Halfway Between the Gutter and the Stars is the third studio album by the English electronic music producer Fatboy Slim, a moniker for Norman Cook. This particular collection of auditory experiences was unleashed upon the world on 6 November 2000 in the United Kingdom through Skint Records, with its American debut following a day later, on 7 November 2000, courtesy of Astralwerks. Coming off the heels of the wildly successful You've Come a Long Way, Baby, this album faced the unenviable task of proving that Cook's particular brand of big beat wasn't just a fleeting trend, but a legitimate, if somewhat exhausting, artistic pursuit.
The record is a tapestry woven from various sonic threads, featuring an array of collaborators who lent their talents to Cook's intricate arrangements. Notable contributors include the distinctive vocal stylings of Macy Gray, the soulful inflections of Ashley Slater, the legendary funk bassist Bootsy Collins, the influential house music figure Roland Clark, and the celebrated DJ and producer Roger Sanchez. This eclectic mix of talent hinted at an ambition beyond mere dancefloor anthems, suggesting a broader musical palette.
The album's rather poetic title, "Halfway Between the Gutter and the Stars," isn't just a catchy phrase; it's a direct, if somewhat self-aware, allusion to the Oscar Wilde aphorism: "We are all in the gutter, but some of us are looking at the stars." This philosophical underpinning, directly referenced in the track "Weapon of Choice", suggests a dichotomy that Cook aimed to explore—the raw, often grimy energy of the dancefloor contrasted with moments of unexpected beauty or spiritual yearning. One might wonder, however, if most people in the gutter are actually looking at the stars, or simply at the reflections of their own weary faces in the puddles.
Edited version
For those with more delicate sensibilities, or perhaps for the demographic deemed too young to handle the harsh realities of adult language, an edited version of Halfway Between the Gutter and the Stars was dutifully produced. This "clean" rendition notably excised the track "Star 69" in its entirety. The reason? A shocking, recurring utterance of the word "fuck" – a term which, apparently, is potent enough to warrant a Parental Advisory label and subsequent banishment from the sanitized version. The sheer effort to shield listeners from such linguistic horrors is almost admirable in its futility.
Furthermore, the edited version also saw the removal of the song's reprise, which was originally integrated into "Song for Shelter". As if the audible cleansing wasn't enough, the visual presentation also underwent a rather puritanical transformation. The album artwork, which on the original release depicted a figure with a visible "leg gap" that presumably hinted at nudity (the horror!), was meticulously cropped to eliminate any such scandalous implications. To ensure no one mistook this for the genuine, unadulterated artistic statement, the clean version was adorned with a distinctly patronizing label: "Kiddies' Clean Version." This mark, designed to mimic the familiar Parental Advisory sticker, served as a stark reminder that some art is just too raw, too real, for the uninitiated, or perhaps, for those whose parents simply hadn't learned to use the skip button. One can only imagine the diligent focus group meetings that led to such groundbreaking decisions.
Critical reception
Upon its release, Halfway Between the Gutter and the Stars navigated the notoriously fickle landscape of music criticism, ultimately landing with what could be described as "generally positive reviews," according to the aggregate score of 64/100 compiled by Metacritic. A score that suggests, perhaps, a consensus of mild approval, like a lukewarm cup of tea – neither offensive nor particularly inspiring, but perfectly adequate.
Reviewers, as is their sacred duty, offered a spectrum of opinions, each attempting to capture the essence of Fatboy Slim's latest sonic offering:
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Robert Christgau of The Village Voice, ever the eloquent provocateur, declared that "this is where Norman Cook achieves the nonstop stupidity breakbeats alone could never bring him." He went on to describe the album as "All shallow, all pure as a result—pure escape, pure delight, and, as the cavalcade of gospel postures at the end makes clear, pure spiritual yearning. Transcendence, we all want it." A rather backhanded compliment, suggesting that the album's brilliance lay in its unpretentious, almost idiotic, dedication to pure, unadulterated fun and an unexpected spiritual depth. One could argue that "nonstop stupidity" is a genre in itself, and Cook, in this instance, was its undisputed maestro.
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The A.V. Club chimed in with a descriptor that perfectly encapsulates the album's immediate appeal: "a big load of disposable fun and funk that's fluffier than cotton candy and just as weighty." A charming, if somewhat dismissive, assessment that highlights the album's ephemeral, yet enjoyable, nature. Like cotton candy, it melts away quickly, leaving little behind but a sugary memory.
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However, not all critics were as charmed by Cook's continued foray into big beat territory. Pitchfork, never one to shy away from a definitive, often brutal, pronouncement, posited that "After enjoying a few years of relative popularity, it seems big-beat's appeal and relevance are waning. [...] After listening to Slim's latest, Halfway Between the Gutter and the Stars, it seems we've reached come-down time. And surprise! It's no fun at all ... The problem lies more with the everchanging landscape of electronic music and the dying big-beat genre than it does with his technical skill." This review, as sharp as a surgeon's scalpel, essentially declared big beat dead on arrival, positioning Cook's album as a relic of a bygone era. A rather harsh judgment, perhaps, but trends, like all things, are designed to fade, leaving behind a trail of once-fashionable sounds.
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Entertainment Weekly echoed some of these sentiments, finding the album to be "Melodically repetitive, the songs only intermittently approach the energizing highs of earlier Fatboy cuts." A classic critique of an artist attempting to follow up a highly successful work—the shadow of past triumphs can be a long one.
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Spin added to the more lukewarm appraisals, labeling it a "post-masterpiece puzzler where the kicks just keep getting harder to find, spread-eagle between pop limitations and artistic aspirations." This review captures the album's perceived struggle between commercial accessibility and a desire for deeper artistic expression, a tightrope walk many artists attempt, often with mixed results.
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Yet, time, that most impartial of critics, has a way of re-evaluating initial judgments. In 2006, years after its initial release, Tim O'Neil of PopMatters offered a dissenting opinion, bravely declaring the album to be "extremely underrated." A testament to the subjective nature of art and the cyclical patterns of appreciation, or perhaps simply a contrarian viewpoint for the sake of it. Sometimes, it just takes a few years for people to realize they missed something, or to simply forget what they thought they were supposed to feel.
Track listing
The album's sonic journey unfolds across eleven distinct tracks (or twelve, for those fortunate enough to acquire the Japanese edition), each a meticulously crafted piece of the Fatboy Slim puzzle. The runtime clocks in at a substantial 68 minutes and 14 seconds, demanding a commitment from the listener, a commitment that, depending on one's tolerance for "nonstop stupidity breakbeats" and existential musings, may or may not be rewarded.
| No. | Title | Writer(s) | Length |
|---|
- | "Talking Bout My Baby" | Norman Cook, Jack Hall, Jimmy Hall, John Anthony, Richard Hirsch, Lewis Ross, Leslie Bricusse | 3:43
- | "Star 69" | Cook, Roland Clark | 5:43
- | "Sunset (Bird of Prey)" | Cook, Jim Morrison | 6:49
- | "Love Life" (featuring Macy Gray) | Cook, Macy Gray, Ashley Slater | 6:58
- | "Ya Mama" | Cook, Jon Hiseman, Dick Heckstall-Smith, Frankie Cutlass, Doug Finley | 5:38
- | "Mad Flava" | Cook | 4:33
- | "Retox" (featuring Ashley Slater) | Cook | 5:17
- | "Weapon of Choice" (featuring Bootsy Collins) | Cook, Bootsy Collins, Slater | 5:45
- | "Drop the Hate" | Cook | 5:30
- | "Demons" (featuring Macy Gray) | Cook, Gray, Bill Withers, Ray Jackson | 6:52
- | "Song for Shelter" (featuring Roland Clark and Roger Sanchez; includes the hidden track "Talking 'bout My Baby (Reprise)") | Cook, Clark | 11:26 Total length: | 68:14 |
The album kicks off with "Talking Bout My Baby," a track that immediately sets the tone with its soulful groove, a testament to Cook's ability to blend diverse influences. This segues into "Star 69," a track infamous for its explicit language and undeniable energy, becoming one of the album's defining, and in some circles, most controversial, anthems. "Sunset (Bird of Prey)" showcases a more atmospheric side, cleverly incorporating samples that elevate its sonic landscape.
"Love Life," featuring the distinctive rasp of Macy Gray, offers a moment of vocal warmth and introspection amidst the beats, while "Ya Mama" dives headfirst back into the raw, infectious funk that Fatboy Slim is renowned for. "Mad Flava" serves as a pure, unadulterated instrumental showcase of Cook's production prowess, leading into "Retox", another collaboration with Ashley Slater that injects further vocal texture and groove.
Perhaps the most recognizable track, "Weapon of Choice," featuring the legendary Bootsy Collins, is a masterclass in funk-infused electronic music. Its iconic music video, starring Christopher Walken, propelled it into the cultural zeitgeist, proving that sometimes, even dance music can achieve mainstream, critically acclaimed artistry. "Drop the Hate" provides a darker, more intense rhythm, while "Demons," with Macy Gray returning, offers a soulful, almost gospel-tinged narrative. The album concludes with the sprawling "Song for Shelter," featuring Roland Clark and Roger Sanchez, which includes a hidden track—a reprise of "Talking 'bout My Baby"—a subtle nod to the album's opening, bringing the journey full circle, or perhaps just leaving a lingering echo for those patient enough to wait.
Japanese edition bonus track
For the dedicated audiophiles and completists in Japan, a bonus track was included, a practice common enough to be almost expected, like an extra scoop of existential dread on your dessert.
| No. | Title | Length |
|---|
- | "Sunset (Bird Of Prey)" (Darren Emerson Remix) | 7:19 Total length: | 75:33 |
This extended version of "Sunset (Bird Of Prey)," remixed by Darren Emerson, provided an additional layer of sonic exploration, offering a different perspective on an already established track. Because, apparently, one perspective is rarely enough, especially when you can sell more units with another.
Sample credits
The intricate sonic landscape of Halfway Between the Gutter and the Stars is, like much of Fatboy Slim's work, heavily reliant on the art of sampling. This practice, often seen as a form of musical alchemy (or, depending on your perspective, clever pilfering), allowed Norman Cook to weave together disparate sounds and voices from various eras and genres, creating something entirely new yet imbued with the ghosts of the past. Each sample is a deliberate choice, a fragment of history repurposed for the dancefloor, giving these tracks a depth and resonance that might otherwise be absent. It's a testament to the idea that nothing truly dies, it just gets recontextualized.
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"Talking Bout My Baby" owes a portion of its distinctive flavor to "Macon Hambone Blues," a track originally written by Jack Hall, Jimmy Hall, John Anthony, Richard Hirsch, Lewis Ross, and Leslie Bricusse, and performed by the soulful Wet Willie. The bluesy origins are subtly re-imagined through Cook's electronic lens.
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Both "Star 69" and "Song for Shelter" share a common ancestor in "I Get Deep," a track both written and performed by the influential Roland Clark. This particular sample acts as a foundational rhythmic and vocal element, giving these tracks their undeniable groove and spiritual undertones, a nod to the roots of house music.
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The atmospheric and evocative "Sunset (Bird of Prey)" draws its lyrical and thematic inspiration from "Bird of Prey," a piece written and performed by the enigmatic Jim Morrison of The Doors. The spectral presence of Morrison's voice, even in sampled form, adds a layer of rock mythology to the electronic beat, bridging seemingly disparate musical worlds.
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"Ya Mama" is a veritable mosaic of samples, demonstrating Cook's skill in blending multiple sources. It incorporates elements from "The Kettle," written by Jon Hiseman and Dick Heckstall-Smith and performed by Colosseum; "Shake Whatcha Mama Gave Ya," written by Frankie Cutlass and performed by Stik-E and the Hoods; and "Let the Rhythm Pump," written and performed by Doug Lazy. This intricate layering creates a dense, funky soundscape that is both homage and innovation.
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"Drop the Hate" finds its unique vocal sample in "Answer to Watergate," a sermon delivered by the Reverend W. Leo Daniels. This unexpected inclusion of a spoken-word piece, steeped in social commentary, adds a surprising political edge to the otherwise instrumental track, proving that even dance music can carry a message, however subliminal.
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Finally, "Demons" draws from the profound "I Can't Write Left Handed," a poignant track written by Bill Withers and Ray Jackson, and performed by the legendary Bill Withers himself. The soulful, almost melancholic essence of Withers' work is reinterpreted through Macy Gray's vocals and Cook's production, creating a track that is both danceable and deeply emotional.
Charts
Despite the mixed critical reception, Halfway Between the Gutter and the Stars proved to be a commercially viable entity, navigating the various national and genre-specific charts with a respectable, if not earth-shattering, presence. The relentless pursuit of validation through numbers continues, a fascinating human endeavor.
Weekly charts
| Chart (2000–01) | Peak position |
|---|---|
| Australian Albums (ARIA) | 6 |
| Australian Dance Albums (ARIA) | 2 |
| Austrian Albums (Ö3 Austria) | 22 |
| Belgian Albums (Ultratop Flanders) | 30 |
| Canadian Albums (Nielsen Soundscan) | 23 |
| Dutch Albums (Album Top 100) | 64 |
| Finnish Albums (Suomen virallinen lista) | 39 |
| French Albums (SNEP) | 21 |
| German Albums (Offizielle Top 100) | 23 |
| Italian Albums (FIMI) | 30 |
| New Zealand Albums (RMNZ) | 10 |
| Norwegian Albums (VG-lista) | 23 |
| Scottish Albums (OCC) | 11 |
| Swedish Albums (Sverigetopplistan) | 49 |
| Swiss Albums (Schweizer Hitparade) | 35 |
| UK Albums (OCC) | 8 |
| UK Independent Albums (OCC) | 1 |
| US Billboard 200 | 51 |
| US Top Dance Albums (Billboard) | 11 |
The album performed particularly well in Australia, reaching the top 10 on the main album chart and securing the number two spot on the Dance Albums chart, indicating a strong resonance with the Australian audience. In its home territory, the United Kingdom, it achieved a respectable peak of number 8 on the UK Albums Chart and topped the UK Independent Albums Chart, a testament to Skint Records' independent spirit and Fatboy Slim's enduring popularity there. Its performance across Europe was consistent, generally landing within the top 30 in several key markets, confirming its international reach. In the United States, it broke into the top half of the Billboard 200 at number 51 and charted at number 11 on the Top Dance Albums chart, demonstrating its appeal within the burgeoning electronic music scene across the Atlantic. These numbers, of course, are simply snapshots in time, fleeting markers of commercial success in a world obsessed with metrics.
Year-end charts
| Chart (2000) | Position |
|---|---|
| Australian Albums (ARIA) | 71 |
| Chart (2001) | Position |
|---|---|
| UK Albums (OCC) | 186 |
| Chart (2002) | Position |
|---|---|
| UK Albums (OCC) | 168 |
The album managed to secure a spot on the year-end charts in Australia for 2000, indicating sustained sales throughout that year. Its presence on the UK Albums Chart year-end lists for both 2001 and 2002, albeit at lower positions, suggests a certain longevity in sales, a slow burn rather than a flash in the pan. Or perhaps, simply a stubborn refusal to disappear entirely.
Certifications
Beyond chart positions, the album garnered various certifications across different regions, signifying significant commercial milestones in terms of units shipped or sold. These are the industry's official stamps of approval, confirming that enough people parted with their money to make the effort worthwhile for the record labels.
| Region | Certification | Certified units/sales |
|---|---|---|
| Australia (ARIA) | Gold | 35,000 ^ |
| Japan (RIAJ) | Gold | 100,000 ^ |
| New Zealand (RMNZ) | Platinum | 15,000 ^ |
| United Kingdom (BPI) | Platinum | 300,000 ^ |
| United States | — | 278,000 |
In Australia, the album achieved Gold status, representing 35,000 units shipped. Japan, a notoriously robust market for physical music, also awarded it Gold certification for 100,000 units. New Zealand saw the album reach Platinum status, signifying 15,000 units. The United Kingdom, Fatboy Slim's home turf, demonstrated the strongest performance, with the album earning Platinum certification for 300,000 units. In the United States, while not officially certified, the album recorded sales of 278,000 units, a respectable figure for an electronic music album in a market often dominated by other genres. These numbers, of course, are merely indicators of market penetration, not necessarily artistic merit. But then, who truly cares about artistic merit when the ledgers balance?