rewarded The JAMs with further praise, including NME "single of the week", in which Danny Kelly thought that "its maverick requisition of the hip-hop idiom, its fanatical confrontation of copyright laws overrun by music's new technologies, its central subject matters and its termination with the year's most incisively searching question—'1987: what the f**k's going on?'—combine to make 'All You Need Is Love' a triumph of nowness over mere newness."(Sic). Reviewing 1987 later in the year, the same writer described "All You Need Is Love" as "mighty" but he was unable to hide his disappointment in the album as a whole: "is it the runaway juggernaut hyperbrill monster crack that the outriding 45 threatened? No." A retrospective piece in The Guardian called "All You Need Is Love" a "jagged slice of agit-prop" and "shockingly effective", adding that "[the original] was a club hit (i.e. everybody danced to it though nobody bought it), and after being re-edited to avoid copyright restrictions, it reached number three in the Indie chart". Future KLF collaborator Tony Thorpe recalled hearing "All You Need Is Love" on John Peel's show in the year of its release and being "outraged": "I’m like, Oh my God, some idiot has sampled the Beatles. And it’s all out of time. I was amazed that anybody could be so blatant." Promotion and themes "All You Need Is Love" epitomised the artistic attitude of the JAMs' subsequent recordings: plagiarising popular music by taking extensive samples of other artists' work, and juxtaposing these with each other, adding beatbox rhythms and Drummond's Scottish-accented raps, poems and narrations. The albums 1987 and Who Killed The JAMs?, and the singles "All You Need Is Love", "Whitney Joins The JAMs" and "Down Town" all had small-scale production budgets and little mainstream popularity, yet their novel construction and The JAMs' provocative disregard for copyright gained the duo enduring media attention. The JAMs' promotional tactics were similarly unconventional, including the use of promotional graffiti, a guerrilla communication method employed repeatedly by Drummond and Cauty, beginning around the time of their first releases. Some copies of the re-released single were supplied in a picture sleeve which showed The JAMs' "Shag Shag Shag" graffiti defacing a billboard (advertising the Today newspaper) that depicted police chief James Anderton. Anderton, a self-declared Christian, had courted controversy when he said "I see increasing evidence of people swirling about in a human cesspit of their own