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The KLF, also known as The Justified Ancients of Mu Mu (which was often abbreviated to The JAMs), The Timelords and other names, were one of the seminal bands from 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 novel series 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 one million pounds sterling. Although Drummond and Cauty remained true to their word of May 1992—the KLF Communications catalogue remains deleted in the UK—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, 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 & the Bunnymen and The Teardrop Explodes. On 21 July of that year, he resigned from his position as an A&R man at record label WEA, citing that he was nearly 33? years old (33? 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". He released a well-received solo LP, The Man, judged by reviewers as "tastefully understated," a "touching if idiosyncratic biographical statement" encapsulating "his bizarrely sage ruminations", and "a work of humble genius: the best kind". 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 novels The Illuminatus! Trilogy, and, in particular, their theme of Discordianism, a form of post-modern anarchism. As an art 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 23 November 1976. The Timelords In 1988, Drummond and Cauty became "Time Boy" and "Lord Rock", and released a 'novelty' pop single, "Doctorin' the Tardis" ( sample (help·info)) 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. 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 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 Snub TV and BBC Radio 1, 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", "pure, unadulterated agony" and "excruciating" 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". They were right: the record went on to sell over one million copies. A single of The Timelords' remixes of the song was released: "Gary Joins The JAMs" featured original vocal contributions from Glitter himself, who also appeared on Top of the Pops 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 little money or 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 selves" for letting "people expect us to lead some sort of crusade for sampling". In 1990 he recalled that "We wanted to make 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 ... 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 acid house anthems "What Time Is Love?" ( sample (help·info)) and "3 a.m. Eternal", the first incarnations of later international chart successes. The KLF described these new tracks as "Pure Trance". In 1989, The KLF appeared at the Helter Skelter rave in Oxfordshire. "They wooed the crowd", wrote Scotland on Sunday some years later, "by pelting them with... ?1,000 worth of Scottish pound notes which each bore the message 'Children we love you'". Also 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". 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 (help·info)), 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 sleeves". 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. 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 ( sample (help·info)) 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" ( sample (help·info)), 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 segued series of "Stadium House" songs followed by downtempo tracks. The KLF's chart success continued with the single "Last Train to Trancentral" ( sample (help·info)) (UK #2, #3 in the Eurochart Hot 100). In December 1991, a re-working of a song from 1987, "Justified and Ancient" ( sample (help·info)) 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 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." 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 12 February 1992, The KLF and crust punk 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; a "violently antagonistic performance" in front of "a stunned music-business audience". 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 and "hardcore vegans" Extreme Noise Terror. The performance ( sample (help·info)) was instead garnished by a limping, kilted, 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. 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" and producer Trevor Horn 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: " 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: 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. — 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 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'." There have been numerous suggestions that in 1992 Drummond was on the verge of a nervous breakdown. Drummond himself said that he was on the edge of the "abyss". BRIT Awards organiser Jonathan King 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.

KLF Mp3 Collection

Albums and CDs KLF

1 The Timelords

2 The KLF

3 Disco 2000

4 Space

5 Bill Drummond

6 2K

7 Blue Pearl

1 The Timelords

2 The KLF

3 Disco 2000

4 Space

5 Bill Drummond

6 2K

7 Blue Pearl