Hello, some new connection troubles today but it looks good enough sofar and so a first now RhoDeo Beats, the band in the spotlight did a lot to bring forward the power of the new dance music that was to follow in the nineties, as such they really broke on through on the world stage and tore the selfsatisfied musicscene up, litterally forcing it to move. From here it seems all rather incredible they were able to create so much media noise and chart success with what ultimately hasn't been that great an output, what they did do is establish the remix concept very firmly. Personally i like the whole remix idea, however i know many that don't. Anyway they made it, thanks to the british music press, i doubt they could have done it anywhere else in the world. Enough blah...
The KLF Story Continues
By the time the JAMs' single "Whitney Joins The JAMs" was released in September 1987, their record label had been renamed "KLF Communications". However, the duo's first release as The KLF was not until March 1988, with the single Burn the Bastards/Burn the Beat . 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 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". 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?" and "3 a.m. Eternal", the first incarnations of later international chart successes. The KLF described these new tracks as Pure Trance .
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", unfortunately the electropop single flopped. As the film project was fraught with difficulties and setbacks, including dwindling funds, as a consequence, Drummond and Cauty cut their losses and The White Room film project was put on hold, and they abandoned the musical direction of the soundtrack and single. Instead they decided to pursue the acid house tone of their Pure Trance series.
In 1990 The KLF launched a series of singles with an upbeat pop-house sound which they dubbed "Stadium House". Songs from The White Room soundtrack were re-recorded with rap and more vocals, 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 August 1990, reached number five 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 number one in the UK and number five in the US Billboard Hot 100.
The KLF's chart success continued with the single "Last Train to Trancentral" hitting number two in the UK. In December 1991, a re-working of a song from 1987, "Justified & Ancient" was released, featuring the vocals of American country star Tammy Wynette. It was another international hit—peaking at number two in the UK, and number 11 on the Billboard Hot 100—as was "America: What Time Is Love?", featuring a hard, guitar-laden reworking of "What Time Is Love?" 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.
On 12 February 1992, The KLF and crust punk group Extreme Noise Terror performed a live version of "3 a.m. Eternal" at 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 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" This announcement largely got lost and it took a large add in NMW on 5/5/92 to finally get the message through. Being selfproclaimed "Discordians" it's not that surprsing that 5 years after their appearance on the music stage they left again only to make a slight reappearance 5 years after that. The number 5 being a sacred number to the Discordians...
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1 "Down Town" was The JAMs' and KLF Communications' final release of 1987, a 7" and 12" single release of 30 November. It did not enter the UK Singles Chart, but made inroads into the UK independent chart. In addition to Petula Clark's "Downtown", "Down Town" used elements of the distinctive bassline to Harold Faltermeyer's 1984 # 1 single "Axel F".
"Down Town" is, a social critique of Great Britain realised as house music. Its central theme is social exclusion, poverty and homelessness, in which snatches of Clark's "Downtown"—an awestruck ode to hedonistic city nightlife—are juxtaposed with raps by Drummond, "Downtown, down and out, dying in the dead of night, with your Special Brew and your special view of a world that could be right".
1. Down Town (7:29)
2. Down Town (Edit) (6:02)
2 "Doctorin' The Tardis" was an excursion into the musical mainstream, with the change of name to "The Timelords" and an overt reliance on several iconic symbols of 1970s and 80s British popular culture, including Glitter, the Doctor Who theme song, references to Doctor Who's Daleks and the TARDIS), Sweet's "Blockbuster!" Drummond and Cauty often claimed that the song was the result of a deliberate effort to write a number one hit single. In which they succeeded.
1. Doctorin' The Tardis (3:39)
1. Doctorin' The Tardis (12"mix) (8:16)
2. Gary Joins The Jams (3:30)
4. Doctorin' The Tardis (Instrumental) (4:31)
3 "What Time Is Love?" became one of The KLF's central tracks, dubbed their "three-note warhorse of a signature tune" by Bill Drummond, in reference to the three-note bassline which, together with a high-pitched refrain on two notes (B bending to F#) characterises the song. The original 1988 12" single release launched The KLF's minimalist "Pure Trance" series of singles. Upon release in the Uk it didnt get much interest, however the europan clubscene came to the rescue after Deejays successfully incorperated the track into their sets and launched its release troughout europe.
1. What Time Is Love (7'' Remix) (3:50)
2. What Time Is Love (Power Remix) (7:04)
3. What Time Is Love (Pure Trance Original) (7:03)
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4 "3 a.m. Eternal" numerous versions of which were released as singles between 1989 and 1992. In January 1991, an acid house version heavily reworked for a mainstream audience, "3 a.m. Eternal (Live at the S.S.L.) became an international top ten hit single, hitting #1 in the UK Singles Chart and #5 on the US Billboard Hot 100, and leading to The KLF becoming the internationally biggest-selling singles band of 1991.
1. 3 A.M. Eternal (Live At The S.S.L) (3:42)
2. 3 A.M. Eternal (Guns Of Mu Mu) (5:24)
3. 3 A.M. Eternal (1989 Break For Love Mix) (5:44)
"It's Grim Up North" was a 1991 single by The Justified Ancients of Mu Mu (The JAMs), the main lyrics of which consist of a list of towns and cities in the North of England, set to a pounding industrial techno accompaniment reminiscent of steam train whistles, all of which segues into an orchestral instrumental of the hymn "Jerusalem". It reached # 10 in the UK. (Part 1)" is a 10-minute composition with two distinct segueing sections. The first 7-minute section is a heavy, pounding industrial techno track, over which Drummond gives a roll-call of Northern towns, through a CB microphone.
1. It's Grim Up North (Radio Edit) (4:03)
2. It's Grim Up North (Part 1) (10:02)
3. It's Grim Up North (Part 2) (6:13)
4. Jerusalem On The Moors (3:02)
"Justified & Ancient" featured on their 1991 album The White Room but with origins dating back to the duo's debut album, 1987 (What the Fuck Is Going On?). The song is best known for its remake that was released in November 1991 as a pop-house single subtitled "Stand by The JAMs",with verses featuring the vocals of country music singer Tammy Wynette. This version was an international hit. The song "Justified & Ancient" is a statement of identity and deliberately understated rebellious intent.
1. Justified & Ancient (Stand By The Jams) (3:37)
2. Justified & Ancient (The White Room Version) (5:05)
3. Justified & Ancient (All Bound For Mu Mu Land) (7:49)
4. Justified & Ancient (Make Mine A 99) (5:53)
5. Justified & Ancient (Let Them Eat Ice Cream) (6:31)
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7 "Last Train to Trancentral (Live from the Lost Continent)", a commercially successful single of April 1991 that reached # 2 in the UK Singles Chart and achieved international top ten placings. It is related to The KLF's unreleased earlier tracks "E-Train to Trancentral" and, from the 1989 soundtrack to their film The White Room. The "Pure Trance" version of "Last Train to Trancentral" is a minimalist ambient house reworking of "Go to Sleep", stripped of the female vocals. Trancentral was the name of The KLF's recording studio in Stockwell, that was also The KLF co-founder Jimmy Cauty's squat.
1. Last Train To Trancentral (Radio Edit) (3:42)
2. Last Train To Trancentral (The Iron Horse) (4:17)
3. Last Train To Trancentral (1989 Pure Trance Original) (6:42)
8 "America: What Time Is Love?" constituted a major reworking of the anthem and was The KLF's final UK commercial musical offering. It was released in February 1992 in the UK, four months after it was first made available in the US.The KLF's notorious BRIT Awards performance, staged in the week prior to "America"'s UK release, concluded with the announcement of their departure from the music industry. "America" has a markedly different tone to previous incarnations of the song: harder, heavier and more guitar-laden (featuring the riff from Motörhead's Ace of Spades). "America No More" is a sombre anti-war statement focussing on US foreign policy. With ambient overtones, it features forlorn guitars, austere brass and a pipe band, set against the backdrop of artillery noise and the recorded words of US politicians, commentators and evangelists speaking either about or during major 20th century US military conflicts. According to Drummond, it was the final track to be recorded by The KLF.
1. America - What Time Is Love (Radio Edit) (3:33)
2. America No More (6:05)
3. America - What Time Is Love (Uncensored) (9:02)
4. America No More (Just The Pipe Band) (3:15)
"Fuck the Millennium" or "***K the Millennium" is an electronic protest song that was released as a single in 1997 by 2K , better known as The KLF. Based upon their acid house track "What Time Is Love?", it was promoted as a comeback single and released to mark the tenth anniversary of Drummond and Cauty's first collaborations; however, it was also in part intended to mock the notion of the comeback. Drummond and Cauty's campaign to "fuck the millennium" also involved a 23 minute appearance by 2K at London's Barbican Arts Centre and a number of outlandish proposals to 'commemorate' the millennium under the moniker "K2 Plant Hire". These activities were intended to culminate in the construction of "The People's Pyramid", a 150-foot (46 m)-high structure built from recycled bricks, but the pyramid was never built.
1. Fuck The Millennium (13:57)
2. What Time Is Love (Version K) (The Williams Fairey Brass Band) (4:33)
3. Fuck The Millennium (Radio Edit) (4:20)
4. Fuck The Millennium (Censored Radio Edit) (4:19)
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The Not On Label Series released an unofficial CD release September 1993. A compilation of hard-to-find tracks by The KLF in their various incarnations.It's a bootleg, but it is quite widely available. Among other things, it includes the notorious Extreme Noise Terror version of 3 a.m. Eternal which was banned from BBC TV chart show Top Of The Pops and was made available on a 7" single through KLF's mailorder only.
The KLF - Ultra Rare Trax ( 93 162mb)
01. All You Need Is Love (5:06)
02. It's Grim Up North (For Love Nor Money Mix) (8:51)
03. What Time Is Love (Techno Slam Mix) (4:36)
04. 3 A.M. Eternal (Blue Danube Original) (7:40)
05. Last Train To Trancentral (Remix 1) (5:49)
06. Kylie Said To Jason (Full Length Version) (7:10)
07. What Time Is Love (Power Remix) (7:38)
08. Doctorin' The Tardis (Gary Glitter Mix) (6:18)
09. Justified And Ancient (Tammy Mix) (5:32)
10. 3 A.M. Eternal (TOTP Mix, Extreme Noise Terror ) (2:48)
11. What Time Is Love (Wandaful Mix) (6:08)
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I've posten the KLF's White Room album 2,5 years ago (5/24/08), you can check it out here ! it's still available