1987 (What the Fuck Is Going On?) – Wikipedia

Debut album of The Justified Ancients of Mu Mu

1987 studio apartment album by The Justified Ancients of Mu Mu
1987 (What the Fuck Is Going On?) is the debut studio apartment album by British electronic band The Justified Ancients of Mu Mu ( the JAMs ), late known as the KLF. 1987 was produced using across-the-board unauthorized samples that plagiarised a wide image of musical works, continuing a subject begun in the JAMs ‘ debut one “ All You Need Is Love “. These samples provided a measuredly provocative backdrop for beatbox cycle and cryptic, political raps.

soon after independent liberation in June 1987, the JAMs were ordered by the Mechanical-Copyright Protection Society to destroy all unsold copies of the album, following a complaint from ABBA. In reaction, the JAMs disposed of many copies of 1987 in unorthodox, publicized ways. They besides released a translation of the album titled 1987 (The JAMs 45 Edits), stripped of all unauthorized samples to leave periods of prolong silence and indeed little audible subject that it was formally classed as a 12-inch individual .

Background and recording [edit ]

On New Year ‘s Day 1987, Bill Drummond decided to make a hip hop record under the pseudonym “ the Justified Ancients of Mu Mu ”. [ 1 ] Knowing little about modern music engineering, he invited Jimmy Cauty, a former member of the band Brilliant, to join him. Cauty agreed, and the JAMs ‘ debut one “ All You Need Is Love “ was independently released on 9 March 1987 as a limited-edition biased white label 12-inch. [ 2 ] Cauty became “ Rockman Rock ”, and Drummond used the nickname “ King Boy D ”. [ 3 ] [ n 1 ] The reaction to “ All You Need Is Love ” was positivist ; the british music newspaper Sounds listed it as the single of the week, [ 7 ] and lauded The JAMs as “ the hottest, most exhilarating dance band this year ”. [ 8 ] The song ‘s reliance on uncleared, frequently illegal samples made commercial unblock impossible. [ 9 ] In reply, the JAMs re-edited the single, removing or doctoring the most antagonistic samples, and re-released it as “ All You Need Is Love ( 106 beats per minute ) ” in May 1987. [ 2 ] According to Drummond, profits from this re-release funded the recording of their foremost album. [ 3 ] The JAMs had completed and pressed copies of the album by early May 1987, but did not have a distributor. [ 10 ]
The basic track for “ All You Need Is Love ” was written in character on a Roland TR-808 Rhythm Composer Like “ All You Need Is Love ”, the album was made using an Apple II computer, a Greengate DS3 digital taster peripheral menu, and a Roland TR-808 drum machine. [ 11 ] several songs were liberally plagiarised, using portions from existing works and pasting them into new context, with the duet stealing “ everything ” and “ taking … plagiarism to its absurd conclusion ”. [ 12 ] This mashup of samples was underpinned by fundamental beatbox rhythm and overlay with Drummond ‘s raps of social comment, esoteric metaphors, and parody. Drummond former said that :

We ‘d just got ourselves a sampler, and we went sample-crazy. We just … went through my wholly collection of records, sampling tons of stuff and putting it all together, and it … was a real rush of agitation, when we were doing it …. When we put that read out, we knew what we were doing was illegal, but we thought it was gon sodium be such an underground record, cipher would ever hear about it. So the first thing that shocked us is that british rock papers gave a bad review. [ 13 ]

composition [edit ]

“All You Need Is Love (106bpm)” (




) A remake translation of The JAMs ‘ beginning white label one with a count of illegal samples removed. King Boy D ‘s distinctive “ Clydeside ” rapping style can be heard in this extract .”The Queen and I” (




) The most controversial song on the album, “ The Queen and I ” sampled from ABBA ‘s “ Dancing Queen ”. A legal quarrel with the group led to the album ‘s withdrawal .

Problems playing these files? See media help.

1987 is built around samples of other artists ‘ work, “ to the luff where the bearing of original fabric becomes questionable ”. [ 14 ] The album is raw and gauche, the sound contrasting aggressively with the meticulous production and tight house rhythm of the couple ‘s later work as the KLF. [ 15 ] The beatbox rhythm are basic ( described as “ scraggy ” by Q magazine ), [ 16 ] samples frequently cut abruptly, and classifiable plagiaristic melodies are frequently played with a high rasp complement. The plagiarize works are arranged sol as to juxtapose with each other as a backdrop for the JAMs ‘ rebellious messages and sociable comments. [ n 2 ] The lyrics include self-referential statements of the JAMs ‘ agenda, imbued with their fictional backstory adopted from The Illuminatus! Trilogy. [ 12 ] [ 16 ]

Side one [edit ]

The album ‘s orifice sung, “ Hey Hey We Are not The Monkees ”, begins with simulated human sexual sexual intercourse noises ( which Drummond late referred to as “ sample breathe gorge ” ) [ 11 ] arranged as a rhythm method of birth control. The album ‘s foremost sample is “ here we come … ” from the Monkees ‘ subject. It progresses into a cryptic and bare address poetry from Drummond : “ hera we come, crawling out of the mud, from chaos aboriginal to the burned out sun, dragging our bad selves from one end of time, with nothing to declare but some half-written rhymes ”. A cacophone of further samples from The Monkees ‘ theme and Drummond ‘s voice follow – “ We ‘re not The Monkees, I do n’t even like The Monkees ! ” [ 12 ] – before it gets interrupted by an original a cappella vocal line that by and by became The KLF ‘s “ Justified and Ancient “ [ 17 ] – “ We ‘re justified/And we ‘re ancient … We do n’t want to upset the apple cart/And we do n’t wan sodium cause any damage ”. [ 18 ] The cut is followed by a retentive sample distribution of a London Underground gearing arriving at and leaving a tube station, with its record warn to passengers, “ Mind the gap … ”. “ Do n’t Take Five ( Take What You Want ) ” follows, featuring The JAMs ‘ associates Chike ( knocker ) and DJ Cesare ( scratches ). Built around The Dave Brubeck Quartet ‘s “ Take Five “ and Fred Wesley ‘s “ Same Beat ”, [ 11 ] the lyrics are by and large improper, with the majority of the sung containing references to food : “ I was pushing my streetcar from detergent to cheese when I first gear saw the man with antler ears. I tried to ignore but his gaze held my eyes when he told me the truth about the basket of lies ”. Sounds considered the message of the song ( if any ) to be a advanced adaptation of Robin Hood : “ This is piracy in legal action, with the venerable music industry figure, King Boy D, setting himself up as the Robin Hood of rap as he steals from the rich vaults of recording history ”. [ 18 ] The first english of the LP closes with “ Rockman Rock ( Parts 2 and 3 ) ”, a court to Jimmy Cauty that plagiarises from an array of sources, including the “ Bo Diddley Beat “ and “ Sunrise Sunset ” from the Fiddler on the Roof soundtrack. Led Zeppelin ‘s “ Whole Lotta Love “ ( interspersed with Jimi Hendrix ‘s “ All Along The Watchtower “ ), “ Since I ‘ve be Loving You “ and “ Houses of the Holy “ can be besides heard in this track. Side one would not close until “ Why Did You Throw away Your Giro ? “, a track consist of a interrogate in reference to a line from “ Rockman Rock ” from a female adult jokingly answered by a male person, ended in 20 seconds. [ 11 ]

Side two [edit ]

The second base side begins with “ Me Ru Con ”, a traditional vietnamese sung [ north 3 ] performed a cappella by the JAMs ‘ ally Duy Khiem. [ nitrogen 4 ] According to Drummond, it was a spontaneous recital by Khiem, who was in the studio contributing clarinet and tenor sax to the album. [ 11 ] Khiem ‘s vocal performance was late sampled by The KLF on the ambient house soundtrack to their movie, The Rites of Mu.

“ The Queen and I ” features extensive samples from ABBA ‘s “ Dancing Queen “, frequently overlain with a rasp detuned escort. These lead into Drummond ‘s satirical and discontentment rap, a fabricated account of his march into the british House of Commons and Buckingham Palace to demand answers. The song besides protests the interest of cigarette companies in sport ( “ When cancer is the killer/ John Player run the league “ ) and lambasts the “ yellow journalism mentality ” ( “ They all keep talking about Princess Di ‘s dress ” ). [ 18 ] The Sex Pistols ‘ “ God Save the Queen “ is concisely sampled. [ 12 ] After about three minutes of samples from the television receiver show Top of the Pops, american samoa well as legal clips from programmes and advertisements on early television channels, Drummond cries “ Fuck that, let ‘s have The fix ! ”. The acerb “ All You Need Is Love ( 106 beats per minute ) “ follows. A “ stunning audio collage ” featuring an AIDS public information film, a rerecording of hex model Samantha Fox ‘s “ Touch Me ( I Want Your consistency ) “, [ 22 ] and the greenhouse rhyme “ Ring a Ring o ‘ Roses “, “ All You Need Is Love ” comments on sexual activity and the british media ‘s reaction to the AIDS crisis. [ 7 ] The final examination track on the album is “ next ”, which Drummond describes as “ the only angst-er on the album ”, with “ imagination of war and flyblown sexual activity ”. [ 11 ] The track samples Stevie Wonder ‘s “ Superstition “, Scott Walker ‘s “ adjacent ” from Scott 2, the Fall ‘s “ wholly Wired, ” and Julie Andrews ‘ “ The Lonely Goatherd “ from The Sound of Music, [ 12 ] aboard Khiem ‘s master melancholy clarinet and tenor sax contributions ( “ a sax of stupefying tediosity ”, according to Danny Kelly [ 23 ] ). Bill Drummond summed up The JAMs ‘ overture to composition in the first “ KLF Information Sheet ”, sent out in October 1987 : “ We made [ the album ] not giving a damn for soul boy snob values or any other values, we just went in and made the noise we wanted to hear and the stuff that came out of our mouths …. not a pleasant voice but it ‘s the noise we had. We pressed it up and stuck it out. A celebration of sorts. ” [ 3 ] Jimmy Cauty defended sampling as an artistic practice : “ It ‘s not as if we ‘re taking anything away, good adopt and making things bigger. If you ‘re creative you are n’t going to stop solve barely because there is a law against what you are doing. ” [ 8 ] In 1991, Drummond admitted : “ We did n’t listen to 1987 What The Fuck’s Going On for a long clock, and when we did we were embarrassed by it because it was thus ill recorded. But I still felt we were able to get a bunch out of ourselves through it. ” [ 24 ]

Release and controversy [edit ]

1987 (What the Fuck Is Going On?) was released in June 1987 on The JAMs ‘ own record label, “ The Sound of Mu ( sic ) ”. [ 2 ] [ 25 ] [ newton 5 ] [ n 6 ] 1987 was met with mix reviews in most of the major british music publications, including Melody Maker, NME, Sounds, and Q, and the album came to the attention of the management of swedish pop group ABBA : [ 30 ] The JAMs had sampled big portions of the ABBA single “ Dancing Queen ” on the track “ The Queen And I ”. A legal confrontation with ABBA and the Mechanical-Copyright Protection Society ( MCPS ) followed, 1987 was forcibly withdrawn from sale, and The JAMs were ordered to “ deliver up the overlord tape, mothers, stampers and any other parts commensurate with fabrication of the criminal record ”. [ 22 ] [ 31 ] King Boy D and Rockman Rock travelled to ABBA ‘s home state of Sweden, in the promise of meeting with ABBA personally, [ 22 ] taking an NME diarist and photographer with them, along with most of the remaining copies of the LP and a amber disk of the album. [ 32 ] Failing to find ABBA in mansion at Polar Studios in Stockholm, they alternatively presented the gold phonograph record to a blond prostitute they pretended was Agnetha “ fallen on hard times ”. [ 32 ] Of the original LP ‘s stock, some copies were disposed overboard on the North Sea ferry trip across, and the remainder were burned in a field in Gothenburg before dawn ( as shown on the binding of their following album, Who Killed The JAMs?, and detailed in that album ‘s single “ Burn the Bastards “ ). [ 32 ] The JAMs besides played a record of “ The Queen and I ” loudly outside the offices of ABBA ‘s record label, Polar Music. [ 32 ] The trip was unexpectedly eventful, the JAMs by chance hitting and killing a elk, and late being shot at by a farmer, a fastball cracking the engine of their Ford Galaxie police car. [ 32 ] They were, by their own score, towed binding to England by the AA. [ 33 ] The JAMs were not wholly certain what they would have said to ABBA if they had been able to meet them. [ 33 ] Rockman told NME : “ We were hoping to explain [ our aesthetic justification ] to them and that possibly we ‘d come out of it friends, you know, them producing our album and us producing theirs—the kind of thing that often happens at these meetings. ” King Boy : “ Yeah, we ‘d have said, ‘Look, you have n’t had many hits recently, you do n’t in truth wan na bother with all this West End musical denounce do you ? Come and do the fresh JAMMS [ sic ] album. ‘ ” [ 33 ] In 1994, The Guardian looked back on the swedish sojourn as “ a distinguished, bootless, attention-grabbing gesticulate, the kind that would come to characterise [ the duet ‘s ] collaborative career … “ We were being wholly unintelligent about it ” Drummond former acknowledged. ” [ 15 ] The JAMs offered what they claimed were “ the death five ” copies of 1987 for sale at £1000 each in a full-page ad in the April 1988 edition of The Face. [ 34 ] Drummond argued that the offer exploited a loophole in The JAMs ‘ agreement with the MCPS : “ We were browsing about this record workshop and came across these five copies of 1987 …. We made it absolutely clear to the MCPS that we could n’t actually force the shops to send our LPs back …. [ B ] ecause we bought them in a denounce, these LPs do n’t come into the agreement and we can do what we like with them and not break any laws. ” [ 35 ]

critical reply [edit ]

Q cartridge holder had shuffle reactions to 1987, saying that there are “ excessively few ideas being spread excessively reduce ”. The magazine criticised some songs as “ overlong ” and questioned the overuse of sampling as “ the impression of a random odds and ends ”. Q besides unfavorably commented that The JAMs ‘ “ use of the beatbox is raw weedy ”. It liked some of its tracks : “ there are some wickedly amuse ideas and moments of pure poetry in the lyrics while some of the musical juxtapositions are both killingly curious and impregnable enough to stand duplicate listenings ”. [ 16 ] A reviewer for Melody Maker found 1987 “ inspirational ”, and “ the most excite, most original record [ he ‘d ] heard in years ”. He besides argued that : “ Some snatches [ of plagiarize music ] preferably outstay their welcome, tugging tell-tale flashiness away from the clifftop and perilously close to smug obviousness, but when the blows are kept shortstop, sharp and identical bloody, they make anything else you ‘re very likely to hear on the radio dull and urgently humorless. ” [ 12 ] “ It ‘s easy to dismiss The JAMs frolics as small more than a brilliantly coloured sideshow to the shabbiest circus in town ”, a subsequently article said, but “ believe me, it ‘s far more than a catch ”. [ 37 ] In awarding 1987 the highest rat, a utmost five stars, Sounds —a publication that offered the duet ‘s work reproducible approval—mused, “ Taking the legal of the moment ( hip hop ) as a spinal column, 1987 steals healthy artefacts from anywhere … and meshes them together with King Boy ‘s hysteric ‘ Clydeside ‘ blame method with bewildering effect. … [ Y ] ou could call this sampling technology ‘s answer to T. S. Eliot ‘s arch cut up employment, The Wasteland. “ [ 18 ] “ What ‘s thus good about The JAMs ”, the magazine said, “ is the way they are capturing on disc the whole social and musical confusion and instability of 1987 Britain ”. [ 8 ] NME’ s Danny Kelly was not so impressed. He besides felt that the record was underdeveloped and The JAMs were not the most skilled of practitioners. “ Audacity, wholly baseless assurance, dead cruelty and a fast car will, of class, be utilitarian attributes to the green light noise-pirate of the 90s, but skill, spirit, instinct, vision—y’know, boring erstwhile talent—will still be buttocks course compulsories … it ‘s in these latter commodities that the JAMs seem prominently undertooled. ” Compared to the output of DJ Code Money or Cut Creator ( “ all humor, plangency and color … – aerosoled version [ s ] of The Book of Kells “ ) Kelly felt Drummond ‘s efforts to be a “ glitter-crusted charity Christmas calling card “. [ 23 ] A late NME token called 1987 “ the best remark on sampling culture ever made ”. [ 38 ] A retrospective review by AllMusic commented that 1987 is “ a hilarious record ” filled with “ comments on music terrorism and [ The JAMs ‘ ] own unique take on the Run-D.M.C. type of old-school rap ” ; [ 14 ] and The Penguin Price Guide for Record & CD Collectors called 1987 an “ wholly brilliant exercise of the art of disc-jockey-as-producer ”. [ 39 ] Giving another retrospective recapitulation from across the Atlantic, Trouser Press described 1987 as “ energetic ” and “ a loopy dance album that is n’t unlike a lot of sampled records, but proceeds from an wholly different cultural understanding. ” [ 40 ]

Personnel [edit ]

Bill Drummond and Jimmy Cauty were responsible for the concept and production of 1987, its lyrics and the TR-808 beatbox rhythm. Drummond provided rap, and an extra knocker introduced as ‘Chike ‘ appears on “ Do n’t Take Five ( Take What You Want ) ” and “ Rockman Rock ( Parts 2 and 3 ) ”. Duy Khiem contributed lead vocals to “ Mẹ Ru Con ”, [ 11 ] vitamin a well as clarinet and tenor sax to “ Rockman Rock ( Parts 2 and 3 ) ” and “ adjacent ” .

track number [edit ]

Side one
  1. “Hey Hey We Are Not The Monkees (100 BPM)”[n 7] – 6:00
  2. “Mind the Gap” [unlisted sample of ambient noise in a London Underground station] – 1:02
  3. “Don’t Take Five (Take What You Want) (89 BPM)” – 3:59
  4. “Rockman Rock Parts 2 and 3 (105 BPM)” – 6:29
  5. “Why Did You Throw Away Your Giro?” [unlisted two people making a reference to a song on the album] – 0:20
Side two
  1. “Mẹ Ru Con (0 BPM)” – 2:23
  2. “The Queen and I (99 BPM)” – 4:43
  3. “Top of the Pops” [unlisted samples of television programmes including Top of the Pops] – 2:51
  4. “All You Need Is Love (106 BPM)” – 4:55
  5. “Next (100 BPM)” – 7:15

“ 1987 : The JAMs 45 Edits ” [edit ]

Following the enforce omission of the 1987 album, the Justified Ancients of Mu Mu released an edit version as a 12 ” one, with all of the unauthorized samples removed, leaving sparse instrumentality, Drummond ‘s social comment and, in respective cases, long periods of hush ; the “ Top of the Pops ” section of the original LP yielded three minutes of muteness on 45 Edits, and the only sample remaining from the original was The Fall ‘s “ wholly Wired. ” The edit individual was sold through normal retail channels and besides offered as a “ reward ” to anyone who returned a copy of the LP to The JAMs ‘ post agency box. [ 41 ] The single was released on 16 October 1987, [ 2 ] and on 31 October 1987 The JAMs announced that the case with ABBA “ is now closed ”. [ 42 ] The sleevenotes to “ 1987 : The JAMs 45 Edits ” explain to the buyer in a rather bantering fashion how to recreate the original 1987 album for themselves :

This record is a version of our now deleted and illegal LP ‘1987, What The Fuck Is Going On ? ‘ with all of the copyright infringing ‘samples ‘ edited out. As this leaves less than 25 minutes of music we are able to sell it as a 12-inch 45. If you follow the instructions below you will, after some practice, be able to simulate the audio of our original record. To do this you will need 3 wired-up record decks, a voltaic pile of selected disk, one t.v. set and a video machine loaded with a cassette of edit highlights of concluding weeks ‘Top of the Pops ‘. Deck one is to play this record on, the other two are to scratch in the miss parts using the selected records. For add authentic effect you could use a Roland 808 drum machine ( well cheap and what we used in the original recordings ) to play along behind your scratching. [ 11 ]

Notes [edit ]

References [edit ]

source : https://shoppingandreview.com
Category : News


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