Not only does Paul Oakenfold produce records, but he also mixes them. In 1987 he spent several months in Ibiza with a few friends and fell in love with dance club music. Oakenfold produced "Happy Mondays' Pills 'n' Thrills and Bellyaches" before producing for U2, Massive Attack, Simply Red and New Order (to name a few).
In 1999 after building an American fanbase he released "Tranceport" which was widely accepted by American trance fans.
After "Tranceport" came "Perfecto Presents Another World" which was arguably his most successful album, as it introduced millions more to his style.
His popularity grew as many of his works were inclulded in movie soundtracks such as Swordfish, The Matrix Reloaded, The Matrix Revolutions, Die Another Day (where he remixed the James Bond theme before later going to work on the videogame Goldeneye: Rogue Agent in 2004) and Collateral.
In 2002 he released Bunkka, which featured the hit single 'Starry-Eyed Surprise'. In the same year, Oakenfold was listed in Q's "50 Bands to see Before you Die" compilition.
2004 brought about the double album 'Creamfields', but it was in 2005 that he released the Perfecto Album entitled 'Perfecto Presents The Club'.
He also released the album Great Wall, recorded live at the Great Wall of China.
2006 saw the release of 'A Lively Mind' where he colloborated with, amongst others, Brittany Murphy (for the single Faster Kill Pussycat) and Pharrell Williams. 'A Lively Mind' is an edgier, more club-based album, as opposed to his calmer album Bunkka.
Paul Oakenfold's musical career started from admirably humble beginnings, playing soul and rare groove cuts in a Covent Garden wine bar in the late 'seventies with mate Trevor Fung. By the early 'eighties, having decided that NYC was the place, Paul decamped there armed only with the chutzpah to blag his way into a courier's job in West Harlem. At that time, more than any other, New York was bursting with musical invention: hip-hop was the freshest street sound around, and Larry Levan - arguably the first ever superstar DJ, inspiring a frenzy in the crowd that some guy playing records had never inspired before - was packing out the Paradise Garage every week with the revolutionary, hypnotic mixing style that would become the acid house DJ's stock in trade.
Returning to London, Paul became one of the UK's leading authorities on hip-hop. During his stint as an A&R man for Champion he signed the as-then unknowns Jazzy Jeff and the Fresh Prince, and Salt N'Pepa. Oh yeah, and he appeared on Blue Peter with a breakdancing crew who he was looking after at the time.
In 1985 young Paul spent the summer on a beautiful Balearic island called Ibiza. Ever heard of it? Oakey is as much responsible as anyone for making it the clubber's paradise it is today, as two years after that first trip he, alongside mates Trevor Fung, Nicky Holloway, Ian St Paul, Danny Rampling and Johnny Walker, went there for a week to celebrate his birthday. If the first visit had been good, this one changed their lives forever. Dancing in the warm night air beneath stars at the then open-air Amnesia to the oddest mix of music any of them had ever heard, courtesy of island legend Alfredo, Paul's urge to import this incredible experience - and the Balearic sound - back to England became too great to resist.
Prior to his Ibiza trip, Paul had been running a successful soul/jazz night at The Project in Streatham. On his return from the white island he persuaded the owner to let him run an after-hours 'Ibiza reunion' party. An attempt at a Balearic music policy had failed Paul one year earlier: the crowd just hadn't been ready to hear so many musical styles mixed together in one night, let alone in one DJ's set, but by 1987, and coupled with Paul's sheer enthusiasm and showman's talent for setting a musical mood, attitudes were changing. The night was a complete success, and led to what was to be - alongside Danny Rampling's Shoom - one of London's, and England's, first major acid house nights: Spectrum at Heaven in Charing Cross.
Spectrum grew out of Future, a night held in The Sanctuary, which annexed the much bigger Heaven club. Many never thought Spectrum (suitably subtitled 'Theatre Of Madness') would succeed: a 1500+ capacity club on a Monday night? Forget about it. And at first they looked to be right. For the first few weeks, attendance was low, leaving Paul and co-promoter Ian St Paul in dire financial straits. Then, suddenly, the vibe was out and the queues were literally going around the block. And a new phase in club culture had begun.
Spectrum continued for a couple of years, changing its name along the way to Land Of Oz. New initiates to the scene (as almost everybody was) marvelled at the full-on atmosphere of the place: hands reaching up into the sweat hazed air, laser lights pulsing and washing over the smiling crowd. Alex Paterson (later of The Orb) DJed in the VIP chillout area (the White Room), while Paul created his now trademark fervour in the cavernous main room.
Alongside running a seminal club night, Paul's production career had also begun by 1988 under the name Electra, working with long-time collaborator Steve Osborne. By 1990, with his work on The Happy Mondays' frugadelic Wrote For Luck and then Hallelujah (on the Madchester Rave On EP), Paul had created two of the cornerstone records of the indie-dance scene, a hybrid that demystified acid house for kids who'd been raised on a musical diet of guitar, bass, and drums. Paul was one of the guest DJs at The Stone Roses' legendary Spike Island gig, and his work with Osborne on The Happy Mondays' classic Pills, Thrills And Bellyaches LP (NME's 1990 Album Of The Year) won the pair the 1991 Brit Award for Best Producer.
Remix galore followed, for Mondays labelmates New Order; Massive Attack; The Shamen, and Arrested Development among others, as Paul and Steve began trading under the name Perfecto. If the name was little known at first that soon changed with the 1992 Perfecto mix of U2's Even Better Than The Real Thing. The track, with delicious irony, attained a higher chart position on release than the original song, thus signalling a watershed in the history and growth of dance music.
1993 saw Paul hired to provide the warm-up sonics on U2's Zoo TV world tour, and as a result the de facto arrival of the superstar DJ. The past decade has seen Paul rack up a dizzying blur of firsts and foremosts, including, not least, his being voted the number one DJ in the world by the readers of DJ magazine, and has heard the name "Oakey!" yelled hoarsely from clubs, fields (including an epoch-making set on the main stage at Glastonbury Festival, no less) and arenas in every corner of the globe.
On the production front Paul began to release his own tracks as well as continuing to turn in remixes, while Perfecto expanded into a fully-fledged label. Its offshoot, Perfecto Fluoro, became the label of choice in the mid-'nineties for the harder, trippier Goa trance sound. Today Perfecto boasts artists as diverse as Arthur Baker, Harry 'Choo Choo' Romero, and Timo Maas on its roster, and has gone from strength to strength by refusing to pander to only one style of dance music. Alongside the building of the Perfecto brand, Paul released a string of superlative mix CD's, amongst them his awesome New York set for Global Underground - still the series' biggest seller to date. And who else would have been commissioned to write the theme for what was certain to be the biggest TV show of all time? How did you guess? Paul wrote and produced the Big Brother theme, as Element 4, with Andy Gray.
On the club front, well, time for a deep breath...Ready? OK, here we go: Paul undertook a legendary two-year residence at Liverpool's Cream that took residencies in general to another level, from the personally designed DJ booth to die-hard fans (dubbed 'the Oakenfolk' in the press) who would travel the length and breadth of the country week in, week out to hear him whip up a magical musical storm, that would still be ringing in the ears and exciting the mind in the office or the lecture hall on Monday morning. Ever keen to push himself further and harder, Paul decamped in 1999 to become Director of Music at home, the multi-million pound superclub built defiantly - and, as it turned out, problematically - in Leicester Square, the heart of London's West End. That club's immediate downturn in popularity after Paul's departure goes to show the extent of his impact and following. There are but a handful of DJ's in the world who attract the fervour and create the excitement that he is capable of provoking in a crowd. You only have to be there when he plays to feel the electric charge in the atmosphere, more akin to the devotional than the merely appreciative.
Leaving home was a difficult decision for Paul, but he risked his UK and European profile, not to mention turning down the certainty of serious amounts of cash, to decamp to America, one of the few places in the world - ironically, given that it all started there - where dance music is yet to be championed and grasped in the way in which it is elsewhere around the globe. But this was a move typical of the man: where others would sit on their laurels and bathe in their hard-won glory, he has always taken the tougher option, sustained by his belief that greater effort means greater rewards. It's this attitude that saw him leave a huge fanbase in Britain to start all over again in the U.S.; that has seen him play to crowds in the low hundreds in isolated Alaska; and that led him to take a pair of Technics with him when he went on holiday to Cuba, and organise a free, unpromoted and not strictly legal party, purely to spread the word of great, life-affirming music and good, good times. This man lives, breathes and eats his art.
So what now for a man at the pinnacle of his profession, the world's premiere DJ? Why, upward, ever upward of course. 2001 has seen Paul score the Joel Silver-produced and John Travolta-starring Swordfish, remix the theme to Tim Burton's Planet Of The Apes, DJ on Moby's Arena:One U.S. tour, and make a triumphal return to his home shores with a free gig that left tens of thousands sweat-soaked and grinning like Cheshire Cats on London's Clapham Common. We can only expect that the best is yet to come, so stay tuned and prepare to be amazed.
Rock Your Body
Paul Oakenfold Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I wanna rock your body, please stay (dance with me)
You don't have to admit you wanna play (dance with me)
Just let me rock you 'til the break of day (dance with me)
Got time, but I don't mind
Just wanna rock you, girl
I'll have whatever you have
See, I've been watchin' you
And I like the way you move
So go 'head, girl, just do it
That ass shakin' thing you do
So you grab your girls and you grab a couple more
And you all could meet me in the middle of the floor
Said the air is thick, it's smellin' right
So you pass to the left, then you sail to the right
Don't be so quick to walk away (dance with me)
I wanna rock your body, please stay (dance with me)
You don't have to admit you wanna play (dance with me)
Just let me rock you 'til the break of day (dance with me)
I don't mean no harm
Just wanna rock you, girl
We could move, but be calm
Let's go, let's give it a whirl
See, it appears to me
You like the way I move
I tell you what I'm gon' do
Pull you close and share my groove
So you grab your girls and you grab a couple more
And you all could meet me in the middle of the floor
Said the air is thick, it's smellin' right
So you pass to the left, then you sail to the right
Don't be so quick to walk away (dance with me)
I wanna rock your body, please stay (dance with me)
You don't have to admit you wanna play (dance with me)
Just let me rock you 'til the break of day (dance with me)
(Talk to me, boy) no disrespect, I don't mean no harm
(Talk to me, boy) I can't wait to have you in my arms
(Talk to me, boy) hurry up 'cause you're takin' too long
(Talk to me, boy) bet I'll have you naked by the end of this song
So what did you come here for? (I came to dance with you)
And you know that you don't wanna hit the floor (get some romance with you)
Been searchin' for love forevermore (I'll take a chance)
If love is here on the floor, girl
Hey
Dance with me
Yeah
Come on, baby
Don't be so quick to walk away (dance with me)
I wanna rock your body, please stay (dance with me)
You don't have to admit you wanna play (dance with me)
Just let me rock you till the break of day (dance with me)
(Talk to me, boy) no disrespect, I don't mean no harm
(Talk to me, boy) I can't wait to have you in my arms
(Talk to me, boy) hurry up 'cause you're takin' too long
(Talk to me, boy) bet I'll have you naked by the end of this song
Come on, baby (I was just thinkin' me and you)
Don't walk away (we could do somethin')
Let me rock your body (I like the way you look right now)
Run away just dance with me (come over here, baby)
Come on and dance with me (are you feelin' me?)
No disrespect, I don't mean no harm (let's do somethin')
I can't wait to,
Come on dance with me
Let me rock your body
"Rock Your Body" by Paul Oakenfold is a dance song that encourages listeners to let loose and dance all night. The lyrics describe the singer's desire to dance with his love interest, encouraging her not to walk away but to stay and let him rock her body until the break of day. The chorus repeatedly invites the listener to dance with him, assuring her that she doesn't have to admit that she wants to play. The song also has a spoken interlude by a female voice, urging the male singer to talk to her and promising to have him naked by the end of the song.
The lyrics of "Rock Your Body" are a metaphor for the physical and emotional connection that dancing can create between two people. The song's use of the phrase "rock your body" suggests that the singer wants to not only physically move with his love interest but also to emotionally connect with her. The line "you don't have to admit you wanna play" implies that the singer knows the listener wants to dance and have fun but is perhaps shy or hesitant to let go. By the end of the song, the singer is begging his love interest to dance with him and is promising to have a good time.
Line by Line Meaning
Don't be so quick to walk away (dance with me)
Don't leave so soon, join me in dancing
I wanna rock your body, please stay (dance with me)
I want to dance with you and move your body
You don't have to admit you wanna play (dance with me)
You don't have to verbalize you want to dance, just come and dance with me
Just let me rock you 'til the break of day (dance with me)
Allow me to dance and move with you all night long
Got time, but I don't mind
I have enough time, and I'm ready to spend it with you
Just wanna rock you, girl
I want to dance with you and groove with you
I'll have whatever you have
I'll enjoy myself as much as you enjoy yourself
Come on let's give it a whirl
Come on, let's have a great time dancing together
See, I've been watchin' you
I have been observing you dancing
And I like the way you move
I am impressed and attracted to the way you dance
So go 'head, girl, just do it
Please continue dancing the way you are, it's amazing
That ass shakin' thing you do
I am attracted to the way you move your hips
So you grab your girls and you grab a couple more
You and your friends can join me and my friends
And you all could meet me in the middle of the floor
Let's meet and dance in the center of the dance floor
Said the air is thick, it's smellin' right
The vibe and atmosphere is great for dancing
So you pass to the left, then you sail to the right
Let's dance and switch places from left to right and vice versa
(Talk to me, boy) no disrespect, I don't mean no harm
Talk to me, I just want to dance with you, and I'm not looking for any trouble
(Talk to me, boy) I can't wait to have you in my arms
Talk to me, I can't wait to dance and hold you tightly
(Talk to me, boy) hurry up 'cause you're takin' too long
Talk to me, it's taking too long for you to come and dance with me
(Talk to me, boy) bet I'll have you naked by the end of this song
Talk to me, I'm confident that I will seduce you through dancing and make you fall for me hard.
So what did you come here for? (I came to dance with you)
Why did you come here? (I came here to dance with you)
And you know that you don't wanna hit the floor (get some romance with you)
And you don't want to dance alone, let's dance together
Been searchin' for love forevermore (I'll take a chance)
I've been lonely and searching for love for a long time, and I'm willing to take a chance tonight
If love is here on the floor, girl
If love is here where we are dancing, let's embrace it and allow it to flourish
Come on, baby
Let's dance together, baby
Run away just dance with me (come over here, baby)
Let's forget about everything and dance together
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Pharrell L Williams, Charles Edward Hugo, Justin Timberlake
Lyrics Licensed & Provided by LyricFind
Juan Carlos Dunick
on Galactic Mantra (Liquid Soul Remix)
Many small errors in these lyrics. A few big ones.