From KLF Communications Information Sheet 8 Discography/Catalogue Ordering information THE WHITE ROOM The introduction to the Motion Picture by Bill Drummond, Jimmy Cauty and Bill Butt. Copyright 1990 KLF Communications. K.L.F. Communications. Box 283 HP22 5BW The U.K. "Information Sheet Eight." THE JUSTIFIED ANCIENTS OF MUMU are an organization (or disorganization) who are at least as old as the ILLUMINATI. They represent the primeval power of Chaos. As such they are diametrically opposed to the order that the Illuminati try to oppress on mankind and on mankind's understanding of the Universe. Whether the above is fact or fiction is irrelevant. What definitely is the case is; "The Chaos versus Order War" has been raging on, ever since Time first got it on with Space and created the Universe. In 1987 Bill Drummond and Jimmy Cauty using the alias's Kingboy D and Rockman Rock started to work together. They called themselves THE JUSTIFIED ANCIENTS OF MUMU. Whether this is fact or fiction is also irrelevant. Drummond and Cauty's ambitions were more temporal than cosmic. They just wanted to make records with out other people telling them how it should be done. Humble enough horizons. But within days of their first record being released they began to receive mail and messages from very strange sources. The information they were getting was varied and confusing. They were being warned not to get involved with what they could never understand. they were being threatened. They were being congratulated in taking The War above ground. They were being welcomed on board as "brothers in arms" in the only war that was ever justified, I quote; "To finally separate Time from Space, thus enabling Chaos once again to reign supreme". Far out or what? Who Cares? Much of the mail was from obvious cranks and crackpots, but then other stuff began to happen. Stuff they don't want to talk about because of the ridicule that it might heap on themselves. Then in mid 1988, using a further alias, The Timelords, they had a freak international number one hit record, "Doctor'n the Tardis". The cash from this record funded the making of this film or at least what has been filmed so far. Along with all the offers coming into their solicitors office from people wanting to license their Number One for; hit compilation albums, movie soundtracks, and airline in flight entertainment tapes, came a contract for a far more bizarre nature. A contract with an organization or individual calling themselves "Eternity". The wording of this contract was that of standard music business legal speak, but the terms discussed and the rights required and granted were of a far stranger kind. Their solicitor (played by himself, David Franke, in the film) advised them not to sign. They of course did. >From now on in, this contract will be known as The Contract. Whether The Contract was a very clever and intricate prank by a legal minded JAMS fan was of little concern to Drummond and Cauty. For them it was as good a marker as anything as to what direction their free style career should take next. David Franks understandably thought differently. His clients should not put their names to legally binding agreements without first understanding all of the implications of doing so. In the first term of The Contract they, Drummond and Cauty, were required to make an artistic representation of themselves on a journey to a place called THE WHITE ROOM. The medium they chose to make this representation was up to them. Where or what THE WHITE ROOM was, was never clearly defined. Interpretation was left to their own creativity. The remuneration they are to receive on completion of this work of art was supposed to be access to THE "real" WHITE ROOM. Your guess is as good as anybody's. Drummond and Cauty had already been planning to stage a joint art exhibition (they both had backgrounds in, and ambitions ahead in art). Initially their ideas were that the journey and arrival oat THE WHITE ROOM was to be represented on canvas and exhibited in a Cork Street Gallery. Driving down the Marylebone Road on a wet September afternoon in 1988 in their infamous U>S> Cop car, Cauty suggested, instead of doing the art exhibition they should make a film. The making of a "Road Movie" had always figured in their vague plans for the future. With money coming in from all over the place for their Timelords record maybe now was the time. Or at least they thought so. They contacted their friend and associate, the film director, Bill Butt. Made plans. Put budgets together. Worked on story boards. Six weeks from that September afternoon they were filming in he Sierra Nevada region of Spain (Spaghetti Western Country). The crew they were working with were the best. Most of them had just finished working with Spielberg on his latest INDIANA JONES adventure. Things started to go wring immediately. The weather, guaranteed to be blue skies of epic proportions until well after Christmas, was low and drizzly. In filmatic terms this was disastrous. Then while they were out there business deals started to stagger and crash. It was the money from these deals that was to finance the completion of the picture. Of course if you talk to anybody who tries to make a film they will tell you of the catalogue of disasters that came between them and their reported triumphant premier. Drummond and Cauty had no experience of this. They just felt that the Gods were against them. On their return to the U.K. in December 1988, they viewed all of the uncut rushes that had been shot. They knew then that they had just thrown away the best part of #250,000. Serious depression. Serious reappraisal of what they were doing with their lives. They had meetings with their accountants to asses what the damage would be if they were to cut their losses and pull out then. Bill Butt, the director, persuaded them to see it through. By February 1989 they had enough funds together for them to shoot the interior scenes and the London location shots. Over the intervening months, between Cauty and Drummond signing The Contract and February 1989, David Franks had become steadily more intrigued by all the implications of the various clauses of The Contract. Although The Contract was between The JAMS and Eternity, Eternity gave no address, Eternity left no room for negotiation. It was a take it or leave it deal. Drummond and Cauty had taken it. In January 1989 David Franks believed he had found a get out clause. Something that Drummond and Cauty would later call the LIBERATION LOOPHOLE. It was decided by Bill Butt and the other two that the signing of the contract and Frank's discovery of the LIBERATION LOOPHOLE should be dramatically reconstructed, filmed and respectively used at the beginning and the end of the film. The rest of the film was then shot. Drummond and Cauty buried themselves in the studio to record the sound track. Bill Butt and editor Rob Write got to work with razor blades and Steinbeck machine in the cutting room. Summer '89. The film was finished. It was only a disappointingly 52 minutes' long, but it was all there. Some of the scenes that had been planned and shot had to be dumped. Others that had been shot on the hop had now become vial to the shape of the film. One of these was the dead eagle scene. Drummond had come across a beautiful but decomposing eagle at the side of the road. Nobody else would go near it. It stank. Drummond insisted on being filmed with it as he strode down a one track rail line. The significance of this at the time could not be argued. Meaningless but dramatic. The original plan had been to tour the film as a performance piece, to show it in larger clubs and raves and for The JAMS, now working under yet another alias, The K.L.F. to perform the sound-track live using their computers and keyboards, from the safety of the mixing desk. The film looked great. It had the appearance of the real thing. It was the real thing. It was BIG SCREEN. But would it hold peoples attention. Did it stand up dramatically? Are two people indulging their whims enough? Clouds of doubt gathered. Dramatic tension. What dramatic tension? Even more doubt. Bill Butt asked the question, "Would your regular punter give a fuck whether The JAMS made it to THE WHITE ROOM? No. They would rather see Cauty get pumped full of lead while his pompous partner was blown to Hell as their car hit a land mine. JULY 1989. "KYLIE SAID TO JASON" the first new recording released by The K.L.F. that year. It was to be from the soundtrack of the film, it was also supposed to be a top ten record. It never made it to top 100. The JAMS were relying on it to rescue them from the jaws of bankruptcy. As we write the jaws are closing. On Monday 31st of July "KYLIE SAID TO JASON" slipped from 105 to 107. Cauty and Drummond should have been in the depths of depression. They were not. Eight months earlier, in October 1988, As The K.L.F. they had released a 12" single called "WHAT TINE IS LOVE". It had been totally ignored. Sold next to no copies. The record was deleted in January 1989. Things began to get curious. An odd fan latter from DENMARK. The none from BELGIUM. Then an order for 2,000 copies from an ITALIAN importer. How and why they had no idea. Every day there were more and more orders coming in from across EUROPE. By JUNE 1989 the track was beginning to be played in "certain" clubs and on the pirate radio stations, in and around LONDON. The K.L.F. were being feted by all the "right" D.J.s. Although "WHAT TIME IS LOVE" was not going to cross over into the U.K. mainstream charts it fast became the anthem of the Summer Raves (ACID HOUSE PARTIES in tabloid speak). "KYLIE SAID TO JASON" was pure Euro Pop with a twist. Its chart success would have destroyed all this burgeoning club credibility (a very fickle mistress). On that same Monday evening in JULY, as The K.L.F. they were making their debut live performance at the London Club HEAVEN. The performance consisted of a 15 minute version of "WHAT TIME IS LOVE". During which they splattered their audience with polystyrene pellets fired from a giant wind machine. The event was deemed a strange success. Later that evening they met a young down and out, claiming to be called Micky McElwee. For the price of a meal he unveiled to them a classic plot gone wrong. The story that Mickey McElwee told them that night was the most shit scarring stuff the both of them had ever heard. It was more comfortable for them to try and accept that this character had made the whole thing up. That he was some sort of demented JAMS fan that had finally hit skid row on the arse end of Thatcheris. A day or so later they related the whole story to Bill Butt. It was agreed that it could make the basis for the real plot of the film. Here was the dramatic tension they needed. The finished film will contain both an Inner and Outer film. The Inner film is the original one shot in late 1988 and early 1989. The Outer film contains the dramatically reconstructed events that according to Micky McElwee, took place, unbeknown to Drummond and Cauty while The Inner film was being shot. There will also be, what we will call, a Third Strand which will consists [sic] of scenes plotting the tensions and predicaments that Drummond, Cauty and Butt experienced while attempting to make The Inner film. All three plots will intertwine with each other telling the one simple story. The story of Men out of their Depth. In The Inner film Drummond and Cauty play their alter egos KINGBOY D and ROCKMAN ROCK. In the outer film they play themselves. They asked PAUL McGANN if he fancied plating the role of Mickey. He was up for it. Bit was not available until the Autumn of 1990. Bill Butt reckoned it would cost a further #1,000,000. to finish the film. They have six months to raise the cash. Can they do it? Accept the contradictions. ---------------------------------------------------------------- KLF Merchandising LONG SLEEVE T-SHIRT. Featuring KLF logo on front, pyramid blaster on back and sleeve. In White with Black design. Only #15. SHAG SHAG SHAG T-SHIRT. Yellow and Black design on white short sleeved t-shirt. Only #7. PYRAMID PLASTER T-SHIRT. Pyramid logo on front, KLF logo on back. Black on White short sleeved t-shirt. Only #7. KLF HAT. KLF fabric and Fun Fur Trapper Hat. Hand Finished. Only #20. Please make Cheques/P.O.'s Payable to KLF Communications. Add #2 per item P. and P. send to: KLF Communications P.O. Box 283 HP22 5BW Artist Cat No. Title ------------------------------------------ 1987 THE JAMS JAMS 23 ALL YOU NEED IS LOVE? One sided 12" white label. 500 Pressed THE JAMS JAMS 23T ALL YOU NEED IS LOVE? First 5000 in James Anderton picture bag. THE JAMS JAMS 23S ALL YOU NEED IS LOVE? 7". The Me Ru Con Mix. 1000 pressed. THE JAMS JAMS LP1 1987. WHAT THE FUCK IS GOING ON? Forced deletion. THE JAMS JAMS CLP1 1987. WHAT THE FUCK IS GOING ON? Forced deletion. THE JAMS JAMS 24T WHITNEY JOINS THE JAMS. One sided white label 12" THE JAMS JAMS 25T 1987. THE EDITS 12" [edited version of 1987. WHAT THE FUCK IS GOING ON? without any copyrighted samples. has instructions on how to put the samples back in. -Dave] DISCO 2000 D2000 I GOTTA C.D. 12" DISCO 2000 D2001 I GOTTA C.D. 7" THE JAMS JAMS 27 DOWNTOWN 12" One sided white label. 500 pressed. THE JAMS JAMS 27T DOWNTOWN 12" THE JAMS JAMS 27S DOWNTOWN 7" 1988 *THE JAMS JAMS LP2 WHO KILLED THE JAMS? THE K.L.F. KLF 001 THE 1987 COMPLETEIST LIST. Available with Who Killed The JAMS? THE JAMS JAMS 26T BURN THE BASTARDS/BURN THE BEAT 5000 pressed. All exported *DISCO 2000 D2002 ONE LOVE NATION 12" only THE K.L.F. KLF 002T BURN THE BASTARDS/BURN THE BEAT. *THE TIMELORDS KLF 003T DOCTORIN' THE TARDIS 7" *THE TIMELORDS KLF 003T DOCTORIN' THE TARDIS 12" *THE TIMELORDS KLF 003R GARY IN THE TARDIS 12" *THE TIMELORDS KLF 003GG GARY IN THE TARDIS 7" White Label *THE TIMELORDS KLF 003P DOCTORIN' THE TARDIS Picture Disc *THE K.L.F. KLF 004T WHAT TIME IS LOVE? 12" 1989 *JAMS/KLF/T-LORDS JAMS LP3 SHAG TIMES Double compilation LP. *JAMS/KLF/T-LORDS JAMS CD3 SHAG TIMES *THE TIMELORDS KLF 009 THE MANUAL (HOW TO HAVE A NUMBER ONE THE EASY WAY) A book in which The JAMS reveal the methods anyone can use to get a Number One Hit Single. *DISCO 2000 D2003 UPTIGHT 7" *DISCO 2000 D2003T UPTIGHT 12" *THE K.L.F. KLF 004R WHAT TIME IS LOVE? 12" Primal Remix/Techno Slam Mix/ Original Trance Mix. THE K.L.F. KLF 004M WHAT TIME IS LOVE? The Monster Attack Mix. White label. 3 pressed. *THE K.L.F. KLF 010 KYLIE SAID TO JASON 7" *THE K.L.F. KLF 010T KYLIE SAID TO JASON 12" *THE K.L.F. KLF 010R KYLIE SAID TO JASON 12" Moody Boys Remix. 4000 pressed and released on export. *THE K.L.F. KLF 010CD KYLIE SAID TO JASON CD Single Features the extra track MADRUGADA ETERNA. THE K.L.F. KLF 0101R DEEP SHIT PART 3. The illegal remix. 6 pressed. *THE K.L.F. KLF 005T 3 A.M. Eternal. 12" *THE K.L.F. KLF 005R 3 A.M. Eternal. 12" Remixes- 7" edit/Blue Danube Orbital/Moody Boys/3 P.M. Electro. *VARIOUS JAMS LP4 THE "WHAT TIME IS LOVE" STORY, A compilation of some of the Euro cover versions of "What Time is Love". [ Original Version, Relax Your Body (Dr. Felix), Italian Mix (K.L.F.S.), Heartbeat (Liaisons D.), No Limit Dance Mix 4'58 (Neon), What Time Is Love Live (The KLF) ] *VARIOUS JAMS CD4 THE "WHAT TIME IS LOVE" STORY. CD of above. THE K.L.F. KLF 008R LAST TRAIN TO TRANCENTRAL. 12" Only 2000 pressed. Was available in specialist shops only. 1990 *THE K.L.F. JAMS LP5 CHILL OUT *THE K.L.F. JAMS CD5 CHILL OUT There have been numerous records that have been scheduled for release but, for various reasons, have never seen the light of day. These include - DEEP SHIT (a seven inch flexi, 500 were pressed, but was never deemed "safe" to release), LOVE TRANCE 12", TURN UP THE STROBE 12", GO TO SLEEP 12", the PURE TRANCE L.P., the LIVE AT TRANCENTRAL L.P., and the WHITE ROOM soundtrack. Some of these recordings may be released some day. There are also various imports available, [imports TO the UK. (THE HISTORY OF THE JAMS, DOCTORIN' THE TARDIS CD single) -Dave] but none of these contain any material that is not already available in the U.K. If you have difficulty tracking down the above, the * ones are available direct from us at KLF Communications, P.O. Box 283. HP22 5BW. The U.K. Add #2 per item for Post and Packaging. 7" Singles One pound Ninety Nine pence. 12" Singles Three pounds and Forty Nine pence. L.P.s Six pounds and Ninety Nine pence, except JAMS LP4 which is Four pounds and Ninety Nine pence. CD singles Three pounds and Ninety Nine Pence CD albums Ten Pounds and Ninety Nine pence, except JAMS CD4 which is Eight pounds and Ninety Nine pence The Manual Five pounds and Ninety Five pence Please make cheques payable to K.L.F. Communications. Info Sheet Seven is still available, so if you want one send a S.A.E. and make your request known. Other info. We hope to see The Orb album "SPACE" surface on KLF Communications in the next few months. The K.L.F. will probably be making some undisclosed performances and staging shadowy events but there is no point in asking us Where, When, and Why. Drummond continues to work on his book Zenarchy - A Case History, and Cauty on his paintings. They might both be traveling to the Western Isles of Scotland to make some new recordings some time in the Spring. Do not ask.