine (April 1995), quoting "a ringingly quixotic press release" issued by Drummond in 1986 (link).
  2. ^ a b Ira Robbins, Trouser Press magazine (link). Retrieved 20 April 2006.
  3. ^ a b Wilkinson, R., "The Man review", Sounds, 8 November 1986 (link).
  4. ^ du Noyer, P. (1986), "The Man" review, Q Magazine, December (?) 1986 (link).
  5. ^ The production was staged by Ken Campbell's "Science Fiction Theatre of Liverpool". Ian Broudie recalled meeting Drummond during the period of time that the play was staged, in a January 1997 interview with Mixmag ([1]). Drummond mentioned Campbell and the play in an interview by Ben Watkins, published by The Wire Magazine in March 1997 ([2]).
  6. ^ BBC Radio 1 "Story Of Pop" documentary interview with Bill Drummond. Original BBC broadcast date unknown, but was transmitted by Australian national broadcaster ABC on January 1, 2005 [3]. Transcript taken from the KLF FAQ.
  7. ^ a b Drummond, B., "KLF Info Sheet", October 1987 (link).
  8. ^ a b c Mark Stent, in Tingen, P. "The Work of a Top Flight Mixer", Sound on Sound magazine, January 1999 (link). Retrieved March 2006.
  9. ^ "All You Need Is Love" review, Sounds, 14 March 1987.
  10. ^ Kelly, D., "All You Need Is Love" review, New Musical Express, 23 May 1987.
  11. ^ a b "The KLF Biography", KLF BIOG 012, KLF Communications, December 1990(link)
  12. ^ "Thank You For The Music", New Musical Express, 17 October 1987.
  13. ^ a b Smith, M., "The Great TUNE Robbery", Melody Maker, 12 December 1987 (link)
  14. ^ "Whitney Joins The JAMs" review, New Musical Express, August 1987.
  15. ^ a b Interview with Bill Drummond by Ernie Longmire, "KLF Is Going to Rock You" X Magazine, July 1991 (link)
  16. ^ Transcript of a Bill Drummond interview on "Bomlagadafshipoing" (Norwegian national radio house-music show), September 1991 (link).
  17. ^ Reviewed by NME writer James Brown in the 28 November 1987 edition.
  18. ^ "Who Killed The JAMs?" review, Sounds, February 1988.
  19. ^ a b Bill Drummond interviewed by Richard Skinner on Saturday Sequence, BBC Radio 1, December 1990 (MP3)
  20. ^ a b Wilkinson, R., "...Ford Every Scheme", Sounds, 28 May 1988(link).
  21. ^ "Doctorin' the Tardis" review, Melody Maker, 28 May 1988 (link).
  22. ^ a b c d e f "Who Killed The KLF?", Select Magazine, July 1992 (link).
  23. ^ a b Kingboy D, KLF Communications Info Sheet, 22 January 1988 (link).
  24. ^ Mellor, C. "Beam Me Up, Scotty - How to have a number one (The JAMs way)", Offbeat Magazine, February 1989 (link)
  25. ^ Sleevenotes, Indie Top 20 Volume 8, published by Beechwood Music, catalogue number TT08, 1990.
  26. ^ a b c d KLF Communications, "Information Sheet Eight", August 1990 (link)
  27. ^ a b Brown, J. "The Pet Shop Boys Versus The World", New Musical Express, 25 May 25 1991 (link).
  28. ^ "Brits behaving badly", BBC News Online, 4 March 2000 (link)
  29. ^ a b "Baa-nned!! KLF sheep chopped by BBC", New Musical Express, 22 February, 1992 (link)
  30. ^ a b c d e Kelly, D. "Welcome To The Sheep Seats", New Musical Express, 29 Feb 1992 (link)
  31. ^ "KLF's Sick Gun Stunt Fails To Hit The Target", The Sun, 13 February, 1992 (link)
  32. ^ KLF Communications advertisement in New Musical Express, 16 May, 1992.
  33. ^ "Timelords gentlemen, please!", New Musical Express, 16 May 1992 (link)
  34. ^ KLF Communications Information Sheet #23, May 1992 (link)
  35. ^ Shaw, W., "Special K", GQ Magazine, April 1995 (link)
  36. ^ "[1992] had been the year of Bill's 'breakdown', when The KLF, perched on the peak of greater-than-ever success, quit the music business, (toy) machine gunned the tuxedo'd twats in the front row of that year's Brit Awards ceremony and dumped a sheep's carcass on the steps at the after-show party." Martin, G., "The Chronicled Mutineers", Vox, Dec 1996 (link)
  37. ^ Drummond, Bill and Mark Manning, Bad Wisdom (ISBN 0140261184)
  38. ^ "The Best Of Artists, The Worst of Artists", New York Times, 29 Nov 1993 (link).
  39. ^ Ellison, M. "Terror strikes at the Turner Prize / Art at its very best (or worst)", The Guardian, 24 November 1993 (link).
  40. ^ Butler, B., interview with Jimmy Cauty for The Big Issue Australia, 18 June 2003 (link). For Cauty's actual words - a breakdown of The KLF's earnings and spending - see Watch the K Foundation Burn a Million Quid.
  41. ^ a b c "Burning Question", The Observer, 13 Feb 2000 (link)
  42. ^ discogs.com
  43. ^ a b Flint, C. "Media Pranksters KLF Re-emerge As 2K", Billboard, 2 Sept 1997 (link)
  44. ^ "Justified and (Very) Ancient?", Melody Maker, 20 Aug 1997 (link)
  45. ^ "People's Pyramid", Melody Maker, 15 Nov 1997 (link)
  46. ^ "2K: Brickin' it!", New Musical Express, Nov 97 (link)
  47. ^ a b c Stubbs, D. "Pranks for the Memory", Melody Maker, 16 Feb 1991 (link)
  48. ^ In his book 45 (Little & Brown, ISBN 0316853852 / Abacus, ISBN 0349112894), Drummond documented his love of The Residents as a concept (link).
  49. ^ Morton, R., "One Coronation Under A Groove", New Musical Express, 22 January 1991 (link).
  50. ^ K Foundation, "Cape Wrath" advertisement, in The Guardian (G2), 8 December 1995(link).
  51. ^ 2K press advert (link, overview)
  52. ^ "K-Foundation nailed", New Musical Express, 11 December 1993 (link)
  53. ^ "Freak Show", i-D magazine, December 1994 (link).
  54. ^ Fortean Times, referencing The Big Issue, 15 September 1997 and The Guardian, 5 November 1997 (link).
  55. ^ Poole, S., "Hit man, myth maker - 45", The Observer, 26 February 2000 (link)
  56. ^ Mead, H. (1990), Chill Out review, New Musical Express (link).
  57. ^ "The JAMs: centre of political interest", New Musical Express, 9 November 1991 (link).
  58. ^ "Pre-millennium tension hits new high", New Musical Express 27 September 1997 (link).
  59. ^ Bush, J., Chill Out review, All Music Guide. Retrieved 6 April 2006.
  60. ^ Philips, D., "50 Greatest Dance Albums: # 5", Mixmag, March 1996 (link).
  61. ^ O'Reilly, J. "The horny old devils", The Guardian, 29 Aug 1997 (link)
  62. ^ http://microsites.nme.com/top100/site/90.html
  63. ^ http://microsites.nme.com/reviews/top100.html
  64. ^ Morton, R. "One Coronation Under A Groove", New Musical Express, 12 Jan 1991 ([4])
  65. ^ Maconie, S., Chumbawumba interview, Select, March 1994 (link).
  66. ^ RedMuze biography of The KLF at BBC Online (link)
  67. ^ Longmire, E. "KLF Is Going to Rock You" X Magazine, July 1991 (link)
  68. ^ Reighley, K.B. "Hear No Evil", Seattle Weekly, 26 May 1999 (link)
  69. ^ "Top 50 NME Icons", nme.com(link)
  70. ^ "100 Rock Moments", NME.com. Retrieved 21 April 2006.
  71. ^ Thompson, B. "The 10 greatest publicity stunts", The Observer, 27 September 2003 (link)
  72. ^ "Fresh JAMMS?", New Musical Express, 6 Sept 2001 ([5])
  73. ^ KLF Communications, sleevenotes, "1987: The JAMs 45 Edits", JAMS 23T, 1987.
  74. ^ a b c KLF Communications, sleevenotes, The White Room, JAMS LP6, 1991.
  75. ^ a b KLF Communications, sleevenotes, "America: What Time Is Love?", KLF USA4, 1992.
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