While we bring up 'new' stories... In 2004 i started working with Bello B (and on occasion continue to: http://www.youtube.com/watch?v=apexfEYwX5s) They got offered a gig by an Arab prince and refused, who decided to make an offer they couldn't refuse of (i think, it was certainly something ridiculous) £750,000. Of course at the time Bello was kept informed, only to find shortly after they decided to stick to not performing live and turned the gig down. ----- Original Message ----- From: "Adam Wolfson" <foxfirej2@yahoo.com> To: <john@highlandland.fsnet.co.uk>; "'All bound for Mu-Mu Land.'" <klf@mailman.xmission.com> Sent: Wednesday, June 11, 2008 12:04 PM Subject: Re: [KLF] KLF Digest, Vol 64, Issue 4
The story goes that Clive Davis, head of Arista Records, wanted to sign the group on. If that had happened, well who knows where the KLF would be today. But anyway...
Although Bill and Jimmy were intrigued by it all, they eventually refused to sign on. Clive enticed them more with the chance of them producing the soundtrack to her film "The Bodyguard". Bill and Jimmy still refused, although they did sign on with Arista to distribute much of their later work in the States.
So, except for "Whitney Joins The JAMs", that was the closest the duo got to working with Whitney.
Adam Wolfson
-----Original Message----- From: klf-bounces+foxfirej2=yahoo.com@mailman.xmission.com [mailto:klf-bounces+foxfirej2=yahoo.com@mailman.xmission.com] On Behalf Of John Milne Sent: Wednesday, June 11, 2008 5:46 PM To: All bound for Mu-Mu Land. Subject: Re: [KLF] KLF Digest, Vol 64, Issue 4
The story of producing a Whitney album (or at least a single) rings a bell ... maybe something in the sleeve notes collage of "Shag Times"?
Anyway, PSB similarities also include their "Go West" (released the same month as "K Cera Cera" in Israel) using the Red Army Choir, and "Can't Take My Eyes Off Of You/ Where The Streets Have No Name" complete with sampled crowd noise and a JAMMs-like collision of two songs.
Erasure similarities include "Chorus (Pure Trance Mix)" by Youth - presumably named by him, too; and "Love To Hate You" (which has the same Stadium House-like audience samples).
Message Received: Jun 11 2008, 09:33 AM From: "Dj Hombre" <djhombre@hotmail.com> To: klf@mailman.xmission.com Cc: Subject: Re: [KLF] KLF Digest, Vol 64, Issue 4
I had a feeling I remember reading somewhere way back (late 80s early 90s) that the KLF were approached by the likes of Madonna to produce / remix her stuff...maybe off the back of their treatment of Whitney Joins the JAMS?...or perhaps it was Whitney later on?
far too long ago for me to substantiate though.
Cheerio Neil
Message: 2> Date: Tue, 10 Jun 2008 20:02:54 +0200 (CEST)> From: John Milne <john@highlandland.fsnet.co.uk>> Subject: Re: [KLF] KLF imports and remixes> To: "All bound for Mu-Mu Land." <klf@mailman.xmission.com>> Message-ID: <30510287.207991213120973539.JavaMail.www@wwinf3203>> Content-Type: text/plain; charset=UTF-8> Actually - here's another question: how come the KLF didn't "do" outside production for any LP other than "Infamy"? I'm sure they must have been approached (not least by the Pet Shop Boys, and Erasure's 1991 album "Chorus" features some very Stadium-House-like tracks - and wasn't there a rumour of U2?) but turned everyone down apart from Wah (who hadn't had a big hit since "The Story of the Blues" nearly 10 years earlier). Imagine if Drummond and Cauty had like Oakenfold and Osborne ... that could have been interesting!> > John
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