April 2003 - KLF - mailman.xmission.com

FTP address change.
by RMStringer 05 Jun '03

05 Jun '03

The address of my FTP server is renigade.dyndns.org. Please use this and try to access the server and email me if there is problems. Thankx RMStringer ************************************************* "Assassination is the extreme form of censorship." George Bernard Shaw (1856-1950)

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an invisible hand shrouded in black smoke
by PVC 04 Jun '03

04 Jun '03

sorry about posting this here i've had to rebuild my hard drive this week and have lost all my e-mail folders, address books and recent communications etc if you have been in recent correspondance with me about silent protest cards, for sale boards or black smoke t-shirts and are still wanting these please get back in touch thanx tim M25 crew Round and round in your transit van Choking London with your fumes No place to go but round and round As London burns to the ground ... AMEN

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RE: [KLF] Sample Spot [Getting OT]
by Mu Mu Land 30 Apr '03

30 Apr '03

> > <piece of classical music?> Carmen Burana by Karl Orff. This is used > > in the Old Spice adverts. Also used on 'O Fortuna' by Apothesis. The "O Fortuna" by Apothesis is actually a remix of the song "Love Never Dies" by Apoptygma Berzerk, which uses heavily the Carmina Burana sample. The complete title of the Apothesis song is "O Fortuna Never Dies" if I remember correctly... > If anybody > else knows of other examples where significant use of the track has been > made then I'd actually be interested to know about it since I've sorted > started a collection of them. Well, there you have it, "Love Never Dies" by Apoptygma Berzerk, it's on their album called "7", and a even better version of it is featured on their live album/dvd "APBL Live" ! Thomas

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How common is the 1987 cassette version?
by TheMgnt＠aol.com 30 Apr '03

30 Apr '03

I picked one up some years ago much cheaper than a vinyl version (eventually did get one of those) and it pretty much sat on the shelf until this past week when I finally decided to burn it to cd. I hadn't played it before and it's obviously a copy that hadnt been played much as it sounds just fantastic -- compared to the B&M bootleg which is what I'm used to hearing. Put it in a new case and it looks brand new. Even the card is pristine. So, how common is this release? Just keep your eyes open and you'll eventually come across a legit vinyl, but this was the only cass ver I've ever come across. In fact, the only other one I've seen is a scan of the cover on someone's website. Now I wish I could find a version of WKTJ but it apparently wasnt released on cass. My copy is pretty clean but there's still some surface noise. oh how digital as corrupted me. -paul

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RE: [KLF] The DJ Backlash Starts Here
by James Parker 30 Apr '03

30 Apr '03

Great posting. Wise words from Bill in this era of Oakey, Tongy and the really infurriating pretty boy Fergie. While i think it very unlikely that we can reverse this trend much , maybe it would be fun to see if the list members have some suggestions for how we could carry out Bill's backlash. I thought of a new club/bar concept. It would be a giant jukebox rigged up to the club PA that has virtually all the tunes you could ever imagine and allows people to basically pick their own music for the dancefloor. Perhaps with these new gizmo's that can mix for you it could have ago for you to, maybe creating instant bootlegs on the fly. What do you reckon? Any other ways we can eradicate the need for DJ's? James ps. I am a DJ : ( www.inukshuk.org.uk ------------------------------------------------------------ This e-mail message and any attachment(s) are CONFIDENTIAL and may contain legally privileged information. If you are not the intended recipient you should not read, copy, distribute, disclose or otherwise use the information in this e-mail or any attachment(s). Please also e-mail, telephone or fax us immediately and delete the message and any attachment(s) from your system. E-mail may be susceptible to data corruption, interception and unauthorised amendment, and we do not accept liability for any such corruption, interception or amendment or the consequences thereof. Please note that any views expressed in this email may be those of the originator and do not necessarily reflect those of this organisation. ----------------------------------------------------------- ____________________________________________ This OUTBOUND message from Frontline Limited has been checked for all known viruses by the MessageLabs Virus Scanning Service.

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Sample Spot
by Peter Kirk 30 Apr '03

30 Apr '03

Hi there - can anyone tell me where the main sample (synth and beat) on Shag Times CD track 13 is from? I know they ahve nicked it but I can't place where from. the track is 118bpm but I know that it is used somewhere else too and that the 'bpm' names on Shag Times vary from those on records don't they? PK

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RE: [KLF] Sample Spot
by Don Gagen 29 Apr '03

29 Apr '03

That's it! I just found it in an online version a few seconds before your post hit my mail server. "There is no greater joy than soaring high on the wings of your dreams, except maybe the joy of watching a dreamer who has nowhere to land but in the ocean of reality." DONALD D GAGEN MAILTO:DGAGEN@ENSEMBLESTUDIOS.COM ENSEMBLE STUDIOS http://www.ensemblestudios.com -----Original Message----- From: Jerry Quartley [mailto:jrq@interport.net] Sent: Tuesday, April 29, 2003 2:15 PM To: All bound for Mu-Mu Land. Subject: Re: [KLF] Sample Spot Just to be boring, here's the quote: "Michael Jackson, who we cited earlier on for not being that adept at coming up with the killer Number One hit choruses, CAN come up with the bass lines. "Billy Jean" was the turning point in Jackson's career. That song, on his own admission, took him into the mega strataspheres where his myth now reigns. The fact is, "Billy Jean" would be nothing without that lynx-on-the-prowl bass line; but he wasn't the first to use it. It had been featured in numerous dance tracks by various artists before him. Jackson and Quincy must have been hanging out around the pool table in their air conditioned dimmed light atmosphere, L.A. studio one evening wondering: "What next?" when one of them came up with the idea of using the old lynx- on-the-prowl standby. Without making that decision back in 1981 there would have been no Pepsi Cola sponsored jamboree in 1988." Don Gagen wrote: > I seem to remember Bill or Jimmy pointing out in one of their books > that Billy Jean itself samples or copies another song. I think it > might have been in the Manual when they discuss the importance of an > infectious bass-line. > > "There is no greater joy than soaring high on the wings of your > dreams, except maybe the joy of watching a dreamer who has nowhere to > land but in the ocean of reality." > _______________________________________________ KLF mailing list KLF(a)mailman.xmission.com http://mailman.xmission.com/cgi-bin/mailman/listinfo/klf

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RE: [KLF] Sample Spot
by Don Gagen 29 Apr '03

29 Apr '03

I seem to remember Bill or Jimmy pointing out in one of their books that Billy Jean itself samples or copies another song. I think it might have been in the Manual when they discuss the importance of an infectious bass-line. "There is no greater joy than soaring high on the wings of your dreams, except maybe the joy of watching a dreamer who has nowhere to land but in the ocean of reality." DONALD D GAGEN MAILTO:DGAGEN@ENSEMBLESTUDIOS.COM ENSEMBLE STUDIOS http://www.ensemblestudios.com -----Original Message----- From: Nick King [mailto:nickwking@ntlworld.com] Sent: Tuesday, April 29, 2003 12:01 PM To: Andrew McCombe; All bound for Mu-Mu Land. Subject: RE: [KLF] Sample Spot Well, according to this http://www.geocities.com/chestersblanketfort/klf.html it does - can't be arsed to listen to the song, though I might do now! Me thinks my 2nd post might have answered the question, and not the first! ;-> l8rs, Nick ;-) > > If it's "The Porpoise Song" (118bpm), then it might well be Michael > > Jackson's "Billie Jean"? > > > > l8rs, > > > > No! Porpoise song can't be Billie Jean - can it? If it is then > that sample > is so blatantly obvious that I, erm, missed it..... > > Andrew > > > > > > > Hi there - can anyone tell me where the main sample (synth and > > > beat) on Shag > > > Times CD track 13 is from? I know they ahve nicked it but I > can't place > > > where from. > > > the track is 118bpm but I know that it is used somewhere else too and > that > > > the 'bpm' names on Shag Times vary from those on records don't they? > > > PK _______________________________________________ KLF mailing list KLF(a)mailman.xmission.com http://mailman.xmission.com/cgi-bin/mailman/listinfo/klf

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Re:Killall dj's
by Jamie FC 29 Apr '03

29 Apr '03

how do u eradicate the need for Dj's ? Simple ! Everyone become a DJ then you don't need them. But id like to keep them anyway. There are Dj's and then there are dj<s. Music isn't a political agenda, it can be political, but its too personal for each to be hijacked by the need of a few to indoctronate the mass. I think we have seen enough of that last century. Capitalism preaches total freedom through economic gain. Total freedom is in your head, your captive to no one other than your own absorbed messages. Capitalists are not inherently bad its not us verus them it's us verus ourselves. The debates are within. Infiltrate and harmonize

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The DJ Backlash Starts Here
by Glacial Twenty-Three 29 Apr '03

29 Apr '03

Well, since today is April 29, 2003, I thought it would be timely to post this: The DJ Backlash Starts Here by Bill Drummond >From Select, September 1990. Warhol got it wrong. In the future not everyone will be famous for 15 minutes. What he should have said was that in the future everyone will be a DJ. To be precise, this strange but true moment will be arrived at by April 29, 2003. We have reached this conclusion based on research carried out on KLF Communications' post bag, using forecast graphs. Every week this post bag contains a continually higher amount of letters from people claiming to be DJs and requesting to be put on our mailing list. So before it is too late, we at KLF Communications feel it is our duty to save the world from the catastrophic affects of a population made up of DJs by instigating the debunking of the myth surrounding the DJ. Their status in the greater scheme of things has got way out of control. The "backlash" is well overdue. It should not be our job to do it, but it seems to be far easier for journalists to carry on saving their cutting wit for the same old sitting ducks they have been taking pot shots at for the past five years than start a DJ backlash. But first some history. When the whole "thing" kicked off two or three summers ago it was the much needed "mini revolution". Something to help dislodge all the drivel being churned out by early '80s leftovers in the white camp and all the Luther Vandross and Alexander O'Neal soulboy crap by the other side. And don't mention Prince, he was just a manufactured concept of what some 30-year-old white person thought a genius should be. Prince was no more relevant or real than Bruce Springsteen. For the summers of '88 and '89 the three rock weeklies had no handle on it at all. Those papers had waited 12 years for punk to happen again so the journalists could be the heroes of the hour; leading the charge against the old order, like back in '76 and '77. But it wasn't to be, it all happened while they were out doing an on the road piece with Blast First's latest signing. They may have patronised rap and hip hop, even putting LL Cool J on the cover, but House music was seen as the insipid offspring of disco, and as you may remember us all being told, "disco sucks". House music's very facelessness was seen to be its worst crime, proof of its lack of soul. That very facelessness meant there was nothing for the journalists to write about. In fact, House music's very facelessness - dare I day it - mindlessness - was its greatest asset. It left no room for the dark destroyer of all great music: "reference points and irony". No great music ever needed to stoop to using "reference points and irony" ("Think" J Lennon) and as the British rock journalist's bread and butter had become "reference points and irony" they somehow mistook "reference points and irony" in music to be a measure of the music's worth. It was this that encouraged some of the worst music ever made by mankind to produced in this country throughout the '80s. The most extreme offender, Morrissey, had the good fortune to abdicate his throne before he was burnt at the stake by all the unhung DJs. Let's hope the rest of these fraudulent wordsmiths are now suffocating in their own wit and wisdom. Within the right context, ie the right club, House is the greatest music this century has come up with. But House music had one great flaw. As soon as it started to cross over, pressure was put on it to be packaged for TV performances, for magazine photo shoots, even interviews where people were supposed to explain it and defend it. 'Ride on Time' by Black Box might have been the ultimate record of the '80s, but as soon as its creators were expected to build an act around their almost perfect creation and we could watch them on Top Of The Pops and read what they had to day in Smash Hits it all sank to the level of Opportunity Knocks. And this happened time and time again. For House music to have retained its power and purity it should have never stepped out from behind the mystery of the 12-inch white label. It never should have strayed from its holy trilogy: 1) The Roland 808 snare 2) The Roland 909 bass drum 3) 120 BPMs Maybe that was asking too much. We all wanted a bit of the cake. 1990 finds Adamski, 808 State and ourselves selling some of our House purity and shipping in a rapper to give us some further cross over potential. Throughout '88 and '89 I celebrated the disastrous downward spiral of the circulation figures of the UK rock press. While David Gedge's grin and Guy Chadwick's neck became less and less appealing more and more of this country's youth headed out to the orbital parties. But then something happened early this year(or late last). Two very good DJs were involved in the making of two very good records by two very good "indie" bands. Both records were hits. Deservedly so. Then suddenly there were all these redundant bands coming out with their horrible haircuts and their horrible guitars. You know the ones - each week brings in a new batch. It was like the Jam had never split. The Merton Parkas had reformed. Secret Affair had just had a name change. All these "new" bands spouting on about how they grew up listening to dance music, it's as believable as when heavy metal bands used to claim they were into classical and soul music and one always knew their tastes stretched no further than "The Ride Of The Valkyria" and "Heard It Through The Grapevine". And don't give me all that Spiritual Positive '90s versus the Cynical Materialistic '80s, you know fine well that's just a heading for another Sunday supplement article. Those "indie" bands grew up listening to Joy Division and Echo and the Bunnymen and other such grooveless downers. The rock weeklies are now watching their circulations soar as they cynically manipulate the money out of 17-year-old lads' pockets by sticking The Stone Roses or Happy Mondays on their front covers on the flimsiest of pretexts. Even at the height of the Sex Pisols' or the Jam's or the Smiths' popularity they never exploited a passing fad so ruthlessly. It's as if they are attempting to make up for lost time for missing out on the party of '88 and '89. Even The Sun had Acid House on the cover before the NME. Before I lose the plot completely I will get back to the DJ backlash. Throughout all this we have witnessed the rise and rise of the DJ to an almost unassailable position. Club culture, the home of the DJ, is being portrayed as something ethically, morally and spritually uplifting, all in keeping with the new dawn of the caring '90s. Club culture is no more than rampant consumerism. That The Face and i-D have spent the best part of ten years promoting it at the same time as pretending to extol "right on" anti-Thatcherite views is a contradiction pandering to our most base instincts, equivalent to The Sun with their tits on page three and their outraged moral stances on pages four, five and six, As for all the other bumbling monthly magazines, with their fawning articles on the rise and rise of the Kings of Club Culture, the Lords of the Remix, those movers, makers and shakers...one gets the feeling that these out-of-touch, youth-culture-conscious journalists are afraid they might be left off the guest list to Groovedom if they don't write at least 2,000 words on these train spotters in trainers, stamp collectors, one remix away from Nirvana, with their obscenely vast and ever-growing collection of records, secretly nursing a paranoia that very soon they will be discovered for the charlatans that they know they are. DJs are no more than middle men playing records made by other people, for other people to dance to. One may as well celebrate the people who packed the records at the pressing plant or the makers of Technics record decks. As for remixing or "DJ records", its the programmers and engineers that make and inspire those records. The DJ's name and "involvement" is there as little more than the latest in a long line of marketing ploys. The technical skills they do possess come way down the list compared to a lorry driver or car mechanic. Their intuition as to what will happen next in the ever-shifting public tastes is no sharper than a junior sales assistant in any record shop in the country. So please, journalists, we beseech you, sharpen your quills and get the DJ backlash rolling before it's all too late. But of course, I'll wake up tomorrow morning, re-read what I have written and realise I don't agree with any of it. I'll be out buying a pair of white Levi's, wondering why we are not on the cover of The Face, phoning up all the DJs I know asking them what they thing of our remix. But hey, what do you want, consistency? __________________________________ Do you Yahoo!? The New Yahoo! Search - Faster. Easier. Bingo. http://search.yahoo.com

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