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.
The KLF did very few live performances when they were active under that name, and (obviously) none since their retirement. Sometime KLF guest-vocalist Wanda Dee, on the other hand, has performed hundreds of dates round the world for the past three years under the names “The KLF featuring Wanda Dee”, “Wanda Dee and The New KLF”, “Wanda Dee and the KLF experience” and so forth, which *strangely* always seem to be advertised by promoters as just “The KLF”. This is probably what you saw a flyer for.
Bill and Jimmy have nothing whatsoever to do with these “concerts” and would like very much to see them stopped, but it’s difficult to pursue legal action against her unless she performs in the UK, which so far she has been savvy enough not to do. (She’s played dates in Russia and Estonia, though!) If you want to spend your hard-earned money to watch a woman gyrate on-stage to pre-taped KLF music, by all means, please attend. 🙂 There is a review by a KLF fan on the ftp archive, which you should read if you want an idea of what the show will be like.
Whenever Wanda is questioned (either by the press or KLF fans in the audience of one of her shows) she comes up with an explanation somewhat like this: All 90’s dance music is constructed in the studio by production teams and this can never be recreated live on stage. However the performers (dancers singers etc.) on the record can play live. She says she is the co-writer and singer of all the biggest hits on The White Room and she was the reason those songs were hits.
This is a *slight* misrepresentation of the truth however. The KLF sampled vocal snatches from her (erotic?) rap record “To The Bone” on Tuff City Records and included them in WTIL? and the single version of LTTT. When Wanda’s manager heard these records they sued the KLF and the out-of-court settlement was that Wanda would get a cash payment, co- co-writing credits on these songs, and hence publishing royalties, and appearances in the videos for these songs. I expect that if the KLF had known the trouble she would cause them they wouldn’t have sampled her.
It’s up to you to decide whether the non-inclusion of “I wanna see you sweat” and “Come on boy d’ya wanna ride” would have detracted from these songs.