Everything about The Klf totally explained
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 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 33⅓ years old (33⅓
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". 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.
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'd form a hip-hop band with former colleague Jimmy Cauty, and they'd be called The Justified Ancients of Mu Mu.
The Justified Ancients of Mu Mu
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'd
plagiarise the history of popular music, cutting chunks from existing works and pasting them into new contexts, underpinned by rudimentary
beatbox rhythms and overlayed with Drummond's
raps, of social commentary, esoteric metaphors and mockery.
The JAMs' debut single "
All You Need Is Love" dealt with the media coverage given to
AIDS, sampling heavily from
The Beatles' "
All You Need Is Love" and
Samantha Fox's "
Touch Me (I Want Your Body)". Although it was declined by distributors fearful of prosecution, and threatened with lawsuits, copies of the one-sided
white label 12" were sent to the
music press, receiving positive reviews and being made "single of the week" in
Sounds. A later piece in the same magazine called The JAMs "the hottest, most exhilarating band this year.... It's hard to understand what it feels like to come across something you believe to be totally new; I've never been so wholeheartedly convinced that a band are so good and exciting."
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
graffiti, defacing selected billboards. The re-release rewarded The JAMs not just with further praise (including
NME´s "single of the week",) but also with the funds necessary to record their debut album. The album,
1987 (What the Fuck Is Going On?), was released in June 1987. Included was a song called "The Queen and I", which sampled large portions of the
ABBA single "
Dancing Queen". The recording came to the attention of ABBA's management and, after a legal showdown with ABBA and the
Mechanical-Copyright Protection Society, the
1987 album was forcibly withdrawn from sale. Drummond and Cauty travelled to
Sweden in hope of meeting ABBA and coming to some agreement, taking an
NME journalist and photographer with them, along with most of the remaining copies of the LP. They failed to meet ABBA, so disposed of the copies by burning most of them in a field and throwing the rest overboard on the
North Sea ferry trip home. In a December 1987 interview, Cauty maintained that they "felt that what [they]'d done was artistically justified."
Two new singles followed
1987, on The JAMs' "KLF Communications" independent record label. Both reflected a shift towards
house rhythms. According to
NME, The JAMs' choice of samples for the first of these, "
Whitney Joins The JAMs" saw them leaving behind their strategy of "collision course" to "move straight onto the art of super selective theft". The song uses samples of the theme alongside
Whitney Houston's "
I Wanna Dance With Somebody". Ironically, Drummond has claimed that The KLF were later offered the job of producing or remixing a new Whitney Houston album as an inducement from her record label boss (
Clive Davis of
Arista Records) to sign with them. Drummond turned the job down, but nonetheless The KLF signed with Arista as their American distributors. The second single in this sequence—Drummond and Cauty's third and final single of 1987—was "
Down Town", a dance record built around a
gospel choir and "
Downtown" by 1960s star
Petula Clark. 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".)
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.
Also credited on the record was "Ford Timelord", Cauty's 1968
Ford Galaxie American police car (claimed to have been used in the film 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'd 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". 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 wasn't until March 1988, with the single "
Burn the Bastards"/"Burn the Beat" (KLF 002). Although the Justified Ancients of Mu Mu name wasn't 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 [them]selves" for letting "people expect us to lead some sort of crusade for sampling". In 1990 he recalled that "We wanted to make [asThe 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".
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", 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'd worn "
Pet Shop Boys infatuations brazenly on [their] 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". In December 1991, a re-working of a song from
1987, "
Justified and Ancient" 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'd 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 hardcore heavy metal group
Extreme Noise Terror performed a live version of "3 a.m. Eternal" at the
BRIT Awards, the
British Phonographic Industry's annual awards show; 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. and producer
Trevor Horn is reported to have called their antics "disgusting".
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".
K Foundation and post-retirement projects
The
K Foundation was an arts foundation established by Drummond and Cauty in 1993 following their 'retirement' from the music industry. From 1993 to 1995 they engaged in a number of art projects and media campaigns, including the high-profile
K Foundation art award (for the "worst artist of the year"). Most notoriously, they
burnt what was left of their KLF earnings—a million pounds in cash—and filmed the "performance".
In 1995, Drummond and Cauty contributed a song to
The Help Album as
The One World Orchestra ("featuring The Massed Pipes and Drums of the Children's Free Revolutionary Volunteer Guards"). "
The Magnificent" 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
17 September 1997, ten years after their debut album
1987, Drummond and Cauty re-emerged briefly as 2K. 2K made a one-off performance at London's
Barbican Arts Centre with
Mark Manning,
Acid Brass, the
Liverpool Dockers and
Gimpo; a performance at which "Two elderly gentlemen, reeking of
Dettol, caused havoc in their motorised
wheelchairs. These old reprobates, bearing a grandfatherly resemblance to messrs Cauty and Drummond, claimed to have just been asked along." The song performed at the Barbican – "
Fuck the Millennium" (a remix of "What Time Is Love?" featuring Acid Brass and incorporating elements of the hymn "
Eternal Father, Strong to Save") – was also released as single . These activities were accompanied by the usual full page press adverts, this time asking readers "***k The Millennium: Yes/No?" with a telephone number provided for voting. At the same time, Drummond and Cauty were also
K2 Plant Hire, with plans to build a "People's Pyramid" from used house bricks; this plan never reached fruition.
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.
KLF Communications
From their very earliest releases as The Justified Ancients of Mu Mu until their
retirement in 1992, the music of Bill Drummond and Jimmy Cauty was
independently released in their home country (the
UK). Their debut releases - the single "
All You Need Is Love" and the album
1987 - were released under the label name "The Sound Of Mu(sic)". However, by the end of 1987 Drummond and Cauty had renamed their label to "KLF Communications" and, in October 1987, the first of many "information sheets" (self written missives from The KLF to fans and the media) was sent out by the label. When Rough Trade Distribution distribution collapsed in 1991 it was reported that they owed KLF Communications £500,000. (In the same feature it was reported that Drummond wished to sign
Ian McCulloch to the label, but this never happened). Plugging (the promotion to TV and radio) was handled by long time associate
Scott Piering),
TVT (early releases including
The History of The JAMs a.k.a. The Timelords), and
Arista Records (
The White Room and singles).
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
The Residents for their antics, if not their music. Drummond and Cauty have also been compared to
Stewart Home and the
Neoists. Home himself said that the duo's work "has much more in common with the Neoist, Plagiarist and
Art Strike movements of the nineteen-eighties than with
[the Situationists] the avant-garde of the fifties and sixties." Drummond and Cauty "represent a vital and innovative strand within contemporary culture", he added.
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'd adopted. Throughout the partnership, these tactics were often interpreted by media commentators as "pranks" or "publicity stunts". However, according to Drummond, "That's just the way it was interpreted. We've always loathed the word scam. I know no-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." Cauty has expressed similar feelings, saying of The KLF, "I think it worked because we really meant it". their 1997 return as 2K was "for 23 minutes only".
In numbering schemes: for instance, the debut single "All You Need Is Love" took the catalogue number JAMS 23, while the final KLF Communications Information Sheet was numbered 23; and Cauty's Ford Galaxie police car had on its roof the identification mark 23.
In significant dates during their work: for instance, a rare public appearance by The KLF, at the Liverpool Festival of Comedy, was on 23 June 1991; they announced the winner of the K Foundation award on 23 November 1993; and they burned one million pounds on 23 August 1994. Drummond's penchant for living by numbers has also been observed in his choosing to align the ages at which he undertook creative projects The Man and 45 with the standard revolution speeds of a turntable (33.3 and 45 rpm).
The "Pyramid Blaster"
There is no definitive explanation of The KLF's name, nor of the origin of 'K' in the names of the K Foundation and 2K. KLF has been variously reported as being an acronym for "Kopyright Liberation Front", "Kallisti Liberation Front" and "Kings of the Low Frequencies". This mirrors Illuminatus!, where the fictional JAMs are in alliance with The LDD—who regularly change the origins of their name—and The ELF ("Erisian Liberation Front").
Although Drummond accounted for the adoption of The JAMs name in the first KLF Communications Info Sheet, the reasoning behind Drummond and Cauty's decision to reference the Illuminatus! mythology with such consistent intricacy is unknown. Indeed, it has been suggested by journalist Steven Poole that the public's inability to fully understand The KLF results in all their subsequent activities (as a partnership or otherwise) being absorbed into The KLF's mystique. In a review of Drummond's 1999 book, 45, and an appraisal of The KLF's career, Poole stated that "[BillDrummond] and collaborator Jimmy Cauty are the only true conceptual artists of the [1990s]. And for all the beauty of their art, their most successful creation is the myth they've built around themselves." He concluded,
Trancentral, eternity, sheep
Trancentral (aka the Benio) was the operations centre of The KLF, their mythological home, and their studios. Despite the grandiose lyrics of "Last Train to Trancentral", Trancentral was in fact Cauty's residence in Stockwell, South London, "a large and rather grotty squat" according to Melody Maker's David Stubbs: "Jimmy has lived [there] for 12 years. ('I hate the place. I've no alternative but to live here.') There's little evidence of fame or fortune. The kitchen is heated by means of leaving the three functioning gas rings on at full blast until the fumes make us all feel stoned.... And, pinned just above a working top cluttered with chipped mugs is a letter from a five-year-old fan, featuring a crayon drawing of the band."
Fire and sacrifice were recurring ceremonial themes: Drummond and Cauty made fires to dispose of their illegal debut album and to sacrifice The KLF's profits; their dead sheep gesture of 1992 carried a sacrificial message. The KLF's short film The Rites of Mu depicts their celebration of the 1991 summer solstice on the Hebridean island of Jura: a tall wicker man was burnt at a ceremony in which journalists were asked to wear yellow and grey robes and join a chant.
Music press journalists were occasionally invited to witness the defacements. In December 1987, a Melody Maker reporter was in attendance to see Cauty reverse his car Ford Timelord alongside a billboard and stand on its roof to graffiti a Christmas message from The JAMs. In February 1991, another Melody Maker journalist watched The KLF deface a billboard advertising The Sunday Times, doctoring the slogan "THE GULF: the coverage, the analysis, the facts" by painting a 'K' over the 'GU'. Drummond and Cauty were, on this occasion, caught at the scene by police and arrested, later to be released without charge. In September 1997, on the day after Drummond and Cauty's brief remergence as 2K, the graffiti "1997: What The Fuck's Going On?" appeared on the outside wall of London's National Theatre, ten years after the slogan "1987: What The Fuck's Going On?" had been similarly placed to mark the release of The JAMs' debut album.
Legacy
Despite their protestations of 1988 about not wishing to be seen as crusaders for sampling, In 1996, Mixmag named Chill Out the fifth best "dance" album of all time, describing Cauty's DJ sets with The Orb's Alex Paterson as "seminal".
The Guardian has credited The KLF with inventing "stadium house" and NME named The KLF's stadium house album The White Room the 81st best album of all time. Elements of The KLF's stadium house concept (sampled crowd noise, and signatory vocal samples reused on different songs) were adopted by several less successful rave acts of the early 1990s, including Utah Saints, N-Joi and Messiah.
Sound on Sound magazine credited The KLF with "set[ting] the trend for a new approach to mixing". Engineer Mark Stent is quoted as saying:
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. They're from a different tradition to us in that they're pranksters and we've never been pranksters."
Direct influence
The KLF have been imitated to some degree by German techno band Scooter, and were themselves apparently the victims of a "hoax" when an outfit called "1300 Drums featuring the Unjustified Ancients of M.U." released a novelty single to cash-in on the popularity of Manchester United footballer Eric Cantona. 1300 Drums even made a KLF-style Top of the Pops appearance, with the "band" wearing Cantona masks. The authorship of "Ooh Aah" remains unresolved: at least one source maintains that Drummond and Cauty were 1300 Drums.
The Timelords' book, The Manual, was reportedly used by the one-hit-wonders Edelweiss to secure their hit "Bring Me Edelweiss".
"Last Train to Trancentral" is used in the finale of Blue Man Group's theatrical shows 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 broadsheets and music papers since The KLF's retirement, most often in connection with the K Foundation and their burning of one million pounds. It is worth noting that The KLF in their various incarnations have been to an extent "media darlings" who have received largely unqualified praise from the printed media. This may or may not be due to what NME called their "Master[y] of manipulating media and perceptions of themselves".
In 1992, NME referred to The KLF as "Britain's greatest pop group" and "the two most brilliant minds in pop today", The British music paper also listed The KLF's 1992 BRIT Awards appearance at number 4 in their "top 100 rock moments". "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."
In a largely cynical piece, Trouser Press reviewer Ira Robbins referred to The KLF's body of work as "a series of colorful sonic marketing experiments".
In 2003, The Observer named The KLF's departure from the music business (and the BRITs performance in which the newspaper says "their legend was sealed") the fifth greatest "publicity stunt" in the history of popular music (Elvis joining the army being hailed as the greatest). A 2004 listener poll by BBC 6 Music saw The KLF/K Foundation placed second in a list of "rock excesses" (after The Who).
Instrumentation
Early releases by The JAMs, including the album 1987, were performed using an Apple II computer with a Greengate DS3 sampler peripheral card, and a Roland TR-808 drum machine. On later releases, the Greengate DS3 and Apple II were replaced with an Akai S900 sampler and an Atari computer respectively.
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)". and Cauty played electric guitar on "Justified and Ancient (Stand by The JAMs)" and "America: What Time Is Love?". Graham Lee provided prominent pedal steel contributions to The KLF's Chill Out and "Build a Fire". Duy Khiem played clarinet on "3 a.m. Eternal" and "Make It Rain".Selected discography
Albums
The Justified Ancients of Mu Mu - 1987 (What the Fuck Is Going On?) (The Sound of Mu(sic), 1987)
The Justified Ancients of Mu Mu - Who Killed The JAMs? (KLF Communications, 1988)
The Justified Ancients of Mu Mu/The KLF - Shag Times (KLF Communications, 1988)
The KLF/Various Artists - The "What Time Is Love?" Story (KLF Communications, 1989)
The KLF - Chill Out (KLF Communications, 1990)
The KLF - The White Room (KLF Communications, 1991)
The KLF - The Black Room (not completed, unreleased)
UK top-ten singles
The Timelords - "Doctorin' the Tardis" (KLF Communications, 1988) (UK Singles Chart #1)
The KLF - "What Time Is Love? (Live at Trancentral)" (KLF Communications, 1990) (#5)
The KLF - "3 a.m. Eternal (Live at the S.S.L.)" (KLF Communications, 1991) (#1)
The KLF - "Last Train to Trancentral (Live from the Lost Continent)" (KLF Communications, 1991) (#2)
The Justified Ancients of Mu Mu - "It's Grim Up North" (KLF Communications, 1991) (#10)
The KLF (featuring Tammy Wynette) - "Justified and Ancient (Stand by The JAMs)" (KLF Communications, 1991) (#2)
The KLF - "America: What Time Is Love?" (KLF Communications, 1992) (#4)
Notes and references
Further Information
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