Frequently Asked Questions

General Questions

The most frequently asked questions regarding The KLF. This is where you should start reading about the work of Bill Drummond and Jimmy Cauty to explore the History of the JAMS.

General

From when they first paired up in 1987, to when the KLF split in 1992 (and even beyond), Drummond and Cauty progressed through many varying musical styles in their commercial releases.

There are never ending discussions about how good or bad a certain phase of their history was. You should be aware that Drummond and Cauty had very short attention spans and changed musical direction more often than other bands changed their underwear. You don’t have to like everything they’ve done, but have an open mind and remember the context of the time they produced those songs.

Here’s a short guide to the various incarnations:

1987-1988 as The JAMs

Punk ethic, political Scottish rap, blatant cut-n-paste sampling, primitive hip-hop, but they gradually got better at it with their second LP. Huge influence on Pop Will Eat Itself.

1987-1989 as Disco 2000

Started as a Cauty solo project. Cheesy pop. Resembled later JAMs singles like Burn The Bastards, while influencing the later following pre-Stadium House KLF records.

1988 as The Timelords

An exercise in nauseating novelty, charting a number one house record Doctorin’ the Tardis and explaining how they did it in The Manual. Huge influence on Edelweiss who in fact got a Number One hit by following the Golden Rules.

1988-1990 as The KLF

Twin styles of acid trance house and ambient soundscapes, very difficult to find the records, but check out the Chill Out album, which is still in print in the USA. The rave stuff was an influence on Black Box, and other Italians, while the ambient stuff practically started the whole 90’s ambient scene along with The Orb.

They also recorded various songs for their soundtrack of the “White Room” movie but never released them in their original form. Trying to mimic the style of the Pet Shop Boys around that time with their single Kylie Said To Jason.

1990-1992 as The KLF

Their early singles and huge parts of the White Room soundtrack were remixed and re-remixed and re-re-re-remixed into the Stadium House pop permutations you have probably heard on the radio. Influence on Blue Pearl, Utah Saints, Nomad etc.

1990-1991 as The JAMS

While gaining success with their KLF releases, they teamed up once more as the JAMS and released a remixed version of their previous promo It’s Grim Up North, a first glimpse of the always-scheduled-and-delayed Black Room album. Dark electronic.

1992 as The KLF

They started working on thrash guitar heavy-metal techno dance together with Extreme Noise Terror but scrapped most of the sessions. Could this have been yet another new musical style? Possible influence on God Machine and Kerosene (who both did a KLF cover).

1993-1995 as K Foundation

Like all good post-modernists they are branching out into interdisciplinary arts, releasing their only single K Cera Cera, a limited release in Israel/Palestine to celebrate the peace accord. A mix of orchestral sound and Russian choir.

1995 as One World Orchestra

They sneaked out of retirement for one day to record a hastily constructed orchestral/drum’n’bass track for the much hyped “Help! (Artists for War Child)” LP.

1997 as 2K

Celebrating the 10th birthday of The JAMS, they released Fuck The Millennium as a statement against the more and more growing Y2K frenzy and, according to Drummond, “to celebrate the crapness of comebacks”. Somewhere between early 90’s acid-pop, Chemical Brothers-style big beat and a 40-piece brass band.

2017 as The JAMs

In 2017 The JAMs came out of retirement once more to announce the release of 2023, as well as their foray into cremation and pyramid building.

Filed under General

The KLF ‘retired from the music industry’ on the 5th of May 1992, deleted their entire back catalogue, and burned all remaining merchandise to prove that this action was serious and not a stunt to sell more records. In an ad taken out in the UK music press they stated that for ‘the foreseeable future there will be no further record releases from … any past, present & future name attached to our activities’. Quite how long the foreseeable future represents depends on your own optimism/pessimism. They also said that ‘if we meet further along be prepared…our disguise may be complete’.

They did return to public attention as The K Foundation, in a series of strange press ad’s in summer 1993, but as the typeset, the poetic language and pyramid logo were familiar, and there was an excess of letter K’s the disguise was certainly not complete. They have commercially released one single since then, the K Foundation’s interstellar anthem K Sera Sera (War Is Over If You Want It), which is ‘Available Nowhere…No Formats’ until world peace has been established, although it has been played at major public gatherings including music festivals, and a limited release was arranged in Israel/Palestine to honour the limited peace that the signing of the Rabin/Arafat deal represented. Copies of this single now change hands for very large sums of money.

In September 1995 they recorded a track called The Magnificent for the HELP album under the name One World Orchestra. They agreed to make this track, (for free), as it was for a non-profit-making charity record, and Bill considered it worth doing.

In September 1997 they returned for a brief moment as 2K, releasing the single Fuck The Millennium as well as doing a live performance at the Barbican Centre, London. There is a whole chapter in Bill Drummond’s book 45 dedicated to the How’s And Why’s of this short-lived episode.

In 2021 parts of the JAMs/KLF’s back catalogue was eventually made officially available through digital streaming platforms, and while those releases did not contain any completely new recordings some of the contents had been edited and updated.

Filed under General

Record Details

Differences between international releases. the recording of Chill Out and the other sound of Mu, covering the early Brilliant releases as well as the K Foundation and the One World Orchestra.


Bootlegs

Bootlegs of rare KLF releases have been released aplenty over the time. While some of them can be easily spotted, others are hard to distinguish from the original issues.


What does […] sound like?

Some of the more rare and obscure tracks and projects can be hard to track down, so these should give you an idea of what to expect.

Bear in mind that the KLF have left the music industry and that this is the K Foundation PRESENTING the Red Army Choir. Its a great novelty pop song. It is unquestionable that it would be a huge world-wide hit if they released it. It really is the Red Army Choir. Bill saw them at a local performance and got them to sing a completely straight version of the old standard ‘Que Cera Cera (Whatever Will Be, Will Be)’, gradually building up to a crescendo of crashing symbols, Cossack dance ‘HEY!’s and trumpets as they launch into the chorus. There’s a breakdown section very similar to that in ‘America…’, and the climactic-military-brass-band-style-pomp continues with ‘War Is Over If You Want It’ i.e. the John Lennon-Yoko Ono Christmas single. If you’re not dancing around your bedroom by this point wildly swinging your arms, with a huge grin on your face, then you’ve missed the point. Finally the song ends in an ambient outro, with church bells and a drum march, similar to ‘America No More’.

It was only ever released in Israel in a limited ed. of 3000 on CD and cassette, to ‘celebrate’ the 1993 Peace Accord there. They also tried to get it played at festivals and live events over that summer, but were usually thwarted because organisers thought it was “crap”. On one occasion, at the Reading Festival, Pete Robinson was spotted trying to make a tape of it from the PA playback. Now it’s usually only found if someone is selling, or maybe in a second-hand store. Expect to pay upwards of ukp30 for a copy.


Other Creative Exploits

The never ending list of things, events and projects from, around, before and after The KLF – from the never finished White Room Motion Picture to the infamous burning of a million pounds on the Isle of Jura.

As we all know Bill and Jimmy burnt a million pounds. They gave Gimpo a camcorder to film (in Super 8) the burning as it happened. This resulting film was first transferred to two 8 mm projector film spools with a soundtrack, and first shown to bemused villagers on Jura. The film is in colour, good quality and “quite boring”. Quite literally it is 55 minutes of Bill and Jimmy burning the million pounds, feeding the flames with bundles of 50-pound notes. Jim Reid appears, and occasionally Gimpo is seen, mainly whilst he’s fiddling with the camera.

Later it was edited down in order to fit it onto one spool because “when the first spool ran out everyone thought it was the end and seemed disappointed that they had to sit through even more…” (Gimpo). However, Jimmy claimed that it was because everyone talked through it anyway so they thought they’d have the “audience providing the soundtrack”, but this may be a cover, as according to some reports, the soundtrack tape was ‘lent’ to the BBC for the Omnibus programme and never returned despite Gimpo’s best attempts. It is quite likely they just thought “why bother hooking up the sound?”. Jimi said that the video was to be destroyed two days after the event, because they wanted people to have faith and not have to have proof. But he was obviously lying!

The highlight for most list members is when Gimpo walks outside of the boathouse, and we can see the glowing embers rising out of the chimney, and floating off into the darkness. Somewhere in the film (perhaps its the bit where he goes outside) Gimpo decides to pocket a bundle of notes – a few minutes later he starts to feel guilty and puts the money back. Bill (in a letter to Nick) commented on the problem of the film’s name, against it really being Bill and Jimmy’s money: “Calling the film ‘Watch The K Foundation Burn A Million Quid’ is a creative compromise.”

“Why Did The K Foundation Burn A Million Quid?” (The Guardian, 4 Sep 1995)

On the 4th September 1995, and on some further occasions, newspaper adverts appeared advertising the film to local audiences. They announced a showing of the film, to be followed by a debate centring around a question e.g. Why did the K Foundation burn a million quid? Was it Art?, Was it Madness?, Was it Rock and Roll? etc. The 5th September saw Bill and Jimmy at the In The City convention in Manchester, showing the film, followed by a discussion in front of a 100-plus music-industry audience, where they asked for people’s opinions, not on whether it was ethical to burn the money, but on whether it was Rock and Roll? Then they were interviewed on Radio 1’s Evening Session. Bill said: “And we’re very proud of this film, this is the biggest kinda visual thing we’ve done.”.

The film was toured around the country, usually gracing cultural centres in major towns and cities, and some more obscure venues like film festivals, builders yards, Glastonbury Tor, an inner-city comprehensive and then Eton on the same day, and MIND drop-in centres. In Glasgow they planned to show it at various venues over a weekend of ‘art- terrorism’ eg, Barlinnie prison, (but they were refused permission and asked to leave!) (see the relevant archived articles from the Sunday Times, Blah Blah Blah and the Scotsman for more on this eventful weekend). Bill and Jimmy also took the film to Belgrade, in Serbia. The Independent on Sunday reported that it was very well received because 1) they showed to this very artistic community and 2) Serbia experienced 36 million % inflation so they could relate to burning money. Each showing was followed by a discussion, where Bill and Jimmy wanted to get the audience to voice what they thought was the reason B&J; burnt the money. Many reviews of the showings from local newspapers and transcripts of various local and national radio interviews are available online.

Following the Cape Wrath contract Bill and Jimmy would no longer comment on the burning at post-film discussions, preferring to leave an associate, Chris Brooke or Gimpo to lead them. Bill and Jimmy’s self-imposed silence was usually broken after around five minutes.

An Info-sheet was distributed in the later stages of the tour. Attached to this were a series of quotes of audience observations from the various screenings. Bill and Jimmy invited audiences to write to the address given (The K FOUNDATION, PO Box 91, HP22 4RS, The UK), with their own reactions. Some people even got replies from Bill. Other list members gained other memorabilia at the screenings, such as soggy newspapers adverts, signed vodka bottles, and in one case a signed ukp 50 note!

As well as discussing the film, Bill occasionally opened up on other matters. At the Manchester showing in November 1995 he is quoted as saying “We would do it [release records] again, if we thought people would like it”. At the same showing he refused to sign a copy of Pete Robinson’s Justified And Ancient History, saying “That’s a load of bollocks… It’s all lies.” Bill is also notorious for refusing to be held to quotes.

The film was due to be shown for the final time in a car-park in Brick Lane in London, 8th December 1995. Several list members turned up to witness the event turn into something of a fiasco. The car-park idea was abandoned on the night, but a basement room was hired in the Seven Stars pub nearby. Around 400 people turned up for the showing, and most somehow managed to crowd into the small room. Bill and Jimmy hung around, but were evidently nervous, and hid for most of the evening in the toilets with their minders. Gimpo showed some of the film but the cramped conditions proved too much and the showing was abandoned. Some reports indicate the police called it off, but although the police did turn up, it is understood that they had no part in the decision.

The film was due to be cut up and sold off for ukp 1 per frame after the Brick Lane showing, but this never happened. At the end of the show, when everyone tried to grab frames, Gimpo protested “no, it’s not this film that’s being cut up, it’s the other [two- spool] copy”, going on to point out that he didn’t even want to do it, it was all Club Disobey’s idea. A subsequent advert in the NME gave the ansaphone number of London’s Club Disobey (0181-960 9529), but to the best knowledge of the list members, no frames were ever gleaned from this. The only frames list-members obtained were blank ones from the film header.

At several screenings people with professional cameras, camcorders and dictaphones recorded the film and subsequent discussions but bootleg copies have yet to surface. Gimpo also made videos/recordings saying “maybe a video sometime next year”. He is also quoted (from the Omnibus documentary) as saying “I’ve never been a film director before.” A proper DVD release was once planned if there was enough demand, but this has yet to happen.


Merchandise

From T-Shirts to Books, from Promo Videos to home-made DVDs – there have been many non-CD releases and collectibles during all those years. Read more about them and find out wether they are still available.


Miscellaneous

Questions that didn’t fit into any other category so we had to create one for them.

Shown on Monday 6th November 1995 (BBC1, 50 mins) directed by Kevin Hull and subtitled “A Foundation Course in Art”. The Omnibus programme set out to “tell the story of the creative partnership of Jimmy Cauty and Bill Drummond, and how they tried to storm into the art world.” The programme began with a (very) brief history of Bill and Jimmy’s music career, from the Timelords to the BRITs, and then concentrated on the burning of the million pounds. Using clips from the “Watch the K Foundation Burn a Million Quid” film (complete with original soundtrack), interviews with both Bill and Jimmy, Gimpo and other associates like Jane Casey, the documentary managed to account the events leading up to and the burning itself, and then went on to look at the aftermath; Bill and Jimmy’s motives for doing it (they gave little away), what they planned to do with the ashes and whether the money burnt was genuine.

They had tried to get several galleries to exhibit the “Nailed to the Wall”, or host the burning, but none would, so they went to Jura and did it there. The programme makers took (“stole” according to Bill, who says he had no knowledge of it at the time) a briefcase containing the remaining ashes from the burning to a number of galleries, to see whether they considered it ‘art’ and what value they would place on it, but most didn’t and hence wouldn’t. It was also taken to a lab where some ‘experts’ examined the ashes, validated the notes and proclaimed them to be the remains of around ukp 80,000 worth of 50-pound notes.

The programme also looked at the beginnings of the film tour, with footage of the In The City showing, Bill and Jimmy in discussion with Jane Casey about projecting it onto the side of the Tate in Liverpool and Gimpo’s reactions to them giving him ownership of the film (“I’ve never been a film director before”). One interesting point is that the film showed Bill and Jimmy being interviewed for Radio 1, and Jimmy rummaging in a bag for the DAT of “The Magnificent”. Bill is clearly heard to say “Make sure it isn’t the DAT with 3 tracks on it”. The nature of these mystery tracks is (as yet) unknown.

Fans thought the programme was not really pro-the burning, and perhaps a tad sceptical and biased against it, but was most interesting and informative, nevertheless.