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The KLF (also known as '''The Justified Ancients of Mu Mu''' ('''The JAMs'''), '''The Timelords''' and other names) 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 biggest-selling singles act in the world for 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 in '' The K Foundation Burn A Million Quid ''. 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 In 1986, '' magazine, December (?) 1986 ( link ). and "a work of humble genius: the best kind". Artist and musician '' ( Manchester ), 29 August 2000 , "Guardian Features Pages" section, p14. '', 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 that moment in a later 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. The Justified Ancients of Mu Mu ", depicting a billboard with "Shag Shag Shag" graffiti]] Early in 1987, Drummond and Cauty's collaborations began. They assumed alter egos - King Boy 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 what the Illuminati (a political organisation which seeks to impose order and control upon society) call a group of Discordians who have infiltrated the Illuminati in order to feed them false information. 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 corporate music world. Shrouded in the mystique provided by their disguised identities and the cultish ''Illuminatus!'', they mirrored the Discordians' 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 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 "'', 16 May 1987. '' : a photograph of the bonfire of illegal ''1987'' discs]] The JAMs re-edited and re-released "All You Need Is Love" in May 1987, removing or doctoring the most antagonistic samples; lyrics from the song appeared as promotional '' ( Glasgow ), 21 October 2001 , p4. and the Mechanical-Copyright Protection Society ,News item, '' Sounds '', 12 September 1987 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, along with most of the remaining copies of the LP. Brown, J. , "Thank You For The Music", '' New Musical Express '', 17 October 1987 . 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. In a December 1987 interview, Cauty maintained that they "felt that what done was artistically justified."Smith, M., "The Great TUNE Robbery", '' Melody Maker '', 12 December 1987 ([http://www.libraryofmu.org/display-resource.php?id=52 link ) Two new singles followed ''1987'', on The JAMs' "KLF Communications" independent record label. Both reflected a shift towards ", a dance record built around a Gospel Choir and " Downtown " by 1960s star Petula Clark .Reviewed by '' NME '' writer James Brown in the 28 November 1987 edition. 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'', earning the duo at least one five-star review (from ''Sounds'' Magazine, who called it "a masterpiece of pathos"."Who Killed The JAMs?" review, '' Sounds '', February 1988.) The Timelords In 1988, Drummond and Cauty became "Time Boy" and "Lord Rock", and released a ' Novelty ' pop single, " Doctorin' The Tardis " () 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 charted highly in Australia and New Zealand . " ( KLFCD 003 )]] Also credited on the record was "Ford Timelord", Cauty's 1968 '' filmed in the UK). Drummond and Cauty declared that the car had spoken to them, giving its name as Ford Timelord, and advising the duo to become "The Timelords". Drummond and Cauty would later portray the song as the result of a deliberate effort to write a number one hit single. However, in interviews with '' to promote the song with The Timelords. 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". The name change accompanied a change in Drummond and Cauty's musical direction. Said Drummond (as 'King Boy 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". King Boy D also claimed that he and Rockman Rock were "pissed off at for letting "people expect us to lead some sort of crusade for sampling".Drummond, B., KLF Communications Info Sheet, 22 January 1988 ([http://www.libraryofmu.org/display-resource.php?id=501 link ). In 1990 he recalled that "We wanted to make 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". 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 '' ( Edinburgh ) ISSN 0955-8756 , EG MAGAZINE Edition, 8 July 2001 , p7. Video Also in 1989, The KLF embarked upon the creation of a " (), 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 {Link without Title} sleeves".Sleevenotes, ''Indie Top 20 Volume 8'', published by Beechwood Music, catalogue number TT08, 1990. The film project was fraught 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. In consequence, ''The White Room'' film project was put on hold, and The KLF abandoned the musical direction of the soundtrack and single.KLF Communications, "Information Sheet Eight", August 1990 ( link ) '', The KLF's Stadium House tour-de-force ( KLF Communications JAMS LP6 )]] Meanwhile, "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". 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 '' () 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 October 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 and more vocals (by guests labelled "Additional Communicators"), a sample-heavy pop-rock production and crowd noise samples. The results brought The KLF international recognition and acclaim. The first "Stadium House" single, "What Time Is Love?", released in October 1990, reached #5 in the UK Singles Chart and hit the top-ten internationally. The follow-up, "3 a.m. Eternal" (), was an international top-five hit in January 1991, reaching #1 in the UK and #5 in the US Billboard Hot 100 . The album '' The White Room '' followed in March 1991, reaching #3 in the UK. A substantial reworking of the aborted soundtrack, the album featured a Segue d series of "Stadium House" songs followed by Downtempo tracks. The KLF's chart success continued with the single "Last Train to Trancentral" () (UK #2, #3 in the " () was released, featuring the vocals of American country star Tammy Wynette . It was another international hit (UK #2, US #11), as was "America: What Time Is Love?" (UK #4), a hard, guitar-laden reworking of "What Time Is Love?". In 1990 and 1991, The KLF also remixed tracks by , "The Pet Shop Boys Versus The World", '' New Musical Express '', 25 May 25 1991 . 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,Bush, J., KLF biography, '''', 16 May 1992 ( link ) still incorporating the work of other artists but in less gratuitous ways and predominantly without legal problems. Retirement On ed, cigar-chomping Drummond firing Blanks from an automatic weapon over the heads of the crowd. As the band left the stage, The KLF's promoter and narrator Scott Piering announced over the PA system that "The KLF have now left the music business". Later in the evening the band dumped a dead sheep with the message "I died for ewe—bon appetit" tied around its waist at the entrance to one of the post-ceremony parties. 's infamous appearance at the 1992 BRIT Awards ]] Reactions were mixed. is reported to have called their antics "disgusting". ''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". Scott Piering 's PA announcement of The KLF's retirement 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: " 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." In the weeks following the BRITs performance, The KLF continued working with Extreme Noise Terror on the album '' The Black Room '', but it was never finished. On 14 May 1992 , The KLF announced their immediate retirement from the music industry and the Deletion of their entire back catalogue: In a comprehensive examination of The KLF's announcement and its context, '' Select '' 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." 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 reported the doubts of many when he said that "I {Link without Title} 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 Vapors , 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'."KLF Communications Information Sheet #23, May 1992 ( link ) There have been numerous suggestions that in 1992 Drummond was on the verge of a nervous breakdown.Shaw, W., "Special K", '' had publicly endorsed The KLF's live performance, a response which Scott Piering cited as "the real low point". The KLF's BRITs statuette for "Best British Group" of 1992 was later "found" buried in a field near Stonehenge ."BRITs statuette dug up", '' Q '' magazine, Feb 1993 ( link ) K Foundation and post-retirement projects See Also: K Foundation Fuck the Millennium The ''."Burning Question", '' The Observer '', 13 February 2000 ( link ) In 1995, Drummond and Cauty contributed a song to ''" () is 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". On '', Nov 97 ( link ) 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 reunited with his former partner from The Orb, Alex Paterson. The KLF Communications catalogue remains deleted in the United Kingdom. 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 led some people to compare Drummond and Cauty's incarnations to movements of the nineteen-eighties than with ''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, written between 1969 and 1971 . The attitude and tactics of Drummond and Cauty's partnership matched that of the fictional cult whose name they had adopted. Throughout the partnership, these tactics were often interpreted by media commentators as "pranks" or " Publicity Stunt s". However, according to Drummond, "That's just the way it was interpreted. We've always loathed the word scam. I know no-one's 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."Morton, R., "One Coronation Under A Groove", '' New Musical Express '', 22 January 1991 ( link ). Cauty has expressed similar feelings, saying of The KLF, "I think it worked because we really meant it". In addition to resembling the fictional JAMs attitudinally and tactically, references to themes of Discordianism and ''Illuminatus!'' also manifested Drummond and Cauty's musical, visual and written work, meticulously and often covertly. 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". In The JAMs' "The Porpoise Song", from the album ''Who Killed The JAMs?'', King Boy D and a talking Porpoise converse, referencing Howard, the talking porpoise 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 "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, original vocal samples are reused in a variety of musical contexts. For example, the Ring Modulated "Mu Mu!" sample that first appeared on "Burn the Bastards" is also to be found on "What Time Is Love? (Live at Trancentral), "Last Train to Trancentral (Live from the Lost Continent)" and "Fuck the Millennium". 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:
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"."Freak Show", '''' with the standard revolution speeds of a turntable (33.3 and 45 rpm). The "Pyramid Blaster" is a logo and , 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".'' Fortean Times '', referencing '' The Big Issue '', 15 September 1997 and '' The Guardian '', 5 November 1997 ( link ). 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 beauty of their art, their most successful creation is the myth they have built around themselves." Poole, S. , "Hit man, myth maker—''45''", '' The Observer '', 26 February 2000 ( link ) He concluded, Trancentral, eternity, sheep Trancentral (aka the BenioMead, H. (1990), ''Chill Out'' review, ''", Trancentral was in fact Cauty's residence in Stockwell , South London , "a large and rather grotty Squat " according to '' Melody Maker '''s David Stubbs: "Jimmy has lived {Link without Title} 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." .) Following the February 1990 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 Rave s, 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. Sheep feature in The KLF ambient video ''Waiting'', and some sheep were guests of honour at the first screening 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 and Cauty each holding a sheep, with the caption "Why sheep?". Ceremonies and journeys Drummond and Cauty's work often involved notions of ceremony and journey. Journeys are the subject of the KLF Communications recordings ''Chill Out'', ''Space'', "Last Train to Trancentral", "Justified and Ancient" and "America: What Time Is Love?", as well as the aborted film project ''The White Room''. The ''Chill Out'' album depicts a journey across the U.S. Gulf Coast . In his book ''45'', Drummond expressed his admiration for the work of artist Richard Long , who incorporates physical journeys into his art. Drummond, B. , "A Smell Of Money Under Ground", '' 45 '', Little & Brown, ISBN 0-316-85385-2 / Abacus, ISBN 0-349-11289-4, 2000. Fire and was burnt at a ceremony in which journalists were asked to wear yellow and grey robes and join a Chant . Chanting also featured in "3 a.m. Eternal", ''Chill Out'' and—aggressively—"Fuck the Millennium". Promotion Drummond and Cauty's promotional tactics were unconventional. The duo were renowned for their distinctive and humorous public appearances (including several on '' became characteristic of all KLF Communications' and K Foundation output, being used almost exclusively on sleevenotes and record labels, merchandise and adverts. From the outset of their collaborations, Drummond and Cauty practised the " 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 '', 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. In November 1991, the slogan "It's Grim Up North" appeared as graffiti on the junction of London's '' 27 September 1997 ( link ). LEGACY Despite their protestations of 1988 about not wishing to be seen as crusaders for .) ", 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".Bush, J., ''Chill Out'' review , '', March 1996 ( link ). ''The Guardian'' has credited The KLF with inventing "stadium house"O'Reilly, J. "The horny old devils", '', N-Joi and Messiah . '' Sound On Sound '' magazine credited The KLF with "set {Link without Title} the trend for a new approach to mixing". Engineer Mark Stent is quoted as saying: 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.Morton, R. "One Coronation Under A Groove", '' New Musical Express '', 12 January 1991 ( {Link without Title} ) They're from a different tradition to us in that they're pranksters and we've never been pranksters." 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 {Link without Title} 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". In March 1994, members of the anarchist band Chumbawamba 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." Maconie, S. , Chumbawumba interview, '' Select '', March 1994 ( link ). Direct influence The KLF have been imitated to some degree by German techno band ( link ) The Timelords' book, ''The Manual'', was reportedly used by the one-hit-wonders '', 26 May 1999 ( link ) "Last Train to Trancentral" is used in the finale of Blue Man Group 's theatrical show and was Covered By Them On An EP . The group's '' Rock Concert Instruction Manual '' is a tribute to ''The Manual''. Career retrospectives Drummond and Cauty have made frequent appearances in the British Broadsheet s and music papers 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 of manipulating media and perceptions of themselves"."Fresh JAMMS?", '' New Musical Express '', 6 September 2001 ([http://www.nme.com/news/41844.htm ) In 1992, ''NME'' referred to The KLF as "Britain's greatest pop group" and "the two most brilliant minds in pop today", and in 2002 listed the duo in their "Top 50 Icons" at number 48."Top 50 NME Icons", '' 2006 . "What's unique about Drummond and Cauty", the paper said in 1993, "is the way that, under all the slogans and the sampling and the smart hits and the dead sheep and the costumes, they appear not only to care, but to have some idea of how to achieve what they want." " their many aliases, it is as the KLF that they will go down in pop history," wrote Alix Sharkey in 1994, "for a variety of reasons, the most important being the resolute purity of their self-abnegation, and their visionary understanding of pop." He added: "By early 1992 the KLF was easily the best-selling, probably the most innovative, and undoubtedly the most exhilarating pop phenomenon in Britain. In five years it had gone from pressing up 500 copies of its debut recording to being one of the world's top singles acts." The same piece also quoted Sheryl Garratt, editor of '''', 21 May 1994 ( link ). In a largely cynical piece, '''', January 1994 ( link ) In 2003, '' saw The KLF/K Foundation placed second in a list of "rock excesses" (after The Who ).Barnes, Anthony, "The Who top rock's hall of shame", '' The Independent On Sunday '' ( London ), 20 June 2004 , p5. INSTRUMENTATION Early releases by The JAMs, including the album ''1987'', were performed using an 1987 review of The JAMs' single " Down Town " referred to them as "The Kings of The Greengate Sampler". On later releases, the Greengate DS3 and Apple II were replaced with an Akai S900 sampler and an Atari computer respectively. The house music of Space and The KLF involved much original instrumentation, for which the Oberheim OB-8 analogue synthesiser was prominently used. KLF Communications , sleevenotes, '' The White Room '', JAMS LP6, 1991. The KLF's 1990–1992 singles were Mixed by Mark Stent , using a Solid State Logic (S.S.L.) automated mixing desk, and ''The White Room'' LP mixed by J. Gordon-Hastings using an analogue desk. The SSL 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)". Several of Drummond and Cauty's compositions feature distinctive original instrumentation using non-synthesised instruments. Drummond played a provided prominent Pedal Steel contributions to The KLF's '' Chill Out '' and "Build a Fire". Duy Khiem played Clarinet on "3 a.m. Eternal" and "Make It Rain". The KLF track "America No More" features a Pipe Band , and 2K's "Fuck The Millennium" incorporates a full Brass Band . SELECTED DISCOGRAPHY See Also: KLF Communications Albums
UK top-ten singles
NOTES AND REFERENCES EXTERNAL LINKS
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