also recognised that the track is "a tale of simple sample fantasy", whereas the lyrics of "All You Need Is Love" and "Down Town", "question the inadequacies and inconsistencies of society". AllMusic called "Whitney Joins the JAMs" "hilarious". Legacy Ironically, Drummond claimed that in 1991 the KLF were offered the job of producing or remixing a new Whitney Houston album, as an inducement from the boss of her record label (Clive Davis of Arista Records) to sign with them. The KLF did not accept the offer, but nonetheless they signed to be distributed by Arista in the US. Drummond said, "They sent us a copy of her current album and said: '[are] there any tracks in this album you wanna redo? We'll send her over [to] do photo sessions with you. We'll have her with a KLF T-shirt on the next video.' We got the album: complete rubbish.... But the whole concept! And suddenly we're being offered Whitney on a plate.... 'My God!'" Davis' offer reflected the upturn in Drummond and Cauty's fortunes brought about by their decision to produce commercial music as the Timelords and the KLF. Whereas the JAMs' recordings of 1987 were at the legal mercy of the artists sampled therein, Drummond and Cauty later became able to commission the services of established performers. The Timelords' "Gary Joins the JAMs" (a version of their UK #1 novelty single "Doctorin' the Tardis", which sampled Gary Glitter) featured new vocals by Glitter, and he also appeared with the duo on Top of the Pops. The KLF recorded Tammy Wynette's vocals on "Justified and Ancient", and "America: What Time Is Love?" featured Glenn Hughes, prompting other established vocalists to send requests for collaborations. In 1995, Drummond and Cauty unsuccessfully attempted to recruit Robbie Williams to sing on a track they were donating to The Help Album; Williams was on holiday and unavailable. Drummond outlined their idea—which mirrors "Whitney Joins the JAMs"—in a chapter of his book 45 entitled "Robbie Joins the Jams": "Over a mug of tea Jimmy [Cauty] and I got it all worked out. We would record our version of 'The Magnificent Seven', renamed 'The Magnificent One', through Sunday night. Over the track I would beseech Robbie Williams to join The Jams, and then Robbie would in fact turn up at the studio in the early hours of Monday morning and make his creative contribution to the record."