The KLF: Chaos, Magic and the Band who Burned a Million Pounds

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Morgan Britton, Luke (6 February 2017). "The KLF announce new book". nme.com. NME . Retrieved 4 March 2020. Ellison, Mike (24 November 1993). "Terror strikes at the Turner Prize / Art at its very best (or worst)". The Guardian. Archived (via the Library of Mu) on 16 September 2016. Wikipedia:WikiProject The KLF/LibraryOfMu/362

At the time of writing it is the Summer of Love 1988 and we would seriously advise anybody in search of the Groove to spend the night at the ubiquitous acid house event, drink very little alcohol, loose your mind on the dance floor and shake your hands in the air ’till you feel it. Of course drugs are something we cannot be seen to advocate, but we understand that a certain very expensive narcotic makes this a lot clearer. Some groove merchants have a talent for getting it all their own way by coming up with a bass riff that never shifts from the beginning of the song until the end: intro, choruses, verses, breakdowns, outro all fitting around the same bass riff. For a song to sound like this and work away from the confines of the dance floor, it is going to have to be a real mutha of a riff. There must be some pretty insistent action going on on top of it to keep the casual radio listener interested. Even on “Billy Jean” they moved off the bass riff for the chorus. a b Doran, John (5 January 2017). "KLF Announce Return After 23 Year Absence". The Quietus . Retrieved 5 January 2017.This above paragraph is not an attempt at obvious irony, it is for real. If you can’t find that angle then I am afraid you have wasted your money in buying this manual. THIS BOOK IS SOLD SUBJECT TO THE CONDITION THAT IT SHALL NOT BY WAY OF TRADE OR OTHERWISE BE LENT, RESOLD, HIRED OUT OR OTHERWISE CIRCULATED WITHOUT THE PUBLISHER’S PRIOR CONSENT IN ANY FORM OF BINDING OR COVER OTHER THAN THAT IN WHICH IT lS PUBLISHED AND WITHOUT A SIMILAR CONDITION INCLUDING THIS CONDITION BEING IMPOSED IN THE SUBSEOUENT PUBLISHER. All abroad, all abroad … the real Bill, Jimmy and Ford Timelord, on the trail of Abba in 1987. Photograph: Lawrence Watkins Drummond, Bill (September 1991). "Bomlagadafshipoing" (Interview). Norwegian Broadcasting Corporation Radio 2. Transcript archived (via the Library of Mu) on 16 September 2016. Wikipedia:WikiProject The KLF/LibraryOfMu/521

Hannah Ellis-Petersen writing in The Guardian describes the book as "a multi-layered, self-referential meta tale." [27] Cover [ edit ]

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REGULAR CUSTOMER RATE. Not applicable to you but just for reference. By the time you use the same studio for the third time you should be trying to pull this one. Take it easy over the weekend. Start fantasising about videos and Top of the Pops performances, things you will say in interviews and what your old teachers would think if they knew you had got a Number One. Reid, Jim (25 September 1994). "Money to burn". The Observer. Archived (via the Library of Mu) on 16 September 2016. Wikipedia:WikiProject The KLF/LibraryOfMu/387 This article is a first-hand account by freelance journalist Jim Reid, the only independent witness to the burning. a b Graham, Ben (1 February 2017). "Embrace The Contradictions: The Strange World Of... The KLF". The Quietus . Retrieved 10 March 2020. Only YOU can make each decision along the way. Don’t look for others to make them for you. If something goes wrong remember you are the only one who is ultimately responsible.

But there was one central character missing. The KLF drove everywhere in a battered American police car, Ford Timelord, that featured in all their music videos, and even appeared on BBC Breakfast. The original car was long destroyed by Jimmy, but I found an ardent fan who had lovingly recreated this legendary vehicle, right down to the seat fabric and tax disc. We took Ford Mk 2 filming in Suffolk, and were chased out of a field by an irate man. I broke into waste ground in Turnpike Lane and buried a fake Brit, as the KLF did with their real award at Stonehenge However efficient and organised these service industries became, they could only do so much with the spotty and marginal. But it was only a matter of time before something came along from within the indie scene that was neither “spotty” nor “marginal” and had definite mass appeal. That record was “Pump Up The Volume” by MARRS. It was a turning point. That record not only became Number One in the UK it became an international smash.

DOWN TIME. This is usually the time between when the official client finishes (usually 2am) and starts again (usually 10am). Over the past ten years anybody with overtly commercial material would never have considered using the indie network. Everybody with an eye on the Top Spot knew that the indie scene was for the spotty and marginal and people who celebrated the glories of being spotty and marginal. The majors were secure in their knowledge of this. If you are in a band you will undoubtedly be aware of the petty squabbles and bitching that develops within them. This only festers and grows proportionately as the band gets bigger and no band ever grows out of it. All bands end in tantrums, tears and bitter acrimony. The myth of a band being gang of lads out “against” the world (read as “to change”, “to shag” or “to save the world”) is pure wishful thinking to keep us all buying the records and reading the journals. Mind you, it’s a myth that many band members want to believe themselves. If you already have an account with a bank make the appointment with the manger or his assistant. If not, get into any branch (the nearest to where you live will do as long as it’s one of the big five). Open a current account and make that appointment. Do this on Monday afternoon while you’re out and about. The appointment should be for some time that week. Just tell them you are setting up a small, independent record label – no big plans yet, just aiming to put out the one single and see how it goes. Tell him there will be a couple of times when you will have to issue cheques before others have come in. No big stuff. You will let him know beforehand. The most important thing is to get a rapport going with him; attempt to keep him in touch with what is happening over the next few weeks. By the time you read this acid house will already be history but it is always easy to find out what’s happening. There is an army of eager, young media types out there doing the research for you and writing it all up in any one of the competing youth-orientated journals.