Going Back to My Roots (Vocal Mix)
F.P.I. Project - Rich In Paradise Sharon D. Clarke (Going Back To My Roots) Vocal Mix
Born from an ambitious idea of Marco Frattini, “Fratty”, Corrado Presti and Roberto Intrallazzi, FPI Project is an Italian project born in 1989 oriented towards to Italian house music.
Multiples piano recording, strong voices, a strong beat and a unique sound are the elements that characterized the whole FPI Project’s production. These elements are present in the most famouse single of the band such as: come “Going Back to My World“, “Everybody All over the World“, “Risky“, “Berry” and “Funky Guitar“.
The huge hit of the group is “Rich in Paradise”, 1990, it entered the top 10 in multiples countries including: Germany, Austria, Switzerland and UK.
“Rich in Paradise” has sold more than a million copies.
Also “Everybody (All Over the World)”, remixed in 1999, and the other single “Come On (And Do It)”, entered in Billboard-Dance-Charts’ Top-20-Hit.
FPI produce themselves on their own label, Paradise Project Records.
F.P.I. Project in 1992.
![Technotronic [Feat.] Ya Kid K - Get Up [Before The Night Is Over] 1990 Album Version](https://i.ytimg.com/vi/VgiraCsVBjo/maxresdefault.jpg)
Technotronic [Feat.] Ya Kid K - Get Up [Before The Night Is Over] 1990 Album Version
Technotronic [Feat.] Ya Kid K - Get Up [Before The Night Is Over] 1990 Album Version
Get up on your feet
Before the night is through for you want miss
Get down to the beat
Pump it, stomp it, jam, trip on this!
Get the party started
Get it on, get a move on, kids
Rock to the beat
Pump it, stomp it, jam, trip on this!
Get up, get up, get busy do it
Get up and move that body
Get up people now get down to it before the night is over
Get up, get up, get busy do it
I wanna see you party
Get up people now get down to it before the night is over
Get down
Get up
Get down
Get up
One, two,
I'll party you
Three, four,
So get your b*** on the floor
Five, six,
Know you dig the mix
Seven, eight
Let it shake
Get down
We got to take a stand
Now that we're in demand
Party all night, cut the fight
Do what's right and you just might
Win a battle you never fought
Just by checkin' this record you bought
Over and on and on again
Get with it and do that thing
Get up, get up, get busy do it
Get up and move that body
Get up people now get down to it before the night is over
Get up, get up, get busy do it
I wanna see you party
Get up people now get down to it before the night is over.
Of the many studio-based dance music projects that dominated the charts during the early '90s, few were so popular, or such an improbable success story, as Technotronic. Emerging from Belgium, the multicultural group helped push the deep bass grooves and insistent beats of house music out of the club scene and into the pop mainstream; ironically, they did so largely by hiding behind the photogenic visage of an African-born fashion model who, it was later revealed, did not even perform on their records. In reality, Technotronic was the brainchild of Jo Bogaert (real name Thomas de Quincy), an American-born philosophy teacher who relocated to Belgium in the late '80s in the hopes of mounting a career as a record producer.
Bogaert's intent was to fuse house with hip-hop, and toward that aim he sent demos of his work to a variety of rappers, including the Welsh-born MC Eric and a Zairean-born teenager named Ya Kid K (aka Manuela Kamosi), at the time a member of the Belgian rap group Fresh Beat Productions. Technotronic's first single, 1989's "Pump Up the Jam," was a smash hit across Europe and eventually the U.S. While the record featured the raps of Ya Kid K, she was nowhere to be seen in the accompanying video, which instead featured Zairean-born fashion model Felly lip-syncing the lyrics; little did fans realize that not only was Felly nowhere near the studio at the time the single was recorded, in truth she did not even speak a word of English. She was also featured on the cover of Technotronic's debut album LP, Pump Up the Jam: The Album, further blurring the lines between truth and fiction; in the end, Bogaert admitted that Felly's services had been engaged purely to establish the group with "an image."
Ya Kid K (aka Manuela Kamosi)
When Technotronic toured in support of the 1990 hit "Get Up! (Before the Night Is Over)," Ya Kid K and MC Eric were alone behind the microphone, and Ya Kid K was also rightfully featured in the song's video. The LP Trip on This! The Remixes soon followed, and in 1992 Ya Kid K went solo, albeit with Bogaert still in the producer's seat; her debut album, One World Nation, scored with the hit "Move This," originally a Technotronic cut released as a single after finding success in a cosmetics commercial. The 1995 Technotronic comeback attempt Recall was not a success.
Jo Bogaert - real name Thomas de Quincy.
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Rockin' over the Beat (remix) - Technotronic
Technotronic - Spin That Wheel (1990)
Technotronic - Rockin' Over the Beat (Remix)
Technotronic - Spin That Wheel (1990)
Technotronic - This Beat Is Technotronic (Get On It Club Mix)
Technotronic - This Beat Is Technotronic (Get On It Club Mix)
MC Eric
Technotronic 'Model' Felly Kilingi, 1989 (Image: Gie Knaeps/Getty Images)
On MC Eric's third birthday he nearly drowned in the Taff, but survived thanks to his teenage brother, who jumped in to rescue him.
“Me and and a neighbour’s kid, who was about the same age as me, we both wandered across the road towards the river,” he recalls.
“This was 1973, it was the days before the banks of the Taff were reinforced with concrete after the flooding in Cardiff in the late 1970s. Back then the bank was grass and mud. All that was there were railings that you could climb through.
“One of my toys fell into the river and I tried to get it. At that age you have no concept of danger. I slipped and fell in.”
Alerted that he was in the water, his 14-year-old brother Christopher ran across the road and dived into the river to rescue him.
It was almost a double tragedy.
“The tide was high and it was very fast-flowing,” he remembers. “When Christopher jumped in, he almost died too. It was a very scary, scary thing.”
Eric’s brother was awarded an accolade for valour by Cardiff’s Lord Mayor and the pair ended up in the local newspaper as a result.
Although he was very young, Eric confides the incident has haunted him his whole life.
“It was frightening, really frightening, and I’ve suffered with recurring nightmares ever since,” he says. “I’ve received counselling because of it. It doesn’t happen as much as it used to. I might get it maybe once a year. But when I do it’s horrible, like a form of PTSD.
“The frightening thing is that it’s the same dream every time and apparently that’s quite rare for it to be exactly the same dream every time.
“I remember one day when I was about nine, talking to my mother about the dream, and she said, ‘Eric you can’t really remember that day, can you?’. When I told her that I could, she asked me what I was wearing and I told her right down to the colour of the socks I had on. She couldn’t believe it. She was in shock and said that was exactly what I was wearing.
“The dream starts on the riverbed and my feet are in stuck in the mud. I’ve got the mind of whatever age I’m at when I’m having the dream, but the body of a three-year-old. My body isn’t strong enough to get me out. The dream is so traumatic, it takes a few days to recover from each one.”
MC Eric speaks - “We were in America touring and enjoying the success of the Technotronic album when our manager got a phone call from Madonna’s manager Freddy DeMann. At the time he was Madonna and Michael Jackson’s manager. He informed our manager that Madonna was in love with our album. Apparently she used it to do aerobics to. She also wanted to know if we would like to go on tour with her.”
The tour in question, the Blonde Ambition tour, which included three sold-out shows at Wembley Stadium in July 1990, was the Queen of Pop at the height of her fame. Unsurprisingly, when they finally realised the phone call wasn’t a hoax, Technotronic were more than ready to be caught in the eye of this particularly welcome storm, happy to be picked up and dragged along in the superstar’s sizeable wake.
“I said to our manager, ‘Why are you even asking us, I hope you said yes immediately’.
“I was a fan of Madonna. I liked that she was a force of nature, one incredible track after the next. And she insisted that we would be the only support. So we did it without hesitation.
“Obviously her camp knew there were tickets going to be sold because we were on it. So it was a clever move.”
Pump Up The Jam is the opening track on Technotronic’s debut album of the same name. It reached number two in the UK in 1989 (kept off the top spot for two weeks by Black Box’s Ride On Time) and hit the same spot in the American Billboard Hot 100 in early 1990.
The song was later certified triple platinum, selling three and a half million copies globally. Despite falling short of the top spot on both sides of the Atlantic, it scored number ones in Belgium, Iceland, Portugal and Spain.
Described as a fusion of hip hop and deep house, it’s an early example of the hip house genre and is seen as the first house song to become a hit in the US.
“There were so many other highs as well, like appearing on Saturday Night Live in the US. Every country had its own big show back then and I think we must have done them all.”
A few days after his first Top of the Pops appearance, where Technotronic performed the the single Get Up!, he was back at the BBC for an interview with a very young Phillip Schofield on much-loved Saturday morning’s kids’ show Going Live! Their next meeting was to be very different.
“A few weeks after being on the show I saw Phillip on Goldhawk Road in Shepherds Bush, which is near to the old BBC Television Centre in White City where they filmed Going Live!” Eric recalls. “He’s pulled into a petrol station on Goldhawk Road, which is a mixed-race neighbourhood leaning more towards the black side of things.
“Our office was just round the corner, so when I saw him I shouted out, ‘Hey what’s up, man?’. He was like (sounds terrified) ‘I’m fine, I’m fine’. He didn’t even look at me. I was like, ‘Phil, it’s Eric, Technotronic, I’m black on weekdays, man’,” he laughs. “You should have seen his face. He was then all, ‘Oh hi. What’s up, how you doing?’. I tell you, it’s as funny now as it was back then.”
When the end arrived for Eric and Technotronic after three years of unbroken success, it ended with rancour and a row over the way the musician’s bandmate Ya Kid K, who was then about to have Eric’s child after the two had formed a relationship, was being treated. As a result the Welshman left the group. A year later the Technotronic project fell apart.
“It was like Marmite. Record labels either hated the fact I was the Technotronic dude or they loved it. The people who liked me being Technotronic didn’t give me any artistic licence to do anything else and the people who didn’t like the fact that I was in Technotronic didn’t want to know anyway.”
One of those people who took an interest was drum ‘n’ bass star Goldie, who had launched a new label through East West Records.
“He believed in me and signed me in 1996 to his new label. But then he lost his deal and, like a footballer, I was transferred over to Island Records and things fell into place there.”
Eric’s debut album under the new moniker Me One, As Far As I’m Concerned, was released in 2000 and featured the likes of Guru (from Gang Starr) and Michelle Gayle. It was a departure from the hip house of Technotronic to a much more soulful roots reggae style.
Although critically-acclaimed, it didn’t scale the heady heights of his previous incarnation. In the intervening years aside from his solo work, he has worked with Jeff Beck, Maxi Priest, the Roots, Capleton, Lynden David Hall and the Sugababes.
There have also been several hugely-successful and lucrative Technotronic reunions and world tours. He also DJs as MC Eric of Technotronic.
Everything Starts With An 'E' - E-Zee Possee & MC Kinky
Everything Starts With An 'E' - E-Zee Possee & MC Kinky
Well comin' in strong it's comin' in strong, DJ Long Jay Long Coming in like, Love, Sex and Danger Drop a tab of E Make we rub up with a stranger Now boy dem flex ya mind And please say like it mighty ranger Back up on some One love Make this Fantasy go and take ya Ecstasy E is for Elysium, excels energize excite eruption E is forever also suction not seduction Chill out chill out bop squiddlyop Make me reach ecstasy he he Chill out Chill out Said the man ah make me reach mi fantasy Chill out chill out bop squiddlyop Make we reach ecstasy Chill out chill out come follow me And make we, fantasy What planet are you on (planet ecstasy) Who do you know (no one) take a trip with me ECT and acid is a stoned unwind Trip out a Hendrix solo now Excuse me while I kiss the sky That's where the song is from, we club, 'cause we batty And we hope to die What planet are you on (planet ecstasy) Who do you know (no one) take a trip with me L comin' in strong S comin' in strong D trail on trail long he he L comin' in strong S comin' in strong D trail on trail long he he Ecstasy make we reach Ecstasy Ecstasy freak out till we one love fantasy Come follow me Ecstasy make we reach Ecstasy Ecstasy Freak out Till we one love fantasy, huh Easy posse easy He he he Ecstasy What planet are you on (planet ecstasy) Who do you know (no one) take a trip with me
"Everything Starts with an 'E'" is a song by E-Zee Possee featuring vocals from MC Kinky. It is considered by many to be the anthem of the acid house movement of the late 1980s, with the "E" in the title widely understood to refer to the drug Ecstasy (MDMA). The song began life as an instrumental interpretation of Jeremy Healy and Simon Rogers' idea of house music after a trip to Ibiza which upon being presented to Boy George had vocals added to it by MC Kinky, Boy George and Eve Gallagher. This vocal version charted #15 on the UK Singles Chart, and although a music video was created, it was rarely broadcast due to its controversial lyrical content.
E-Zee-Possee was a group compiled by Jeremy Healy of Haysi Fantayzee fame. It uses a different vocalist for each record owing to his experiences producing the Business Mix of Boy George's "Live My Life" with extra vocals with street rapper MC Cyndee. "Everything Starts with an 'E'" was initially produced as an instrumental dance record with assorted samples by Jimi Hendrix, Lost in Space and from classical music. It was written by Healy immediately after his first trip to Ibiza, where the acid house movement was in full swing, as Healy's and Rogers' interpretation of house music at the time having taken heavy inspiration from the music being played there. The title, "Everything Starts with an 'E'", originated from a Ronald McDonald LP which contained the line and was subsequently sampled in the song. Healy then presented it to Boy George, who suggested they use MC Kinky, a white female raggamuffin toaster who had previously featured on his song Kipsy.
Jeremy Healy (born Jeremiah Healy, 18 January 1962) is an English DJ and singer.
Boy George
She then used the song to write what according to her was an anti-drug rant. Boy George and Eve Gallagher both provide backing vocals for the record. It was rejected by every label George went to and eventually he opted to front the money himself, pressing a thousand copies with the intent to get it played in the clubs. Its first play was in the Hacienda in Manchester, and after becoming a theme for many of the raves, Virgin Records surrendered and signed the band. Although BBC Radio 1 initially banned the song due to controversial lyrical content, it was performed on the Sky1 show Hits International, and would later chart at #15 on the UK Singles Chart, remaining the flagship for George's More Protein label, as well as an anthem for the entire acid house movement of the late 1980s. It later appeared on E-Zee Possee's album The Bone Dance alongside follow-up singles :Love On Love", "The Sun Machine" and "Breathing Is E-Zee" as well as on Now That's What I Call Music! 17. After the earlier ban, the song was played on BBC stations at various times in 2010 and later.
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Hacienda in Manchester
A music video was made for the song after the song cracked the top 20. Despite this, the band were not allowed on Top of the Pops to promote it, and the song was not broadcast at the time on music video channels. It features MC Kinky rapping to the song as well as Marc Massive and George Long dancing alongside her. When the song achieved mainstream success, MC Kinky didn't have a manager or an agent, and as such received many calls to her landline requesting that she perform somewhere. These performances often took place in obscure locations off the M25 motorway around London, at acid house raves with "hundreds of thousands" of attendees. She recalled that she often had to curl her hair in the car and put on reflective clothing inside pub toilets, and that "when the screechy guitar on 'Everything ... ' began, the crowd would roar like a football stadium." Once she had performed, she used to start dancing inside the crowd, during which she would find herself bombarded with people claiming that she had changed their lives.
The Hacienda, Manchester 6th July 1988.
![K-klass - Rhythm Is A Mystery [Remix]](https://i.ytimg.com/vi/6A4xFvel-GI/maxresdefault.jpg)
K-klass - Rhythm Is A Mystery [Remix]
K-klass - Rhythm Is A Mystery [Remix]
After meeting at The Hacienda in 1988, K-klass (Paul Roberts, Carl Thomas, Russ Morgan, and Andy Williams) made the groundbreaking Wildlife EP. It earned them an almost unique reputation for house and techno, a genre that hardly existed in the UK at the time. 1993 saw the release of their first album, Unversal, which further cemented their reputation, as well as allowing them to collaborate with the likes of The Smith's Johnny Marr and Andrew Wetherall. In 1999 they released their second album, K2
"We all met at the Hacienda in 1988. We had met before, though. Me and Carl had done some gigs in Chester supporting 808 State. Andy and Carl were already pretty established, but we had no gear at the time - it was basically an SH-101 and a little Tandy mixer.
"We took about five tracks to Eastern Bloc in Manchester, just to see what they thought. We didn't have a name for the band or anything, and the tracks were just numbers, but they were really keen, and we put it out on a white label. We were playing a lot of live shows at the time, and used to take along boxloads of stuff to sell, and it went down really well.". - PAUL ROBERTS
K-klass DJs’ Andy and Carl may have made their debut on decks around 1995, but they have been seducing dance floors for over a decade. The live gig has always been an essential facet of the K-klass history and their ubiquitous presence on the global touring circuit ensured a massive fan base well before they began putting needle to vinyl.
Their excursion into DJing however, has allowed them to explore new creative territories in a more spontaneous and unrestrained fashion, which as Andy maintains “…provides us with instantaneous gratification.”
The feisty duo on decks has collaborated in nurturing a highly accessible signature style that is a coalition of both past and present. They have always displayed a strong penchant for versatility and are not afraid to embrace a diverse range of styles to suit their ever-fragmenting audiences. However, seeping through each tailor made set is that distinctive K-klass trademark – that is a need to satisfy the crowd and a passion for music that is charged with feeling and emotion.
Although they have established a strong local fan base with regular appearances at Better Days at Bed Sheffield, Delicious Oswestry, and also featured on the Miss Moneypennies tour, they have perhaps received most recognition on the global fraternity. On the European level they have played D Club in Switzerland, Rise in Cyprus and Privilege in Ibiza whilst becoming familiar faces in the Far East having played at Venom, and the Purple beach party in Singapore, The Back Room in Malaysia, Live@ in Taiwan and Boom Bar in Hong Kong and just recently have come back from Club Zeppelin in Moscow where they went down a storm.
And when they’re not hopping from coast to coast, you may find them at their lavish Welsh studio, building upon their infallible reputation as one of the most sought after remixers and producers in the industry. As remixers, K-klass have lent their Midas touch to the most illustrious names in pop including B*witched, Sash, Bobby Brown, Another Level, New Order and The Corrs. They are also the driving force behind the production of Candi Staton’s album – which once again manifests a superlative talent in bridging that ambivalent gap between commercial pop and viable dance music.
Also, their band K-klass has also tasted success with five top forty hits, tracks such as “Rhythm Is A Mystery” which reached number 3 in the national charts and “Let Me Show You” which reached number 13, and in 1995 won the I.D.A best international Remixer award the first ever UK artist to do so.
Late last year projects included a two-track release with One Little Indian Records under the disguise of “The Pharmacy Allstars” and another two-track release with Junior Records “Baby Wants To Ride” Away from the studio they had a monthly residency at Bed in Sheffield with a club classic night called “Better Days” which they have now left when they though the time was right to move on.
Their last single “Talk 2 Me” released on Concept Recordings, reached number 1 in the MTV Dance Chart and number 2 in the UK Club chart. Their next single entitled “Now Your Gone” is set for release this summer.
With an ever-busy schedule, Carl and Andy continue to remain focused and enthusiastic in their every creative endeavor, and a natural flare to empathize with the miscellaneous audiences they expose themselves to; guarantees repeat appearances on dance floors once they have made their stunning debut.
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K-Klass are responsible for some of the biggest house tracks ever made. They are all about entertaining and playing for the crowd. They play at various events and venues all over the world on a weekly basis, which means it is important that they adapt their music to suit each venue. When K-Klass are not behind the decks they spend their time in the studio and have worked alongside most of the biggest and most established artists around, some of these include: The Pet Shop Boys, Kathy Brown, Shake Down, Whitney Houston, Gerri Halliwell, Blondie, Bobby Brown, M-People, Level 42, Kylie Minogue, Rozalla, Sunscreem, Frankie Knuckles, Bizzare Inc, Kathy Sledge, New Order, Janet Jackson, Luther Vandross, Lisa Stansfield and Candi Staton plus many many more.
T99 - Anasthasia (Out of History Mix) 1991 (HQ) Hardcore Techno Breakbeat
T99 - Anasthasia (Out of History Mix) 1991 (HQ) Hardcore Techno Breakbeat
T99 were a Belgian music group best known for their song "Anasthasia", which reached #14 in the UK Singles Chart in May 1991. T99 was initially Patrick de Meyer, who released three solo works under this pseudonym. However, he heard Olivier Abbeloos (also of Quadrophonia) working on the track "Anasthasia", and suggested that Abbeloos release it as T99.
T99 - After Beyond
T99 - After Beyond
From then on, T99 was a duo made up of de Meyer and Abbeloos. They experienced brief success with "Anasthasia" and the follow-up, "Nocturne". Their only album release, Children of Chaos, contained seventeen tracks which varied from hardcore techno to ambient techno, along with a spoken-word performance art piece. Their sound was sampled in tracks by 2 Ulimited, Kylie Minogue, and The Chemical Brothers. "Anasthasia" appeared on the soundtrack to the 1999 film, Human Traffic. De Meyer later went on to write material for Technotronic and 2 Unlimited, while Olivier Abbeloos started the label Holographic.
![Usura - Open Your Mind (Masons Animal Language Treatment Mix) [played by Karotte]](https://i.ytimg.com/vi/eSJrXWkxhyE/maxresdefault.jpg)
Usura - Open Your Mind (Masons Animal Language Treatment Mix) [played by Karotte]
U.S.U.R.A.
Usura - Open Your Mind (Masons Animal Language Treatment Mix) [played by Karotte]
![U.S.U.R.A. - Open Your Mind [Official Video]](https://i.ytimg.com/vi/TPFAYIr8z2I/maxresdefault.jpg)
U.S.U.R.A. - Open Your Mind [Official Video]
U.S.U.R.A. was an Italian electronic dance music group active from 1991-1998, best known for their crossover hit "Open Your Mind". U.S.U.R.A. was started by Time Records owner Giacomo Maiolini, producers Walter Cremonini and Alessandro Gilardi. The name is derived from that of Maiolini's mother, Ursula. The group is best known for the 1992-93 hit single (and later album) "Open Your Mind", featuring a dialog sample from the film Total Recall, as well as from "Solid" by Ashford & Simpson and incorporating sampled elements from the Simple Minds song "New Gold Dream" from 1982. Its video morphs the faces of Ronald Reagan, Benito Mussolini, Joseph Stalin, Ian Paisley, Margaret Thatcher, Richard Nixon, Mary Whitehouse, and Joe McCarthy.
U.S.U.R.A. - Open Your Mind [Official Video]
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Scared
Slacker - Scared remix - Loaded 20 (1990 2010)
Slacker
It's become a bit of a tradition this, the Tuesday banger. Today we have another selection plucked from the awesome 'Fused' compilation, released as a double CD back in 1997. An edited version of this absolute stomper from Slacker appears on the compilation, but here is the excellent 'Scared' in its full glory. Slacker began as a production team consisting of Shem McCauley and Simon Rogers, making various tracks which became anthems of the mid-90's progressive house/trance scene. Later Shem McCauley went solo and continued work under the 'Slacker' guise, also running the Jukebox In The Sky record label and releasing material on many labels including XL Recordings, Loaded Records, and Perfecto Records. McCauley died in Bangkok, Thailand in January 2012, an apparent case of suicide.
The KLF feat Children Of The Revolution - What Time Is Love (Rhythm Stick Version)
The KLF feat Children Of The Revolution - What Time Is Love (Rhythm Stick Version)
The KLF
Since 1987 the KLF (Kopyright Liberation Front) have operated under a series of guises, only gradually revealing their true nature to the public at large. Their principal spokesman is Bill Drummond (William Butterworth, 29 April 1953, South Africa), who had already enjoyed a chequered music industry career. As co-founder of the influential Zoo label in the late 70s, he introduced and later managed Echo And The Bunnymen and the Teardrop Explodes. Later he joined forces with Jimmy Cauty (b. 1956, Devon, England), an artist of various persuasions and a member of Brilliant in the mid-80s. Their first project was undertaken under the title JAMS (Justified Ancients Of Mu Mu - a title lifted from Robert Shea and Robert Anton Wilson’s conspiracy novels dealing with the Illuminati). An early version of ‘All You Need Is Love’ caused little reaction compared to the provocatively titled album that followed - 1987 (What The Fuck Is Going On?). It liberally disposed of the works of the Beatles, Led Zeppelin et al with the careless abandon the duo had picked up from the heyday of punk. One of the disfigured supergroups, Abba, promptly took action to ensure the offending article was withdrawn.
The KLF - Kylie Said to Jason (proper audio).mpg
The KLF - Kylie Said to Jason (proper audio).mpg
In the wake of the emerging house scene the duo’s next move was to compromise the theme tune to well-loved British television show Dr Who, adding a strong disco beat and Gary Glitter yelps to secure an instant UK number 1 with ‘Doctorin’ The Tardis’. Working under the title Timelords, this one-off coup was achieved with such simplicity that its originators took the step of writing a book; How To Have A Number One The Easy Way. After the throwaway send-up of Australian pop, ‘Kylie Said To Jason’, and Disco 2000’s ‘Uptight’, the duo branched out into ambient music. Cauty, alongside Alex Paterson, played a significant part in creating arguably the leading exponents of the genre, the Orb, while as the KLF they released Chill Out, an ambient house recording that is now recognised as a classic. Back in the pop charts the duo enjoyed worldwide success with their Stadium House Trilogy. The first instalment, ‘What Time Is Love (Live At Transcentral)’, reached the UK Top 5 in autumn 1990. The duo reached their commercial peak at the start of 1991 when the soulful house of ‘3 AM Eternal’ topped the UK charts and broke into the US Top 5. The final instalment, ‘Last Train To Transcentral’, reached UK number 2 and the attendant The White Room was also a bestseller. Further releases followed from the myriad of names employed by the duo (JAMS - ‘Down Town’, ‘It’s Grim Up North’; Space - Space), but perhaps the most startling was the KLF’s ‘Justified And Ancient’, featuring the unmistakable voice of country legend Tammy Wynette. The song revealed the KLF at the peak of their creative powers, selling millions of records worldwide while effectively taking the mickey. They were voted the Top British Group by the BPI. Instead of lapping up the acclaim, the KLF, typically, rejected the comfort of a music biz career, and deliberately imploded at the ceremony. There they performed an ‘upbeat’ version of ‘3AM Eternal’, backed by breakneck-speed punk band Extreme Noise Terror, amid press speculation that they would be bathing the ceremony’s assembled masses with pig’s blood. They contented themselves instead with (allegedly) dumping the carcass of a dead sheep in the foyer of the hotel staging the post-ceremony party, and Drummond mock machine-gunning the assembled dignitaries. They then announced that the proud tradition of musical anarchy they had brought to a nation was at a close: the KLF were no more. Although a remix of ‘America: What Time Is Love?’ subsequently became another huge hit, their only new recording in 1992 came with a version of ‘Whatever Will Be, Will Be (Que Sera, Sera)’ (naturally renamed ‘K Sera Sera’, and recorded with the Soviet Army Chorale), which, they insisted, would only see the light of day on the advent of world peace
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"Kylie Said to Jason" was a 1989 single by The KLF, referring to Kylie Minogue and Jason Donovan, then stars in the popular Australian TV soap opera Neighbours. Designed for chart success, the single nonetheless failed to enter the UK top 100.
The KLF returned to their rightful throne, that of England’s foremost musical pranksters, with a stinging art terrorist racket staged under the K Foundation banner. In late 1993, a series of advertisements began to appear in the quality press concerning the Turner Prize art awards. While that body was responsible for granting £20, 000 to a piece of non-mainstream art, the K Foundation (a new vehicle for Messrs Drummond and Cauty) promised double that for the worst piece of art displayed. The Turner short list was identical to that of the KLF’s. More bizarre still, exactly £1, 000, 000 was withdrawn from the National Westminster bank (the biggest cash withdrawal in the institution’s history), nailed to a board, and paraded in front of a select gathering of press and art luminaries. The money was eventually returned to their bank accounts (although members of the press pocketed a substantial portion), while the £40, 000 was awarded to one Rachel Whiteread, who also won the ‘proper’ prize. The K Foundation later cemented its notoriety by burning the aforementioned one million pounds, an event captured on home video.
The KLF - 3AM Eternal (Live at the S.S.L.) (Official Video)
The KLF - 3AM Eternal (Live at the S.S.L.) (Official Video)
Since that time, Drummond and Cauty have made several pseudonymous returns to the singles charts, including the 1996 tribute to footballer Eric Cantona, ‘Ooh! Aah! Cantona’, as 1300 Drums Featuring The Unjustified Ancients Of Mu, and in 1997 as 2K for the charmingly titled ‘Fuck The Millennium’. Urban guerrillas specializing in highly original shock tactics, the KLF offer the prospect of a brighter decade should the various disguises continue to prosper.
Cauty & Drummond - Pulling Out Of Ricardo and The Dusk Is Falling Fast
What Time Is Love - The KLF (Power Remix)
Madrugada Eterna (Galloway, 1965) The KLF
Parton to Kirkcowan by way of Newton Stewart aboard a steam train way back in 1965.
The KLF Cauty & Drummond - Pulling Out Of Ricardo and The Dusk Is Falling Fast
What Time Is Love - The KLF (Power Remix)
Madrugada Eterna (Galloway, 1965) The KLF
C'mon N' Ride It (The Train)
Quad City DJ's - C'mon N' Ride It (The Train)
Woo woo Come on, ride the train, hey, ride it, woo woo
Come on, ride the train, hey, ride it, woo woo
Come on, ride the train, woo woo, hey
Ride it, woo woo
Come on, ride the train
Woo woo, hey, ride it, woo woo
Come on, ride the train
It's the choo choo, ride it, woo woo
Come on, ride the train, it's the choo choo train
Come on, ride the train, it's the choo choo
Ride it, woo woo
Come on, ride the train, it's the choo choo train
Ah, ah, ah, ah, ah
I think I can, I think I can
I think I can, I think I can
Way deep down south, well we play this game
It's them Quad City D.J.'s and you
We call it "the train"
So if you wanna ride your thing
Just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin, your sister and your friend
Pack it up now, choo choo, ride on this, choo choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it, come on, just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out now
Come on, ride the train, hey, ride it, woo woo
Come on, ride the train, hey, ride it, woo woo
Come on, ride the train, woo woo, hey
Ride it, woo woo
Come on, ride the train
Woo woo, hey, ride it, woo woo
Come on, ride the train
It's the choo choo, ride it, woo woo
Come on, ride the train, it's the choo choo train
Come on, ride the train, it's the choo choo
Ride it, woo woo
Come on, ride the train, it's the choo choo trainIf you feel like dancing, well come on, it's up to you
We got the sound to keep you getting down, down
The train is coming throughAh, ah, ah, ah, ah
I think I can, I think I can
I think I can, I think I can
Way deep down south, well we play this game
It's them Quad City D.J.'s and you
We call it "the train"
So if you wanna ride your thing
Just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin, your sister and your friend
Pack it up now, choo choo, ride on this, choo choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it, come on, just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out nowAh, ah, ah, ah, ah
I think I can, I think I can
I think I can, I think I can
Way deep down south, well we play this game
It's them Quad City D.J.'s and you
We call it "the train"
So if you wanna ride your thing
Just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin, your sister and your friend
Pack it up now, choo choo, ride on this, choo choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it, come on, just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out nowI can smell them tranquil breezes from a mile away
Graduated from Boone up to Alize
Baby, you looking tough to death
Got your weave done right, it's on so tight
Now it's on tonight, yeah, yeah
Right about now it's about that time for me to holler
Girl, I wanna waller in the back of my impala
Woo, don't need no tickets for this thing
Just jump on in, let me hit them switches on the train
And it ain't no thing, it's all the same
Get on the train tracks
Here we go, so get on the floor
And put a hump in your back
So pack your bags, come on, get ready, say what?
We're coming through your town
Move your arm up and down
And make that choo choo sound, like this
Ride that choo choo, woo woo
Come on it's the choo choo, woo woo
Come on it's the choo choo trainIf you feel like dancing, well come on, it's up to you
We got the sound to keep you getting down, down
The train is coming throughAh, ah, ah, ah, ah
I think I can, I think I can
I think I can, I think I can
Way deep down south, well we play this game
It's them Quad City D.J.'s and you
We call it "the train"
So if you wanna ride your thing
Just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin, your sister and your friend
Pack it up now, choo choo, ride on this, choo choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it, come on, just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out nowAh, ah, ah, ah, ah
I think I can, I think I can
I think I can, I think I can
Way deep down south, well we play this game
It's them Quad City D.J.'s and you
We call it "the train"
So if you wanna ride your thing
Just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin, your sister and your friend
Pack it up now, choo choo, ride on this, choo choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it, come on, just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out now
Quad City DJ's is an American music group consisting of Jay Ski (Johnny McGowan), C.C. Lemonhead (Nathaniel Orange), and JeLana LaFleur who recorded the 1996 hit "C'mon N' Ride (The Train)", a rap-remix of Barry White's 1974 "Theme from Together Brothers". They are best known for writing and performing the theme song to the 1996 animated basketball film Space Jam. Ski and Lemonhead first partnered in 1988 in Jacksonville, Florida. They first were in a group known as Chill Deal. During this time they produced fellows acts Three Grand and Icey J, the latter being famous for the female answer rap to Rob Base's "It Takes Two" entitled "It Takes a Real Man". After Chill Deal dissolved, they reformed as 95 South to create the triple platinum hit "Whoot, There It Is". Their success led to work with Dis-n-Dat producing "Freak Me Baby" and 69 Boyz producing the double platinum single "Tootsee Roll".
In 1996 the two formed Quad City DJ's and produced the single "C'mon N' Ride It (The Train)". The song was very successful, peaking at #3 on the Billboard Hot 100 and was certified platinum. They then produced the following album Get On Up and Dance, featuring the hit single, which peaked at #31 on the Billboard Hot 200 and also was certified platinum. The album also included the minor hit "Summer Jam" which peaked at #27 on the Billboard Hot Rap Singles chart. The term "Quad" in the group's name is a local reference to bass.
Hey DJ
Quad City DJ's - Hey DJ
Family Time at the Amway Center Battle of the Bands!
Party Over Here
Quad City DJ's - Party Over Here
William Ernest Drummond
William Ernest Drummond (born 29 April 1953) is a Scottish artist, musician, writer, and record producer. He was the co-founder of late 1980s avant-garde pop group The KLF and its 1990s media-manipulating successor, the K Foundation, with which he famously burned £1 million pounds in 1994. More recent art activities, carried out under Drummond's chosen banner of the Penkiln Burn, include making and distributing cakes, soup, flowers, beds and shoe-shines. More recent music projects include No Music Day, and the international tour of a choir called The17. Drummond is the author of several books about art and music.
While out walking on New Year's Day 1987, Drummond formulated a plan to make a hip-hop record. However, "I wasn't brave enough to go and do it myself", he said. "...although I can play the guitar, and I can knock out a few things on the piano, I knew nothing, personally, about the technology. And, I thought, I knew Jimmy (Caulty). I knew he was a like spirit, we share similar tastes and backgrounds in music and things. So I phoned him up that day and said 'Let's form a band called The Justified Ancients of Mu-Mu'. And he knew exactly, to coin a phrase, 'where I was coming from'".