1031:"inspirational", and "the most exciting, most original record heard in years". He also argued that: "Some snatches rather outstay their welcome, tugging tell-tale glitz away from the clifftop and dangerously close to smug obviousness, but when the blows are kept short, sharp and very bloody, they make anything else you're very likely to hear on the radio dull and desperately humourless." "It's easy to dismiss The JAMs frolics as little more than a brightly coloured sideshow to the shabbiest circus in town", a later article said, but "believe me, it's far more than a gimmick".
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practice, be able to simulate the sound of our original record. To do this you will need 3 wired-up record decks, a pile of selected discs, one t.v. set and a video machine loaded with a cassette of edited highlights of last weeks 'Top of the Pops'. Deck one is to play this record on, the other two are to scratch in the missing parts using the selected records. For added authentic effect you could use a Roland 808 drum machine (well cheap and what we used in the original recordings) to play along behind your scratching.
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1362:, the duo said: "Our experience was with Rough Trade. When we went to them with our first record on KLF they didn't want to know. They saw it as something that might sell five hundred copies, the bulk of those going to unsuspecting export accounts. This record then received good reviews in the rock press so they agreed to distribute it. It was not until we were about to record our second LP that they considered it worth their while to handle the manufacturing as well." Manufacture of
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441:), samples often cut abruptly, and distinctive plagiarised melodies are often played with a high-pitched rasping accompaniment. The plagiarised works are arranged so as to juxtapose with each other as a backdrop for the JAMs' rebellious messages and social comments. The lyrics include self-referential statements of the JAMs' agenda, imbued with their fictional backstory adopted from
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463:. It progresses into a cryptic and bleak spoken verse from Drummond: "Here we come, crawling out of the mud, from chaos primeval to the burned out sun, dragging our bad selves from one end of time, with nothing to declare but some half-written rhymes". A cacophone of further samples from The Monkees' theme and Drummond's voice follow – "We're not The Monkees, I don't even
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pleasant sound but it's the noise we had. We pressed it up and stuck it out. A celebration of sorts." Jimmy Cauty defended sampling as an artistic practice: "It's not as if we're taking anything away, just borrowing and making things bigger. If you're creative you aren't going to stop working just because there is a law against what you are doing."
1151:, its lyrics and the TR-808 beatbox rhythms. Drummond provided rap, and an additional rapper introduced as 'Chike' appears on "Don't Take Five (Take What You Want)" and "Rockman Rock (Parts 2 and 3)". Duy Khiem contributed lead vocals to "Mẹ Ru Con", as well as clarinet and tenor sax to "Rockman Rock (Parts 2 and 3)" and "Next".
812:: "We were hoping to explain to them and that maybe we'd come out of it friends, you know, them producing our album and us producing theirs—the kind of thing that often happens at these meetings." King Boy: "Yeah, we'd have said, 'Look, you haven't had many hits lately, you don't really wanna bother with all this
502:'s "Same Beat", the lyrics are mostly unconventional, with the majority of the song containing references to food: "I was pushing my trolley from detergent to cheese when I first saw the man with antler ears. I tried to ignore but his gaze held my eyes when he told me the truth about the basket of lies".
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listed it as the single of the week, and lauded The JAMs as "the hottest, most exhilarating band this year". The song's reliance on uncleared, often illegal samples made commercial release impossible. In response, the JAMs re-edited the single, removing or doctoring the most antagonistic samples, and
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album, the
Justified Ancients of Mu Mu released an edited version as a 12" single, with all of the unauthorised samples removed, leaving sparse instrumentation, Drummond's social commentary and, in several cases, long periods of silence; the "Top of the Pops" section of the original LP yielded three
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Bill
Drummond summed up The JAMs' approach to composition in the first "KLF Information Sheet", sent out in October 1987: "We made 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.... Not a
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was not so impressed. He also felt that the record was underdeveloped and The JAMs were not the most skilled of practitioners. "Audacity, completely unfounded self-confidence, utter ruthlessness and a fast car will, of course, be useful attributes to the go-ahead noise-pirate of the 90s, but skill,
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We'd just got ourselves a sampler, and we went sample-crazy. We just went through my whole collection of records, sampling tons of stuff and putting it all together, and it was a real rush of excitement, when we were doing it. When we put that record out, we knew what we were doing was illegal, but
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This record is a version of our now deleted and illegal LP '1987, What The Fuck Is Going On?' with all of the copyright infringing 'samples' edited out. As this leaves less than 25 minutes of music we are able to sell it as a 12-inch 45. If you follow the instructions below you will, after some
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also unfavourably commented that The JAMs' "use of the beatbox is altogether weedy". It liked some of its tracks: "there are some wickedly amusing ideas and moments of pure poetry in the lyrics while some of the musical juxtapositions are both killingly funny and strong enough to stand repeated
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re-released it as "All You Need Is Love (106 bpm)" in May 1987. According to
Drummond, profits from this re-release funded the recording of their first album. The JAMs had completed and pressed copies of the album by early May 1987, but did not have a distributor.
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drum machine. Several songs were liberally plagiarised, using portions from existing works and pasting them into new contexts, with the duo stealing "everything" and "taking... plagiarism to its absurd conclusion". This mashup of samples was underpinned by rudimentary
1236:. The single was released on 16 October 1987, and on 31 October 1987 The JAMs announced that the case with ABBA "is now closed". The sleevenotes to "1987: The JAMs 45 Edits" explain to the purchaser in a rather tongue-in-cheek fashion how to recreate the original
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as early as 28 March 1987. The aliases "King Boy D" and "Rockman Rock" survived the
Justified Ancients of Mu-Mu transition into the KLF, although they were briefly changed to "Time Boy" and "Lord Rock" during promotion of The Timelords' first and only single,
844:.... We made it perfectly clear to the MCPS that we couldn't actually force the shops to send our LPs back.... ecause we bought them in a shop, these LPs don't come into the agreement and we can do what we like with them and not break any laws." The master
547:" can be also heard in this track. Side one would not close until "Why Did You Throw Away Your Giro?", a track consisting of a question in reference to a line from "Rockman Rock" from a female adult jokingly answered by a male person, ended in 20 seconds.
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is built around samples of other artists' work, "to the point where the presence of original material becomes questionable". The album is raw and unpolished, the sound contrasting sharply with the meticulous production and tight
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by the JAMs' friend Duy Khiem. According to
Drummond, it was a spontaneous recital by Khiem, who was in the studio contributing clarinet and tenor sax to the album. Khiem's vocal performance was later sampled by The KLF on the
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looked back on the
Swedish sojourn as "a grand, futile, attention-grabbing gesture, the kind that would come to characterise collaborative career... "We were being totally stupid about it" Drummond later acknowledged."
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Khiem is credited as "Zuy Khiem" on "1987: The JAMs 45 Edits" and "Z Khiem" on the "All You Need Is Love (Mẹ Ru Con Remix)" single, but later in the KLF's career the credits changed to "Duy Khiem".
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feel, instinct, vision—y'know, boring old talent—will still be bottom line compulsories, it's in these latter commodities that the JAMs seem conspicuously undertooled." Compared to the output of
1013:, saying that there are "too few ideas being spread too thin". The magazine criticised some songs as "overlong" and questioned the overuse of sampling as "the impression of a random hotchpotch".
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1339:): "All sounds on this recording have been captured by the KLF in the name of Mu, we hereby liberate these sounds from all copyright restrictions, without prejudice. A KLF Communication."
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510:: "This is piracy in action, with the venerable music industry figure, King Boy D, setting himself up as the Robin Hood of rap as he steals from the rich vaults of recording history".
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A remade version of The JAMs' first white label single with a number of illegal samples removed. King Boy D's distinctive "Clydeside" rapping style can be heard in this extract.
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was forcibly withdrawn from sale, and The JAMs were ordered to "deliver up the master tape, mothers, stampers and any other parts commensurate with manufacture of the record".
1292:" to " explicitly the depth of contradiction embedded in society's attitude towards death through sex". Similar commentary on the situational use of samples was provided in
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we thought it was gonna be such an underground record, nobody would ever hear about it. So the first thing that shocked us is that
British rock papers gave a big review.
1066:. " "What's so good about The JAMs", the magazine said, "is the way they are capturing on disc the whole social and musical confusion and instability of 1987 Britain".
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for a long time, and when we did we were embarrassed by it because it was so badly recorded. But I still felt we were able to get a lot out of ourselves through it."
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Being a guide to recreating the record at home, this communique from The JAMs provided detailed information about the construction of the album and the samples used.
581:", often overlain with a rasping detuned accompaniment. These lead into Drummond's satirical and discontent rapping, a fictional account of his march into the
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The most controversial song on the album, "The Queen and I" sampled from ABBA's "Dancing Queen". A legal dispute with the group led to the album's withdrawal.
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journalist and photographer with them, along with most of the remaining copies of the LP and a gold disc of the album. Failing to find ABBA in residence at
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as "energetic" and "a loopy dance album that isn't unlike a lot of sampled records, but proceeds from an entirely different cultural understanding."
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615:, as well as sound clips from programmes and advertisements on other TV channels, Drummond cries "Fuck that, let's have The JAMs!". The acerbic "
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noises (which
Drummond later referred to as "sampled breathing stuff") arranged as a rhythm. The album's first sample is "Here we come..." from
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The edited single was sold through normal retail channels and also offered as a "reward" to anyone who returned a copy of the LP to The JAMs'
254:, stripped of all unauthorised samples to leave periods of protracted silence and so little audible content that it was formally classed as a
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748:: The JAMs had sampled large portions of the ABBA single "Dancing Queen" on the track "The Queen And I". A legal showdown with ABBA and the
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an "entirely brilliant example of the art of disc-jockey-as-producer". Giving another retrospective review from across the
Atlantic,
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King Boy D and
Rockman Rock travelled to ABBA's home country of Sweden, in the hope of meeting with ABBA personally, taking an
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The record was, however, categorised as a "KLF Communication", the label-notes referencing a future name of both the duo (
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to demand answers. The song also protests the involvement of cigarette companies in sport ("When cancer is the killer/
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in The JAMs' agreement with the MCPS: "We were browsing around this record shop and came across these five copies of
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The JAMs were not entirely sure what they would have said to ABBA if they had been able to meet them. Rockman told
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486:...". "Don't Take Five (Take What You Want)" follows, featuring The JAMs' associates Chike (rapper) and DJ Cesare (
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475:" – "We're justified/And we're ancient. We don't want to upset the apple cart/And we don't wanna cause any harm".
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789:"). The JAMs also played a recording of "The Queen and I" loudly outside the offices of ABBA's record label,
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that plagiarised a wide range of musical works, continuing a theme begun in the JAMs' debut single "
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rhythms of the duo's later work as the KLF. The beatbox rhythms are basic (described as "weedy" by
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771:"fallen on hard times". Of the original LP's stock, some copies were disposed overboard on the
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magazine in March 1987 that "we approached Rough Trade but they've not said anything yet." In
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is "a hilarious record" filled with "comments on music terrorism and own unique take on the
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in Stockholm, they instead presented the gold disc to a blonde prostitute they pretended was
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Magazine's "All You Need Is Love" review, which comments on the juxtaposition of samples of
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1056:' rap method with bewildering effect. You could call this sampling technology's answer to
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steals sound artefacts from anywhere and meshes them together with King Boy's hysterical '
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record under the pseudonym "the Justified Ancients of Mu Mu". Knowing little about modern
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train arriving at and leaving a tube station, with its recorded warning to passengers, "
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The album's opening song, "Hey Hey We Are Not The Monkees", begins with simulated human
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was met with mixed reviews in most of the major British music publications, including
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609:" is briefly sampled. After nearly three minutes of samples from the television show
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793:. The trip was unexpectedly eventful, the JAMs accidentally hitting and killing a
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Bill Drummond and Jimmy Cauty were responsible for the concept and production of
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for sale at £1000 each in a full-page advertisement in the April 1988 edition of
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The first side of the LP closes with "Rockman Rock (Parts 2 and 3)", a homage to
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of social commentary, esoteric metaphors, and mockery. Drummond later said that:
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The reaction to "All You Need Is Love" was positive; the British music newspaper
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in unorthodox, publicised ways. They also released a version of the album titled
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was arranged by The JAMs themselves, the record being pressed by MPO in France.
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The final track on the album is "Next", which Drummond describes as "the only
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297:. Cauty became "Rockman Rock", and Drummond used the nickname "King Boy D".
290:" was independently released on 9 March 1987 as a limited-edition one-sided
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police car. They were, by their own account, towed back to England by the
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on the album", with "imagery of war and sordid sex". The track samples
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597:") and lambasts the "tabloid mentality" ("They all keep talking about
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considered the message of the song (if any) to be a modern version of
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to destroy all unsold copies of the album, following a complaint from
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King Boy D had been unmasked as Bill Drummond in weekly music paper
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The basic track for "All You Need Is Love" was written in part on a
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Drummond, Bill (September 1991). "Bomlagadafshipoing" (Interview).
1477:"Discography: The KLF (including The JAMS, The Timelords, 2K etc.)"
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contributions ("a saxophone of stupefying tediosity", according to
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The JAMs offered what they claimed were "the last five" copies of
227:". These samples provided a deliberately provocative backdrop for
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2340:"KLF donate copy of reconstructed 1987 album to British Library"
2222:, reproduced in "The KLF 1987 Completeist List" , an insert to
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ferry trip across, and the remainder were burned in a field in
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Didcock, Barry (21 October 2001). "Bitter Swede symphony".
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but available sources are not explicit. Bill Drummond told
1172:"Don't Take Five (Take What You Want) (89 BPM)" – 3:59
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243:
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1309:"Traditional" per the song writing credit on the label of
1094:") Kelly felt Drummond's efforts to be a "glitter-crusted
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shit do you? Come and do the new JAMMS album.'" In 1994,
577:"The Queen and I" features extensive samples from ABBA's "
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that plagiarises from an array of sources, including the "
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The Monkees!" – before it gets interrupted by an original
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Like "All You Need Is Love", the album was made using an
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and all of the band's other masters were donated to the
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before dawn (as shown on the cover of their next album,
619:" follows. A "stunning audio collage" featuring an AIDS
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The second side begins with "Me Ru Con", a traditional
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Archived (via the Library of Mu) on 16 September 2016.
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The Penguin Price Guide for Record & CD Collectors
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Archived (via the Library of Mu) on 16 September 2016.
2123:
Archived (via the Library of Mu) on 16 September 2016.
1828:
Archived (via the Library of Mu) on 16 September 2016.
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archived (via the Library of Mu) on 16 September 2016.
1721:
Archived (via the Library of Mu) on 16 September 2016.
1656:
Archived (via the Library of Mu) on 16 September 2016.
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Archived (via the Library of Mu) on 16 September 2016.
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1166:"Hey Hey We Are Not The Monkees (100 BPM)" – 6:00
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The Penguin Price Guide for Record & CD Collectors
1514:
This was the first of many "Information Sheet"s that
1556:
Archived (via the Library of Mu) on 11 October 2016.
2321:King, Sam (16 April 1988). "Grand Ideas: Part 91".
2288:
Archived (via the Library of Mu) on 4 October 2016.
2064:
Archived (via the Library of Mu) on 4 October 2016.
2037:
Archived (via the Library of Mu) on 4 October 2016.
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Archived (via the Library of Mu) on 4 October 2016.
246:. In response, the JAMs disposed of many copies of
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1508:Archived (via the Library of Mu) on 11 March 2007.
1175:"Rockman Rock Parts 2 and 3 (105 BPM)" – 6:29
1106:"the best comment on sampling culture ever made".
2148:The Manual (How To Have a Number One The Easy Way
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697:In 1991, Drummond admitted: "We didn't listen to
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1178:"Why Did You Throw Away Your Giro?" – 0:20
1889:Formerly part of Hey Hey We Are Not The Monkees
2254:(17 October 1987). "Thank you for the music".
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16:Debut album of The Justified Ancients of Mu Mu
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2450:Knowledge:WikiProject The KLF/LibraryOfMu/359
2398:. United States: Vintage Books. p. 213.
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1715:(Sleeve notes to "1987: The JAMs 45 Edits").
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1559:Knowledge:WikiProject The KLF/LibraryOfMu/309
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836:. Drummond argued that the offer exploited a
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2126:Knowledge:WikiProject The KLF/LibraryOfMu/19
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1659:Knowledge:WikiProject The KLF/LibraryOfMu/25
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238:in June 1987, the JAMs were ordered by the
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1852:"1987 (What the Fuck Is Going On?) review"
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219:was produced using extensive unauthorised
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1712:How to recreate that authentic 1987 sound
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1335:) and their independent record company (
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2600:Aka: The Justified Ancients of Mu Mu •
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1974:
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1348:The record was probably distributed by
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750:Mechanical-Copyright Protection Society
240:Mechanical-Copyright Protection Society
3052:The Justified Ancients of Mu Mu albums
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1483:from the original on 29 February 2020.
1475:Longmire, Ernie; et al. (2020) .
1193:"The Queen and I (99 BPM)" – 4:43
3082:House music albums by British artists
2989:List of The KLF's creative associates
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2012:
1908:"1987 (What the Fuck is Going On?)".
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1750:"1987 (What the Fuck Is Going On?)".
1518:would send out to fans and the press.
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535:" (interspersed with Jimi Hendrix's "
342:rhythms and overlaid with Drummond's
231:rhythms and cryptic, political raps.
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1048:the moment (hip hop) as a backbone,
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2419:"Amply Sam(ply) Fox's 'Touch Me'".
2338:Gecsoyler, Sammy (23 August 2023).
1630:"The Justified Ancients of Mu Mu".
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13:
1431:from the original on 23 March 2020
664:, the Fall's "Totally Wired," and
417:Problems playing these files? See
362:
14:
3093:
3077:Hip hop albums by British artists
2745:1987 (What the Fuck Is Going On?)
2503:from the original on 5 March 2016
2115:"The Justified Ancients of Mu Mu"
2052:Morton, Roger (12 January 1991).
1836:
1797:1987 (What the Fuck Is Going On?)
1121:type of old-school rapping"; and
962:
924:
710:1987 (What the Fuck Is Going On?)
623:, a rerecording of glamour model
196:1987 (What the Fuck Is Going On?)
171:1987 (What the Fuck Is Going On?)
26:1987 (What the Fuck Is Going On?)
2906:K Foundation Burn a Million Quid
2372:from the original on 25 May 2024
2079:"The KLF: Enigmatic Dance Duo".
1154:
1009:magazine had mixed reactions to
981:
976:
971:
966:
961:
943:
938:
933:
928:
923:
905:
900:
895:
890:
885:
521:" and "Sunrise Sunset" from the
399:
378:
2541:
2515:
2484:
2429:
2412:
2314:
2296:
2276:Smith, Mat (12 December 1987).
2208:
2187:
2169:
2131:
2107:
2089:
2072:
2054:"One Coronation Under A Groove"
1968:
1943:
1926:The Justified Ancients of Mu Mu
1870:
1379:) are taken from the sleeve of
1369:
1342:
1325:
1316:
1303:
1274:
1190:"Mẹ Ru Con (0 BPM)" – 2:23
374:"All You Need Is Love (106bpm)"
209:the Justified Ancients of Mu Mu
156:The Justified Ancients of Mu Mu
147:The Justified Ancients of Mu Mu
46:The Justified Ancients of Mu Mu
2806:The "What Time Is Love?" Story
1564:
1546:"Timelords gentlemen, please!"
1538:
1521:
1423:. Episode 48. 31 minutes in.
1401:
1256:
1201:All You Need Is Love (106 BPM)
1196:"Top of the Pops" – 2:51
617:All You Need Is Love (106 bpm)
355:
282:, a former member of the band
1:
2832:The White Room Director's Cut
2396:Spin Alternative Record Guide
2394:; Marks, Craig, eds. (1995).
1816:Sharkey, Alix (21 May 1994).
1528:"World Domination Part 458".
1441:First broadcast in 1994, per
1394:
993:Spin Alternative Record Guide
699:1987 What The Fuck's Going On
2214:Davage, I., letter from the
1206:"Next (100 BPM)" – 7:15
1142:
7:
2812:Samplecity thru Trancentral
2589:
1169:"Mind the Gap" – 1:02
629:Touch Me (I Want Your Body)
568:soundtrack to their movie,
550:
450:
211:(the JAMs), later known as
10:
3098:
3072:Albums produced by the KLF
3019:Tony Thorpe/The Moody Boys
1818:"Trash Art & Kreation"
1383:. They are presented here
1109:A retrospective review by
716:, "The Sound of Mu(sic)".
541:Since I've Been Loving You
326:computer, a Greengate DS3
3057:KLF Communications albums
2981:
2930:
2875:
2843:
2783:
2736:
2693:Last Train to Trancentral
2629:
2597:
1877:"Justified and Ancient".
1803:. Retrieved 5 March 2020.
1504:"KLF Info Sheet Oct 1987"
1417:"It's a Steal – Sampling"
1212:"1987: The JAMs 45 Edits"
873:
870:
162:
154:
130:
114:
98:
75:
67:
52:
39:
30:
25:
2922:Welcome to the Dark Ages
2792:1987 (The JAMs 45 Edits)
2278:"The Great TUNE Robbery"
2121:(interview). March 1987.
1612:(review). 14 March 1987.
1606:"All You Need Is Love".
1387:and may not be accurate.
1385:as printed on the sleeve
1350:Rough Trade Distribution
1249:
583:British House of Commons
537:All Along the Watchtower
492:The Dave Brubeck Quartet
444:The Illuminatus! Trilogy
266:On New Year's Day 1987,
262:Background and recording
252:1987 (The JAMs 45 Edits)
2968:Solid Gold Chartbusters
2943:Lori and the Chameleons
2707:Justified & Ancient
1914:(Review). 20 June 1987.
1756:(Review). 20 June 1987.
1188:
1164:
705:Release and controversy
621:public information film
3067:Sampling controversies
2912:K Foundation art award
2644:Whitney Joins the JAMs
2179:(Vinyl inner groove).
1648:"All You Need Is Love"
1576:"...Ford Every Scheme"
1247:
1240:album for themselves:
1221:minutes of silence on
1096:charity Christmas card
367:
353:
319:
3062:Recalled publications
2462:Hamlyn, Nick (2000).
1654:(review). April 1987.
1242:
1060:'s arch cut up work,
473:Justified and Ancient
366:
348:
313:
2752:Who Killed The JAMs?
2665:Doctorin' the Tardis
2637:All You Need Is Love
2350:Guardian Media Group
2225:Who Killed The JAMs?
2181:The Sound of Mu(sic)
2119:Underground Magazine
2101:The Sound of Mu(sic)
2009:, 12 September 1987.
1958:(Live at the S.S.L.)
1931:All You Need Is Love
1850:Cranna, Ian (1987).
1652:Underground Magazine
1269:Doctorin' the Tardis
1229:'s "Totally Wired."
861:Professional ratings
782:Who Killed The JAMs?
637:Ring a Ring o' Roses
288:All You Need Is Love
225:All You Need Is Love
180:Who Killed The JAMs?
125:(KLF Communications)
121:The Sound of Mu(sic)
2866:Who Killed the KLF?
2721:Fuck the Millennium
2686:Kylie Said to Jason
2610:One World Orchestra
2445:. 20 November 1993.
2437:"Tate tat and arty"
2027:"JAMs on dry bread"
1290:Ring a Ring O'Roses
862:
670:The Lonely Goatherd
524:Fiddler on the Roof
236:independent release
2700:It's Grim Up North
2672:What Time Is Love?
2303:KLF Communications
2230:KLF Communications
2183:. 1987. JAMS LP 1.
2103:. 1987. JAMS LP 1.
1986:KLF Communications
1962:KLF Communications
1937:KLF Communications
1887:. 1991. JAMS CD6.
1885:KLF Communications
1717:KLF Communications
1516:KLF Communications
1444:"The Story of Pop"
1375:The "BPM" values (
1337:KLF Communications
1280:See, for example,
860:
675:The Sound of Music
607:God Save the Queen
545:Houses of the Holy
480:London Underground
461:the Monkees' theme
457:sexual intercourse
368:
320:
270:decided to make a
3047:1987 debut albums
3032:
3031:
2818:Solid State Logik
2658:Burn the Bastards
2608:• K Foundation •
2553:, 31 October 1987
2305:, advertisement,
1933:(Mẹ Ru Con Remix)
1448:BBC Radio 6 Music
1091:The Book of Kells
1002:
1001:
856:Critical response
787:Burn the Bastards
752:(MCPS) followed,
587:Buckingham Palace
404:
395:"The Queen and I"
383:
192:
191:
188:
187:
150:
126:
3089:
2584:
2577:
2570:
2561:
2560:
2554:
2545:
2539:
2538:
2532:
2519:
2513:
2512:
2510:
2508:
2488:
2482:
2481:
2466:(4th ed.).
2459:
2453:
2452:
2446:
2433:
2427:
2426:
2416:
2410:
2409:
2388:
2382:
2381:
2379:
2377:
2335:
2329:
2328:
2318:
2312:
2300:
2294:
2293:
2287:
2273:
2262:
2261:
2248:
2233:
2212:
2206:
2205:
2191:
2185:
2184:
2173:
2167:
2166:
2153:KLF Publications
2151:(KLF 009B). UK:
2135:
2129:
2128:
2122:
2111:
2105:
2104:
2093:
2087:
2086:
2082:Record Collector
2076:
2070:
2069:
2063:
2049:
2043:
2042:
2036:
2025:(20 June 1987).
2019:
2010:
2001:
1990:
1989:
1972:
1966:
1965:
1947:
1941:
1940:
1922:
1916:
1915:
1905:
1892:
1891:
1874:
1868:
1867:
1861:
1847:
1834:
1833:
1827:
1813:
1804:
1795:Bush, John.
1793:
1782:
1781:
1772:
1764:
1758:
1757:
1747:
1728:
1726:
1720:
1703:
1680:
1671:
1662:
1661:
1655:
1644:
1638:
1637:
1627:
1614:
1613:
1603:
1592:
1591:
1585:
1568:
1562:
1561:
1555:
1542:
1536:
1535:
1534:. 28 March 1987.
1525:
1519:
1513:
1507:
1502:(October 1987).
1496:
1485:
1484:
1472:
1459:
1458:
1456:
1454:
1440:
1438:
1436:
1421:The Story of Pop
1405:
1388:
1377:beats per minute
1373:
1367:
1346:
1340:
1329:
1323:
1320:
1314:
1307:
1301:
1278:
1272:
1260:
986:
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980:
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969:
965:
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948:
947:
946:
942:
941:
937:
936:
932:
931:
927:
926:
910:
909:
908:
904:
903:
899:
898:
894:
893:
889:
888:
863:
859:
814:West End musical
601:'s dress"). The
533:Whole Lotta Love
490:). Built around
406:
405:
385:
384:
365:
276:music technology
164:
163:
144:
124:
110:
109:
105:
63:
61:
35:
23:
22:
3097:
3096:
3092:
3091:
3090:
3088:
3087:
3086:
3037:
3036:
3033:
3028:
2977:
2926:
2871:
2859:2023: A Trilogy
2839:
2779:
2732:
2728:The Magnificent
2625:
2593:
2588:
2558:
2557:
2546:
2542:
2534:
2521:
2520:
2516:
2506:
2504:
2489:
2485:
2478:
2470:. p. 526.
2460:
2456:
2448:
2435:
2434:
2430:
2418:
2417:
2413:
2406:
2389:
2385:
2375:
2373:
2336:
2332:
2319:
2315:
2301:
2297:
2289:
2274:
2265:
2249:
2236:
2232:JAMS LP2, 1988.
2213:
2209:
2192:
2188:
2175:
2174:
2170:
2163:
2136:
2132:
2124:
2113:
2112:
2108:
2095:
2094:
2090:
2085:. 1 April 1991.
2078:
2077:
2073:
2065:
2050:
2046:
2038:
2020:
2013:
2002:
1993:
1984:(Media notes).
1973:
1969:
1960:(Media notes).
1948:
1944:
1935:(Sleevenotes).
1923:
1919:
1907:
1906:
1895:
1883:(Media notes).
1876:
1875:
1871:
1863:
1848:
1837:
1829:
1814:
1807:
1794:
1785:
1777:
1765:
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1749:
1748:
1731:
1722:
1704:
1683:
1672:
1665:
1657:
1646:
1645:
1641:
1629:
1628:
1617:
1605:
1604:
1595:
1587:
1574:(28 May 1988).
1569:
1565:
1557:
1544:
1543:
1539:
1527:
1526:
1522:
1509:
1497:
1488:
1473:
1462:
1452:
1450:
1442:
1434:
1432:
1415:(interviewed).
1406:
1402:
1397:
1392:
1391:
1374:
1370:
1347:
1343:
1330:
1326:
1321:
1317:
1308:
1304:
1279:
1275:
1261:
1257:
1252:
1234:post office box
1214:
1209:
1181:
1157:
1145:
1113:commented that
1021:A reviewer for
982:
977:
972:
967:
944:
939:
934:
929:
906:
901:
896:
891:
858:
850:British Library
707:
684:tenor saxophone
658:'s "Next" from
612:Top of the Pops
571:The Rites of Mu
559:song performed
553:
519:Bo Diddley Beat
453:
424:
423:
415:
413:
412:
411:
410:
407:
400:
397:
391:
390:
389:
386:
379:
376:
369:
363:
358:
331:peripheral card
328:digital sampler
318:Rhythm Composer
264:
183:
174:
143:
139:
123:
107:
103:
102:
94:
59:
57:
48:
17:
12:
11:
5:
3095:
3085:
3084:
3079:
3074:
3069:
3064:
3059:
3054:
3049:
3030:
3029:
3027:
3026:
3021:
3016:
3011:
3006:
3001:
2996:
2991:
2985:
2983:
2982:Related people
2979:
2978:
2976:
2975:
2970:
2965:
2960:
2955:
2950:
2945:
2940:
2934:
2932:
2928:
2927:
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2924:
2919:
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2909:
2902:
2897:
2890:
2885:
2879:
2877:
2873:
2872:
2870:
2869:
2862:
2855:
2847:
2845:
2841:
2840:
2838:
2837:
2836:
2835:
2828:
2825:Come Down Dawn
2821:
2809:
2802:
2795:
2787:
2785:
2781:
2780:
2778:
2777:
2773:The Black Room
2769:
2766:The White Room
2762:
2755:
2748:
2740:
2738:
2734:
2733:
2731:
2724:
2717:
2710:
2703:
2696:
2689:
2682:
2679:3 a.m. Eternal
2675:
2668:
2661:
2654:
2647:
2640:
2633:
2631:
2627:
2626:
2624:
2623:
2618:
2598:
2595:
2594:
2587:
2586:
2579:
2572:
2564:
2556:
2555:
2540:
2514:
2491:Robbins, Ira.
2483:
2477:978-0140514667
2476:
2454:
2428:
2425:. 4 July 1987.
2411:
2404:
2392:Weisbard, Eric
2383:
2330:
2313:
2295:
2263:
2234:
2207:
2186:
2168:
2161:
2143:Drummond, Bill
2130:
2106:
2088:
2071:
2044:
2011:
1991:
1981:The White Room
1967:
1956:3 A.M. Eternal
1942:
1917:
1893:
1880:The White Room
1869:
1835:
1805:
1783:
1759:
1729:
1707:Drummond, Bill
1681:
1663:
1639:
1636:. 16 May 1987.
1615:
1593:
1572:Wilkinson, Roy
1563:
1554:. 16 May 1992.
1537:
1520:
1500:Drummond, Bill
1486:
1460:
1399:
1398:
1396:
1393:
1390:
1389:
1368:
1341:
1324:
1315:
1302:
1273:
1254:
1253:
1251:
1248:
1213:
1210:
1208:
1207:
1204:
1197:
1194:
1191:
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1176:
1173:
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1167:
1163:
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1141:
1000:
999:
996:
988:
987:
958:
950:
949:
920:
912:
911:
882:
876:
875:
872:
868:
867:
857:
854:
706:
703:
552:
549:
452:
449:
414:
408:
398:
393:
392:
387:
377:
372:
371:
370:
361:
360:
359:
357:
354:
263:
260:
256:12-inch single
234:Shortly after
190:
189:
186:
185:
176:
167:
160:
159:
152:
151:
134:
128:
127:
118:
112:
111:
100:
96:
95:
93:
92:
87:
81:
79:
73:
72:
69:
65:
64:
56:June 1987
54:
50:
49:
44:
37:
36:
28:
27:
15:
9:
6:
4:
3:
2:
3094:
3083:
3080:
3078:
3075:
3073:
3070:
3068:
3065:
3063:
3060:
3058:
3055:
3053:
3050:
3048:
3045:
3044:
3042:
3035:
3025:
3024:Tammy Wynette
3022:
3020:
3017:
3015:
3012:
3010:
3007:
3005:
3002:
3000:
2997:
2995:
2992:
2990:
2987:
2986:
2984:
2980:
2974:
2973:Transit Kings
2971:
2969:
2966:
2964:
2961:
2959:
2956:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2935:
2933:
2931:Related bands
2929:
2923:
2920:
2918:
2917:K2 Plant Hire
2915:
2913:
2910:
2908:
2907:
2903:
2901:
2898:
2896:
2895:
2891:
2889:
2886:
2884:
2881:
2880:
2878:
2874:
2868:
2867:
2863:
2861:
2860:
2856:
2854:
2853:
2849:
2848:
2846:
2842:
2834:
2833:
2829:
2827:
2826:
2822:
2820:
2819:
2815:
2814:
2813:
2810:
2808:
2807:
2803:
2801:
2800:
2796:
2794:
2793:
2789:
2788:
2786:
2782:
2775:
2774:
2770:
2768:
2767:
2763:
2761:
2760:
2756:
2754:
2753:
2749:
2747:
2746:
2742:
2741:
2739:
2737:Studio albums
2735:
2729:
2725:
2722:
2718:
2715:
2711:
2708:
2704:
2701:
2697:
2694:
2690:
2687:
2683:
2680:
2676:
2673:
2669:
2666:
2662:
2659:
2655:
2652:
2648:
2645:
2641:
2638:
2634:
2632:
2628:
2622:
2619:
2617:
2616:Bill Drummond
2614:
2613:
2612:
2611:
2607:
2603:
2602:The Timelords
2596:
2592:
2585:
2580:
2578:
2573:
2571:
2566:
2565:
2562:
2552:
2551:
2544:
2537:
2530:
2529:
2524:
2518:
2502:
2498:
2497:Trouser Press
2494:
2487:
2479:
2473:
2469:
2468:Penguin Books
2465:
2458:
2451:
2444:
2443:
2438:
2432:
2424:
2423:
2415:
2407:
2405:0-679-75574-8
2401:
2397:
2393:
2387:
2371:
2367:
2363:
2359:
2355:
2351:
2347:
2346:
2341:
2334:
2326:
2325:
2317:
2311:, April 1988.
2310:
2309:
2304:
2299:
2292:
2285:
2284:
2279:
2272:
2270:
2268:
2259:
2258:
2253:
2247:
2245:
2243:
2241:
2239:
2231:
2227:
2226:
2221:
2217:
2211:
2203:
2199:
2198:
2197:Sunday Herald
2190:
2182:
2178:
2172:
2164:
2162:0-86359-616-9
2158:
2154:
2150:
2149:
2144:
2140:
2134:
2127:
2120:
2116:
2110:
2102:
2098:
2092:
2084:
2083:
2075:
2068:
2061:
2060:
2055:
2048:
2041:
2034:
2033:
2028:
2024:
2018:
2016:
2008:
2007:
2000:
1998:
1996:
1988:. JAMS LP006.
1987:
1983:
1982:
1977:
1971:
1963:
1959:
1957:
1952:
1946:
1938:
1934:
1932:
1927:
1921:
1913:
1912:
1904:
1902:
1900:
1898:
1890:
1886:
1882:
1881:
1873:
1866:
1859:
1858:
1853:
1846:
1844:
1842:
1840:
1832:
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1824:
1819:
1812:
1810:
1802:
1798:
1792:
1790:
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1780:
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1770:
1763:
1755:
1754:
1746:
1744:
1742:
1740:
1738:
1736:
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2938:Big in Japan
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2784:Compilations
2776:(unreleased)
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2531:(news item).
2526:
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2505:. Retrieved
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2422:Melody Maker
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2374:. Retrieved
2345:The Guardian
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2283:Melody Maker
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2252:Brown, James
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2204:. p. 4.
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2139:Cauty, Jimmy
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2023:Kelly, Danny
2004:
1979:
1970:
1964:. KLF 005CD.
1954:
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1823:The Guardian
1821:
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1753:Melody Maker
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1679:, 9 May 1987
1674:
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1579:
1566:
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1451:. Retrieved
1433:. Retrieved
1420:
1409:Alan Freeman
1403:
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1286:Samantha Fox
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819:The Guardian
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799:Ford Galaxie
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725:Melody Maker
723:
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656:Scott Walker
652:Superstition
641:
625:Samantha Fox
610:
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529:Led Zeppelin
527:soundtrack.
522:
512:
503:
484:Mind the gap
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349:
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201:studio album
195:
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137:Rockman Rock
41:Studio album
20:
18:
2994:Isaac Bello
2883:Discography
2714:K Cera Cera
2621:Jimmy Cauty
2547:News item,
2003:News item,
1939:. JAMS 23S.
1719:. JAMS 25T.
1673:News item,
1425:BBC Radio 1
1354:Underground
1313:, JAMS LP1.
1098:". A later
1086:Cut Creator
1077:Danny Kelly
1058:T. S. Eliot
791:Polar Music
688:Danny Kelly
631:", and the
603:Sex Pistols
599:Princess Di
591:John Player
515:Jimmy Cauty
500:Fred Wesley
356:Composition
292:white label
280:Jimmy Cauty
203:by British
3041:Categories
2999:Nick Coler
2963:Blacksmoke
2953:Disco 2000
2852:The Manual
2799:Shag Times
1774:Transcript
1395:References
1359:The Manual
1135:described
1119:Run-D.M.C.
777:Gothenburg
561:a cappella
557:Vietnamese
508:Robin Hood
469:a cappella
419:media help
205:electronic
158:chronology
2948:Brilliant
2759:Chill Out
2651:Down Town
2523:"Warning"
2376:23 August
2358:1756-3224
2342:. Music.
2099:(Label).
1143:Personnel
1054:Clydeside
852:in 2023.
773:North Sea
496:Take Five
488:scratches
284:Brilliant
2876:Projects
2507:19 April
2501:Archived
2370:Archived
2366:60623878
2308:The Face
2220:The JAMs
2145:(1988).
1978:(1991).
1953:(1991).
1928:(1987).
1801:AllMusic
1481:Archived
1429:Archived
1411:(host);
1227:The Fall
1223:45 Edits
1184:Side two
1160:Side one
1111:AllMusic
880:AllMusic
838:loophole
833:The Face
680:clarinet
644:angst-er
593:run the
551:Side two
451:Side one
439:magazine
333:, and a
324:Apple II
132:Producer
68:Recorded
53:Released
43: by
2958:The Orb
2630:Singles
2591:The KLF
2202:Glasgow
1976:The KLF
1951:The KLF
1453:9 March
1435:9 March
1333:The KLF
1125:called
846:acetate
769:Agnetha
672:" from
661:Scott 2
543:" and "
340:beatbox
295:12-inch
272:hip hop
229:beatbox
221:samples
213:the KLF
184:(1988)
175:(1987)
90:hip hop
60:1987-06
58: (
2550:Sounds
2528:Sounds
2474:
2402:
2364:
2356:
2324:Sounds
2159:
2006:Sounds
1911:Sounds
1676:Sounds
1633:Sounds
1609:Sounds
1581:Sounds
1282:Sounds
1041:Sounds
1027:found
998:(6/10)
955:Sounds
874:Rating
871:Source
738:, and
736:Sounds
595:league
504:Sounds
498:" and
303:Sounds
99:Length
3004:Gimpo
2894:Space
2888:Films
2844:Other
2493:"KLF"
1288:and "
1250:Notes
795:moose
539:"), "
432:house
207:band
116:Label
85:House
77:Genre
2509:2006
2472:ISBN
2400:ISBN
2378:2023
2362:OCLC
2354:ISSN
2216:MCPS
2177:1987
2157:ISBN
2097:1987
1455:2020
1437:2020
1381:1987
1364:1987
1311:1987
1298:1987
1238:1987
1218:1987
1149:1987
1137:1987
1127:1987
1115:1987
1104:1987
1050:1987
1036:1987
1029:1987
1011:1987
842:1987
828:1987
754:1987
746:ABBA
720:1987
682:and
650:'s "
627:'s "
585:and
531:'s "
494:'s "
465:like
427:1987
344:raps
248:1987
244:ABBA
217:1987
71:1987
2442:NME
2257:NME
2218:to
2059:NME
2032:NME
1799:at
1551:NME
1531:NME
1264:NME
1100:NME
1084:or
1071:NME
810:NME
761:NME
731:NME
690:).
668:' "
654:",
605:' "
3043::
2606:2K
2604:•
2525:.
2499:.
2495:.
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