By the mid-'90s, Norman Cook had been involved in three UK No.1 records. First there was the acapella 'Caravan of Love' in 1986 with Hull-based indie band The Housemartins, who Cook had joined on bass as a favour to his old pal from Reigate College — Paul Heaton, the singer. Then there was the dubwise 'Dub Be Good To Me' with the Beats International collective in 1990 that, infamously, sampled the bassline from The Clash's 'Guns of Brixton'; and Freak Power's groovy funkster 'Turn On, Tune In, Cop Out' shot to the top spot in 1995 after being re-released following a Levi's jeans ad campaign.
(CNN)DJ Fatboy Slim will put on a free show for healthcare and emergency services staff to thank them for their service during the coronavirus outbreak. The artist, whose real name is Norman Cook, will play a gig in his hometown of Brighton, southern England on October 28, he announced on Twitter Wednesday. Fatboy Slim - Pandora. Try disabling any ad blockers and refreshing this page. Divvy 1 5 25. If that doesn't work, please visit our help page.
Having had his acid house epiphany in the early '90s, Cook had started making house music under the names Pizzaman and the Mighty Dub Katz. Pizzaman was signed to Loaded Records in Brighton, and one of the staffers there, Damian Harris, wanted to start a new offshoot — Skint. “The idea was that there was this sound that we’d kind of been hearing in our heads, which didn’t have a name in those days,” Norman tells DJ Mag. “Trypno or Brit-hop and amyl house were early names for it, and basically we used to play trip-hop records at 45, or techno and acid records at 33. It was a bridge between the hip-hop we grew up with, house which was becoming a little bit stereotypical, and the eclectic pop nature of throwing in every reference that you’ve grown up with — from The Beatles to punk rock.”
British record producer, musician, rapper and disc jockey Fatboy Slim has an estimated net worth of $30 million. Known for his stage name Fatboy Slim, Norman Quentin Cook was born on July 31, 1963, in Bromley, Kent, England. Fatboy Slim’s name rose to prominence in the 1980s when he became a part of the indie rock band The Housemartins. Uloz.to is the largest czech cloud storage. Upload, share, search and download for free. Credit allows you to download with unlimited speed. Norman Cook's Fatboy Slim alter ego has become a big-beat legend (if legendary status can be bestowed on such a young genre) and thus a separate entity from Cook's earlier career incarnations. This collection demonstrates, however, that while evolving profoundly from more acoustic pursuits like the Housemartins and the reggae-flavored, early.
A whole party crew would end up at Norm's house, dubbed the House of Love due to having loads of acid house Smileys everywhere, every weekend for after-parties in the early '90s. “We spent a couple of years pretty much every weekend at the house, and we’d always be playing records,” recalls Damian Harris. “When I got permission to do Skint, they said to me ‘Find your first three records’, and I knew that Norm would get it. I knew that he’d just started liking acid house, and I knew that he had a very good hip-hop and disco record collection. It was literally saying, ‘Hip-hop machismo and breaks, acid house elation and a rocky attitude’. He got it quite easily. It was just a case of speeding it up a bit, and there we go.”
1995 saw the launch of the Big Beat Boutique at the Concorde club, which was basically an extension of the House of Love, according to Damian. “The first [Fatboy Slim] album was me making records so that I had enough tunes to play a whole set of this new sound,” says Norm, installed as Boutique resident. “At that point I’d bumped into the Chemical Brothers and Jon Carter and Richard Fearless at the Heavenly Social, and it felt like there was this gang of people who liked music that wasn’t quite the same as everybody else’s. It was like a meeting of minds.”
Norm had needed another pseudonym for his new 'big beat' persona, so plucked something out of thin air. “I really like old blues records, and if you’re a fat blues singer you get called ‘Slim’,” he relays. “So it was like the oxymoron of a blues singer.”
By 1996 there were enough Fatboy tracks for an album, 'Better Living Through Chemistry', featuring tracks such as 'Everybody Needs A 303'. “After the first album we kind of worked out that there was a formula that worked, so the idea was to have a pop hook on a hip-hop beat but with a bit of acid house sensibility,” outlines Norm. “Whether it came from Northern soul or soul.. it was just the contents of my record collection distilled down. I’ve always been into soul and funk music, and it’s quite difficult for a suburban white kid to make funk music, but with the sampler — with an [Akai] S950 [sampler] — you can get that funk out of it.”
As a dedicated vinyl collector, Norm would frequent thrift stores and second-hand record shops to buy up records to sample. One comp he'd bought for £8.25 from Rhythm Records in Camden, 'Essential Funk', had as its last track a soulful '70s cut by singer/poet Camille Yarbrough, 'Take Yo' Praise', which started with the breathy acapella: “We've come a long, long way together, through the hard times and the good..'. The first few acapella lines were ripe for sampling, although it took Norm a little while to speed it up a touch and get it so that you could hear Camille singing over the top of other elements.
The third and fourth lines — 'I want to celebrate you baby, I want to praise you like I should' — weren't so much about God as about praising a man, which Norm says he was glad of. “My worry was the religious nature of the [original] song, whether it was a song about God or about sex, and luckily it was more about sex than God, so I got away with it,” he says. “One of the lovely things about ‘Praise You’ is that it works in so many different situations. It can be about relationships, it can be about me DJing at the Amex… every time I drop it at a gig, there’s some reason why it seems relevant, but it is open-ended about who you’re talking to. In the original song, it’s very definitely about a man. She wants to praise him,” he smirks.
On his antiquated equipment, a 1989 Atari ST running Creator software, Norm started building up 'Praise You' with piano, a drum beat (“probably a chopped-up breakbeat off a funk bootleg”), a bassline that he wrote himself on keyboard, plus guitar and percussion. “There isn’t actually a huge amount to it, apart from the groove, the piano, the vocal and a bit of 303 at the end,” he says as he gives DJ Mag an exclusive run-through of the elements in his Brighton studio. “And there’s some bits to it that I can’t play to you on their own, for fear of the original owners finding it.”
Like many game-changing tracks, it all came together pretty quickly. “There is a bit of, ‘If you can remember the '90s, you weren’t really there’ about it, although as I remember it, it probably took about two evenings,” he says. “It was one of those tunes where the bits fell into my lap, because I'd buy tons of records from thrift stores and put them all on discs in little chunks, i.e. drum beat at this tempo, vocal at this tempo. Then you just sit there — quite laborious in those days — loading up the S950 [floppy] discs until you think, ‘That goes well with that’. This was one where I quickly got three elements.
“I was just looking at [my work] this week on the Creator discs,” he continues, reading his track titles from the floppy. “‘Praise You’, ‘Funk Soul Brother’ which then got called ‘Rockafeller Skank’, ‘Always Read the Label’, 'Build It Up, Tear It Down’ and something called ‘Right Here, Right Now’ — now that was a good week! I think I was on a roll that week.”
Superimpose studio pro 1 3. Norm is too modest to admit that he thought he'd come up with a bit of a classic when he'd finished 'Praise You', but says he remembers thinking, “'That is good, it sounds like a single'. With the rise of big beat, there was this thing going on — like EDM is at the moment — where you can just feel the momentum of it, especially with me and the Chemical Brothers and people, we were all trying to outdo each other. This was like, ‘Ah, this takes it onto a pop level where it’s never really been before’.”
“When I first heard it, I thought it was amazing,” says Damian Harris, who's also DJ/producer Midfield General. “That was the thing with Norman at the time, he’d give me these demo tapes and that’s his brilliance, that very simple combination of melodies and samples and little hooks, and you just knew straight away that it was a great record.”
After the first album, a 'Norman Cook/Fatboy Slim remix' became the hottest revamp to obtain, propelling Cornershop's 'Brimful of Asha' to No.1 in 1997 and also Wildchild's 'Renegade Master' to No.3 in 1998. “I suppose we could be a bit confident, cos we knew ‘Praise You’ was an amazing record and we could save it for the third single — and hopefully everything would carry on,” says Harris. “So ‘Rockafeller Skank’ went to No.6, ‘Gangster Trippin’’ went to No.3 and then we thought, hopefully, that ‘Praise You’ would get to No.1.”
In advance of release, Skint made sure that they paid Camille Yarbrough for the 'Praise You' vocal sample in return for her permission to use it. “We were quite worried when we were coming to clear it, but she was very nice about it and liked the way Norman had treated it respectfully,” says Damian.
When Norman was in America filming the official video for 'Rockafeller Skank', he received a video from film director Spike Jonze (Being John Malkovich, etc) of a weird-looking guy dancing to 'Rockafeller Skank'. “He didn’t tell me it was him dancing!” remembers Norm. “He said, ‘I saw this guy dancing to your tune and thought he looked cool’. I was like, ‘That’s the video! Scrap the filming tomorrow, this is going to be the video!’, and the record company said no. So I phoned Spike up and said, ‘Would you do the next single?’ which just happened to be ‘Praise You’, and I think it fits the song so much better.”
The quirky 'Praise You' video, with Jonze's fictional, under-rehearsed Torrance Community Dance Group dancing a routine in a cinema foyer, was filmed guerrilla style in LA. Like a freaky flashmob, Jonze's troupe flounced around to the track somewhat shambolically until the theatre manager stepped forward to turn off the beatbox. Jonze immediately jumped on him to give him a weird hug.
Norman, who was present during the filming (and makes a little cameo near the end), takes up the story. “The theatre manager really didn’t like it, but some money changed hands and we explained exactly what we were doing, and within a couple of minutes we restarted and did the rest of it,” he says. “We had to do it in one take to get people’s reactions, we’d already done it somewhere else and everybody just walked past and ignored us. So yeah, we paid him off — and I think he’ll take that as a wise decision in his life, to let us carry on.”
The video helped break 'Praise You' worldwide, including in America, but MTV famously turned it down at first. “They said it was of inferior quality to be broadcast and looked like it was filmed on hand-held cameras, which of course it was,” Norman says. “And then VH1 started playing it and everyone started liking it, and it went on to win six MTV Awards. But originally MTV turned it down, and the American record company wanted to make another video. ‘That’s just stupid, and you’re not taking it seriously’, they said.”
'Praise You' was released in the first week of January 1999, and did indeed shoot straight to No.1 in the UK. “You take any No.1 as a big moment in your life,” says Norm, “a feeling that you’ve lived down your last No.1. They were crazy times. I remember there was a week when I won a Brit, the album ['You've Come A Long Way, Baby'] knocked Robbie Williams off No.1, and I got engaged to Zoe and became tabloid fodder — they were the kind of weeks we had in those days!”
'Praise You’ was big beat’s zenith, but it was also the beginning of the end when a backlash suddenly kicked in. “The backlash to big beat was probably because it got very dull, very quickly,” reckons Norm. “The idea was to break the rules and break the formula of house music being house music, rap music being rap music, and rock music being rock music. And it just became a new set of rules. The style was very easily copied by other people, and all of a sudden everybody was doing it and it became formulaic, which was bizarre as the idea was to break the formula. It crashed and burned very quickly.”
![Slim Slim](https://secure.i.telegraph.co.uk/multimedia/archive/02478/fat_2478333b.jpg)
Norm reckons that the fact he was mates with Jon Carter and the Chemicals helped him successfully swerve the backlash. “We were all like, ‘Shall we kill this thing and move on?’ And there was a race…” he says. “We’d check in with each other, ‘What’s your next album going to be like?’ ‘Anything but big beat’. So there was a rush to jump the good ship big beat before it went down, so we lived to fight another day.”
Norm tells DJ Mag that 'Praise You' being in a scene of Friends was quite a bizarre moment in the song's lifetime. “There was a thing where somebody was supposed to meet someone outside a Fatboy Slim gig, and this whole scene with ‘Praise You’ playing in the background,” he recalls. “I remember thinking, ‘This has kinda got out of hand’.”
'Praise You' was the tune that sent him supernova in the US, and he still plays it every set in some form or other — mashed up with 'Sympathy For the Devil' by the Rolling Stones is his current fave. A 30-piece choir singing it at his headline Bestival show last year, with Rob Da Bank on keys, was a magical moment, he says, and “it’s one of those tunes that I’ll always have affection for. I’ll never really think, ‘Oh no, not that one again’, or ‘How do I live that one down?’
“There’s certain tunes — mentioning no ‘Caravan of Loves’… sorry, names, where if people sing it to you in the street you think, ‘Oh God, here we go again’. But 'Praise You', if people sing it to me in the street, I’ll always smile. If it crops up in weird places in films, it’ll always have some kind of meaning. The fact that the lyrics are so timeless — one lyric fits all.” CARL LOBEN
Watch the 'Praise You' Game Changer film on DJMag.tv — now (below)!
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Norman Quentin Cook (born as Quentin Leo Cook on 31 July 1963), stage name Fatboy Slim, is an English DJ, musician and record producer/mixer.
985–1995: The Housemartins to The Mighty Dub Katz
In 1985, Norman Cook’s friend Paul Heaton (who also penned the name Norman as he said he looked like a ‘Norman’) had formed a guitar band called The Housemartins. Their bassist Ted Key left on the eve of their first national tour, so Cook agreed to move to Hull to join them. The band soon had a hit single with “Happy Hour”, and their two albums, London 0 Hull 4 and The People Who Grinned Themselves to Death, peaked in the Top 10 of the UK Albums Chart. They also reached number one just before Christmas 1986 with a version of “Caravan of Love”, originally a hit the year before for Isley-Jasper-Isley. However, by 1988 they had split up. Heaton and the band’s drummer Dave Hemingway went on to form The Beautiful South, while Cook moved back to Brighton to pursue his interest in the style of music he preferred. It was at this time that he first started working with young studio engineer Simon Thornton, with whom he continues to make records. All of Cook’s records released from that point onwards have involved both of them to varying degrees (Thornton is credited in 2004 as “Executive Producer”, for example).
Cook achieved his first solo hit in 1989, featuring his future Beats International member MC Wildski, called “Blame It on the Bassline”. Credited to “Norman Cook feat. MC Wildski”, the song followed the basic template of what was to come in the style of the music of Beats International. It became a modest hit in the UK Singles Chart, reaching number 29.
Cook formed Beats International, a loose confederation of studio musicians including vocalists Lindy Layton, Lester Noel, D.J. Baptiste, rapper MC Wildski, and keyboardist Andy Boucher. Their first album, Let Them Eat Bingo, included the number one single “Dub Be Good to Me”, which caused a legal dispute revolving around allegations of infringement of copyright through the liberal use of unauthorised samples: the bassline was a note-for-note lift from “The Guns of Brixton” by The Clash and the lyrics borrowed heavily from “Just Be Good to Me” by The S.O.S. Band. This bankrupted Cook as he lost the case and was forced to pay back twice the royalties made on the record. The 1991 follow-up album Excursion on the Version, an exploration of dub and reggae music, failed to repeat the success of its predecessor, as it did not chart.
Cook then formed Freak Power with horn player Ashley Slater and singer Jesse Graham. They released their debut album Drive-Thru Booty in 1994, which contained the single “Turn On, Tune In, Cop Out”. The cut was picked up by the Levi’s company for use in a multimillion-dollar advertising campaign. In 1996, Cook re-joined Freak Power for their second album, More of Everything for Everybody.
Cook enlisted help from producer friends Tim Jeffery and JC Reid to create a house music album under the name Pizzaman. The 1995 Pizzamania album spawned three UK Top 40 hits: “Trippin’ on Sunshine”, “Sex on the Streets”, and “Happiness”. “Happiness” was picked up by the Del Monte Foods corporation for use in a UK fruit juice ad. The music videos for the three singles were all directed by Michael Dominic.
Cook also formed the group The Mighty Dub Katz along with Gareth Hansome (aka GMoney), Cook’s former flatmate. Together they started the BoutiqueNightclub in Brighton, formerly known as the Big Beat Boutique. Their biggest song together was “Magic Carpet Ride”.
1996–2008: Fatboy Slim
Cook performing at the first “Beach Party” in Portrush, 2006.
Cook adopted the new pseudonym Fatboy Slim in 1996. Cook says of the name: “It doesn’t mean anything. I’ve told so many different lies over the years about it I can’t actually remember the truth. It’s just an oxymoron – a word that can’t exist. It kind of suits me – it’s kind of goofy and ironic.”
The Fatboy Slim album and Cook’s second solo album, Better Living Through Chemistry (released through Skint Records), contained the Top 40 UK hit “Everybody Needs a 303”. Fatboy Slim’s next work was the single “The Rockafeller Skank”, released prior to the album You’ve Come a Long Way, Baby, both of which were released in 1998. “Praise You”, also from this album, was Cook’s first UK solo number one. Its music video, starring Spike Jonze, won numerous awards. On 9 September 1999, he performed “Praise You” at the 1999 MTV Video Music Awards in New York City, and won three awards, including the award for Breakthrough Video.
In 2000, Fatboy Slim released his third studio album, Halfway Between the Gutter and the Stars, and featured two collaborations with Macy Gray and “Weapon of Choice”, which also was made into an award-winning music video, starring Christopher Walken. At the 2001 MTV Video Music Awards in New York, Fatboy Slim won six awards for “Weapon of Choice”, the most awards at the ceremony.
In 2003, he produced Crazy Beat and Gene by Gene from the Blur album Think Tank, and in 2004, Palookaville was Cook’s first studio album for four years.
Fatboy Slim’s greatest hits album, Why Try Harder, was released on 19 June 2006. It comprises eighteen tracks, including ten Top 40 singles, a couple of Number Ones and two exclusive new tracks – “Champion Sound” and “That Old Pair of Jeans”.
Dj Fatboy Slim
In 2006, Cook travelled to Cuba, and wrote and produced two original Cuban crossover tracks for the album The Revolution Presents: Revolution, which was released by Studio ! K7 and Rapster Records in 2009. The tracks were called “Shelter” (which featured long term collaborator Lateef); and “Siente Mi Ritmo”, featuring Cuba’s top female vocal group Sexto Sentido. The recordings took place in Cuba’s legendary EGREM Studios, home of the Buena Vista Social Club, and featured a band made up of Cuba’s top young musicians, including Harold Lopez Nussa. Another track recorded during these sessions entitled “Guaguanco” was released separately under the Mighty Dub Katz moniker in 2006. Movavi photo editor 5 7 mac crack with activation key.
2008–2012: The Brighton Port Authority
The Brighton Port Authority debuted in 2008 with a collaboration with David Byrne and Dizzee Rascal titled “Toe Jam”, along with a music video featuring nude dancers with censor bars on them, making pictures and words with them.
The soundtrack album for the TV series Heroes also includes The Brighton Port Authority’s track “He’s Frank (Slight Return)” (a cover of a song by The Monochrome Set), with Iggy Pop as vocalist. The video for this track features a near life size puppet of Iggy Pop. An alternative club version was released under the “He’s Frank (Washing Up)” title with the video featuring some footage of Iggy Pop acting and saying lyrics.
The band’s first album, I Think We’re Gonna Need a Bigger Boat, is the first to be co-produced by Cook’s longtime engineer Simon Thornton, who also sings on one track. The album was released 6 January 2009 exclusively at Amazon.com on CD, with downloadable format and other stores scheduled for a month later on 3 February.
Cook released a mix album in 2010 titled The Legend Returns as a covermount album in the June 2010 issue of Mixmag. Cook returned as Fatboy Slim when performing at Ultra Music Festival in Miami in March 2012.
On 12 August 2012 he performed at the 2012 Summer Olympics Closing Ceremony, and on 1 September Cook performed at Brighton Pride.