In Febuary 1990 The KLF released their concept album Chill Out, coining the phrase ‘ambient house’ with their downtempo soundtrack for a fictional roadtrip along the southern border of America.
As so often with The KLF, the basic idea came to them not as the result of meticulous research but from a happy accident in their studio instead.
Apparently recorded without edits in one single take, the whole album was attempted several times – if a mistake was made, they started again.
JC: There are no edits on it, and quite a few times we’d get near the end and make a mistake, and so we’d have to go all the way back to the beginning again and set it all up from scratch. It was like spinning plates (laughs). We used two DAT players, a record player, a couple of cassette players and a 12-track, feeding through a mixer and back to a DAT.
BD: And we’d bounce things from DAT to DAT as we went along. We started Chill Out with 20 minutes of pads and went from there.Bill Drummond & Jimmy Cauty (Sound On Sound, Apr 1991)
While this might give the impression that Chill Out is nothing but a mere collage of train noises and rural sounds The KLF assured journalists that the album’s apparent formlessness was intentional.
Among the ‘bits and pieces’ used on Chill Out are versions of the KLF’s past Pure Trance singles, including a stripped down version of 3 a.m. Eternal mixed into “After The Love” by Jesus Loves You, and a beatless (and then yet unreleased) Last Train To Trancentral.
Despite being their biggest hit at the time Chill Out does not feature any mix of What Time Is Love, though a very Chill Out-inspired remix later appeared on the Remodelled & Remixed single.
A Mind-Wandering Journey
Even though the track titles suggest a romantic road trip across the southern gulf coast of the United States, The KLF openly admit that they only ever visited these places with their fingers moving on the map.
It’s easy to see how, even before the needle drops for the first time, these titles start telling a story.
Apart from the music itself Chill Out is probably best known for its iconic sheep-in-the-countryside artwork. According to Bill this was a reminiscence to another iconic record sleeve, namely Pink Floyd’s Atom Heart Mother, and how for The KLF it captured the post-rave atmosphere.
Looking for a similar image Bill and Jimmy went to a photo-library and asked for a picture like the Pink Floyd cover but with sheep instead.
Coining The Phrase ‘Ambient House’
Trying to find a handy name to describe their sound, The KLF came up with the phrase ‘ambient house’ to separate the album’s style from the more rhythm focused four-on-the-floor club tracks.
An Orb Album In Disguise?
There had been some confusion concerning the recording of ‘Chill Out’ coming from a Volume interview with The Orb’s Alex Paterson, where the interviewer writes the following.
However since this is not a direct quote from Paterson, it is more reasonable to believe the KLF’s actual statements. It is possible that the interviewer was confusing Chill Out with the Space album, which was indeed recorded originally as an Orb album by Jimmy and Alex.
There were infamous weekend-long parties held at Trancentral though, and Paterson will have had some guiding/inspirational input, but it’s really the interplay between Bill and Jimmy that makes the KLF great. Chill Out is unquestionably a KLF record – just listen to steel guitars and sheep noises.
Promotion & Advertising
Chill Out received little to no promotion other than a few lines in the KLF’s own Info Sheets.
Don’t bother trying to listen to this LP if you have neither first switched off the lights and then laid your body to rest on the floor. Hopefully then the trip will be complete.
WARNING — Drugs can seriously impair/improve your judgement.
CHILL OUT will be out in early 1990.KLF Info Sheet #7, Dec 1989
One of the Info Sheets also suggests that The KLF had planned to release at least one accompanying ‘seven-inch ambient single’ along with a video. This might refer to the unreleased Madrugada Eterna single of which one (albeit not quite ambient) mix appeared in the White Room movie promo video.
Tracks & Formats
|LP / 05 Feb 1990|
|A1||Brownsville Turnaround On The Tex-Mex Border||1:43|
|A2||Pulling Out Of Ricardo And The Dusk Is Falling Fast||1:29|
|A3||Six Hours To Louisiana, Black Coffee Going Cold||3:01|
|A4||Dream Time In Lake Jackson||2:37|
|A6||Justified And Ancient Seems A Long Time Ago||1:09|
|A7||Elvis On The Radio, Steel Guitar In My Soul||2:40|
|B1||3AM Somewhere Out Of Beaumont||9:50|
|B2||Witchita Lineman Was A Song I Once Heard||5:57|
|B3||Trancentral Lost In My Mind||0:56|
|B4||The Lights Of Baton Rouge Pass By||3:26|
|B5||A Melody From A Past Life Keeps Pulling Me Back||1:51|
|B6||Rock Radio Into The Nineties And Beyond||1:27|
|B7||Alone Again With The Dawn Coming Up||0:43|
The LP release has been bootlegged multiple times – see our FAQ for details.
|CD / 05 Feb 1990|
|1||Brownsville Turnaround On The Tex-Mex Border||1:43|
|2||Pulling Out Of Ricardo And The Dusk Is Falling Fast||1:29|
|3||Six Hours To Louisiana, Black Coffee Going Cold||3:01|
|4||Dream Time In Lake Jackson||2:37|
|6||Justified And Ancient Seems A Long Time Ago||1:09|
|7||Elvis On The Radio, Steel Guitar In My Soul||2:40|
|8||3AM Somewhere Out Of Beaumont||9:50|
|9||Witchita Lineman Was A Song I Once Heard||5:57|
|10||Trancentral Lost In My Mind||0:56|
|11||The Lights Of Baton Rouge Pass By||3:26|
|12||A Melody From A Past Life Keeps Pulling Me Back||1:51|
|13||Rock Radio Into The Nineties And Beyond||1:27|
|14||Alone Again With The Dawn Coming Up||0:43|
Differences between the UK and US pressings
The UK CD has only one track, 45 minutes long. The US CD on TVT/Wax Trax separates this into 14 tracks, based on the ‘song’ titles and approximate timings printed on the label of the UK LP. It seems that the KLF consider Chill Out to be one continuous piece of music, but had to invent a separation into songs so that song-writing royalties can be paid to those sampled. For instance ‘P. Green’ is credited with co-co-writing 3AM Somewhere Outside of Beaumont with Drummond and Cauty, and of course this is Peter Green of Fleetwood Mac, writer of Albatross, the melody that is heavily sampled on this track.
The Wax Trax release furthermore lacks the train engine sound at the beginning of the B-side and moves it to Elvis On The Radio… instead, and cuts the last 30 seconds of Alone Again. The reason for these changes remains unknown.