How to recreate that authentic 1987 sound (JAMS25T Sleevenotes)- Library of Mu

Library of Mu record:
Title: How to recreate that authentic 1987 sound (JAMS25T Sleevenotes)
Date: 1987-11-00
Journal: -
Author: KLF Communications
Type of resource: Official
Status: text
No. views: 5722
Description: The sleevenotes of JAMS25T explain how to recreate 1987 by adding the scratches and samples yourself.

How to recreate that authentic 1987 sound (JAMS25T Sleevenotes)

By KLF Communications (1987-11-00, -)

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 sound of our original record. To do this you will need 3 wired-up record decks, a pile of selected discs, one t.v. set and a video machine loaded with a cassette of edited highlights of last weeks 'Top of the Pops'. Deck one is to play this record on, the other two are to scratch in the missing parts using the selected records. For added 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.


The first gap, after all that dawn of time sampled breathing stuff, is from the opening line 'Here we come' from 'The Monkees' Theme'. Then after my rant of intent, there is a big gap, scratch in the guitar hook from The Monkees' 'Last Train To Clarksville'. Just the hook repeated eight times over, building up the volume continuously. By the time you get to the eighth riff and the speakers are about to rip, bring in a double scratch using your third deck of Little Richard's opening lines of 'Tutti Frutti' (make sure it's from the original Specialty recording and not one of his many and inferior re-recordings of the song). If everything is going well, the girls should follow on with their 'We're justified and we're ancient' refrain that takes you through uninterrupted until after the London Transport announcer gives us advice to 'Mind the gap'.

Then it's 'Don't take five (Take What You Want)', we took two bars from the intro of Fred Wesley And The JB's' track 'Same Beat' on the LP 'Damn Right I'm Somebody' (People Records PE 6602), God knows where you can get a copy, I forgot where I got mine, but it was in 1974. The two bars we took, we looped and used as the basis for our backing track, you should be able to do a repeat scratch whenever there is a gap, to get the same effect. In the middle of the song, just after the chorus, after the football results, drop the needle into the groove of Dave Brubeck's 'Take Five', the main theme part that everybody knows. This particular track seems to be on every Dave Brubeck LP ever released. For the outro of 'Don't Take Five...' we just used the outro of 'Same Beat' with occasional bursts from our drum machine and groove box.

On our last track on side one, 'Rockman Rock (Parts 2 & 3)' we used that many bits and pieces all over the place, I think I'll just list the tracks we used with a rough guide and you can work it out for yourself. A loop of Bo Diddly's legendary beat was used as the basis to the groove, each verse starts with the choral hook of 'Sunrise Sunset' from 'Fiddler on the Roof'. The choruses and bridges feature snatches of 'Love without Jealousy' by Luther Georgia Snake Boy Johnson (A Muddy Waters sideman under the spotlight) on the Douglas label, Ike & Turner's 'So Fine' on the Pompeii label. the mid-section has the hook from Hamilton Bohannon's mid-seventies anthem 'Disco Stomp' and Rockman's all time favorite guitar bits from Jimi Hendrix, Jimmy Page and Angus Young. You use what you want. That takes you to the end of side one.

Side Two:
Kicks off with 'Me Ru Con' sung by Zuy Khiem, a Vietnamese friend of ours. If you are lucky enough to have the 7-inch version of it you'll have the English translation on the sleeve. We never planned to have this on the LP, he just sang this while the tapes were running when he was down in the studio doing the bits of tenor sax and clarinet that are on the other tracks. It blew our minds. This takes us straight into some great wadges of silence. Fill it by playing Abba's monster hit 'Dancing Queen' from beginning to end. Whenever I start rapping on deck one, turn down the sound on Abba and when I stop, turn it back up, sing along with Abba in silly baby voices and towards the end of the track let the needle drop on to an old copy of the Sex Pistol's LP 'Never Mind The Bollocks'. Hopefully you will do it in such a way that the arm will bounce across the tracks, picking up a few choice words before you give it an extra shove and it scratches to the run-off groove.

Switch on the television, bang through the channels on remote control, fast-forward on the video of last weeks edition of 'Top of the Pops', stopping on whatever catches your eye. Do this for about three minutes, then as soon as you hear the intro of our infamous 'All You Need Is Love', hit the t.v. off button. In the first gap scratch in the decending 'Love Love Love' from the Beatles' song of the sam name. The other blanks on the track are for Samantha Fox to tell you to touch her (we took our sample from the 12-inch version).

The last track 'Next', the only angster on the whole record, we based the whole groove on a tape loop of the main riff of Stevie Wonder's 'Superstition', but on mixing our track we only kept it in for the odd burst, so scratch him in wherever you can. Over a largish gap in the intro and for a couple of bursts in the mid-section we used 'The Lonely Goatherd' from 'The Sound of Music'. I wanted to have 'My Favorite Things' from the same musical but it's B.P.M.'s didn't fit in anywhere and the fact that it was in 3/4 time didn't help. We used great chunks of Scott Walker's version of 'Next' between my lines on verse one, all that imagery of war and sortid sex, you should be able to find the track on a Scott sings Jaques Brel LP. In verse two (or is it three) we used the title line from 'Merry-Go-Round' by Wild Man Fisher from his 'An Evening With' double LP that came out on Frank Zappa's Bizarre label. The other verse features the only sample we had permission to use, The Fall's 'Totally Wired'. We then groove out to the end of the LP with Zuy Khiem playing tenor and Rockman hitting Milk Bottles. Happy Scratching.

Yours, King Boy D.

WARNING: we must warn you that to attempt any of the above in the presence of two or more paying or non-paying people could be construed as a public performance. If the premises that you are in do not have a music license you will be infringing on the copyright laws of the United Kingdon and legal action may be taken against you. Under no circumstances must your performance be recorded in any form...


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