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

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We all have the capacity for unlimited fantasy, it is the fuel of genius. Do not be afraid to turn on the tap and let it flow. As we discussed before, a record will automatically equal more than the sum of its parts. However coldly we calculate the making of each part, our personality will be there on the record for the world to feel. A quality singer might sell platinum albums and go on to have an incredibly successful long term career but the sound of their voice would have never got their debut single to Number One. Benny Hill had more of a chance getting to Number One with “Ernie” than Aretha Franklin ever has. This article needs an improved plot summary. Please help improve the plot summary. ( February 2020) ( Learn how and when to remove this template message)

Trendell, Andrew (3 January 2017). "The KLF tease return to music in 2017?". New Musical Express . Retrieved 25 February 2020. Don’t hide behind any naive “no compromise” shields, the only thing you must not compromise on is your final goal: that Olympian slot on Top of the Pops.

Paphides, Peter (22 February 2004). "Making the law". The Observer Music Monthly. Archived from the original on 23 February 2004. Studios are in the most unlikeliest of buildings and the most unlikeliest of settings. Although all studios want to attract as much business as possible, they do not want to advertise their presence to local thugs who might fancy breaking in and getting their hands on a few thousand pounds worth of gear. Hannah Ellis-Petersen writing in The Guardian describes the book as "a multi-layered, self-referential meta tale." [27] Cover [ edit ] Our engineer, Ian Richardson, is probably a genius. Is probably very funny. Will take down his trousers at the minimum of provocation. Has blonde highlights in his hair and has an earring in the wrong ear. Finds it impossible to talk to girls without at least proposing marriage. He is a vegetarian and a violent anti- smoker. He drives second hand Jags and is always rereading a book about the Kray Twins. He plays drums in the Rubettes.

Ray, Josh (30 August 2017). "Welcome To The Dark Ages: The JAMs Return". Super Weird Substance . Retrieved 26 February 2020. Firstly, you must be skint and on the dole. Anybody with a proper job or tied up with full time education will not have the time to devote to see it through. Also, being on the dole gives you a clearer perspective on how much of society is run. If you are already a musician stop playing your instrument. Even better, sell the junk. It will become clearer later on but just take our word for it for the time being. Sitting around tinkering with the Portastudio or musical gear (either ancient or modern) just complicates and distracts you from the main objective. Even worse than being a musician is being a musician in a band. Real bands never get to Number One – unless they are puppets. We know sod all about other publicists or how to judge them on first meeting them. So ask your plugger to recommend one if he hasn’t already got one on the pay roll. Our man, Scott Piering, had all these qualities and more. He lives life on the edge of complete mental and physical breakdown. This finds expression in some strange ways: his car does most of the actual breaking down for him, thus enabling him to use mindless physical violence against it in an attempt to get it going again. Of course, it does not, but it is better than if he were to collapse in the middle of the road himself and proceed to beat his body with a lump hammer.The basic Golden Rules as far as they apply to writing a debut single that can go to Number One in the U.K. Charts are as follows: Do not attempt the impossible by trying to work the whole thing out before you go into the studio. Working in a studio has to be a fluid and creative venture but at all times remember at the end of it you are going to have to have a 7″ version that fulfils all the criteria perfectly. Do not try and sit down and write a complete song. Songs that have been written in such a way and reached Number One can only be done by the true song writing genius and be delivered by artists with such forceful convincing passion that the world HAS TO listen. You know the sort of thing, “Sailing” by Rod Stewart, “Without You” by Nilsson What the Golden Rules can provide you with is a framework that you can slot the component parts into. If the studio has a tape op he will already be attempting to ply you with tea. If not, offer to get the engineer and programmer as many cups of tea as they can possibly consume. To begin with they will look to you for direction and you can tell them that A, B and C should sound like X, Y and Z record. Learning the language of making modern records is learning the language of talking about component parts and atmospheres of other people’s records. SSL (Solid State Logic) is still the most common computer assisted make of desk and still the only one to insist upon. But all that could change in the fast moving world of studio hardware. From now on, we will refer to all computer desks as SSL (it’s a bit of a Hoover/ Sellotape situation). The other things you can talk to them about are pluggers, release schedules, sleeves, sales forces and club promotion. On all these topics they will have useful things to say and will actively be very helpful. We of course used the Glitter beat, which was more by accident than design. It being the most clubfooted white beat going, it goes against the grain of what we are advising above. We think the British love/hate relationship with that said beat can only be tried once a decade. They won’t take it any more than that.

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.

Don’t even think about them. They are for the more musically mature. If one happens it will happen in the studio. Your programmer might come up with an idea for one that helps take the song from the bass riff of the verse up into the celebration of the chorus. As always, if it’s any good, use it.

Without such a team of men no record stands a chance of charting, no matter how much radio play or club action it’s having. A distributor can only supply a demand, they don’t go out there and sell, sell, sell.A couple of the most recent dance compilation LPs (“The Techno Sounds of Dagenham Volume Vl”, etc.). There are twelve different Major keys and twelve different Minor keys. In each key there is a scale of eight notes, the eighth note being the same as the first but an octave above. A chord is where two or more notes are played together. There are three basic Major chords and three basic Minor chords in each key. 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. 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. The one late eighties exception to the above that we can think of is the Fon set up in Sheffield. Through that studio have come two of the big hits in the previous twelve months (from writing): “House Arrest” and “Funky Worm”, with groovy graphics and sounds that are hip to the beat in the very month of release. Both of which the Fon boss, Amrik, has licensed to majors.