SCOOTER - Bigroom Blitz
After a very successful anniversary tour through twelve German cities the guys of H.P. Baxxter went back into the studio to work on new tracks. As a first result Scooter now present you a massive track called Bigroom Blitz with new band member Phil Speiser. Scooter became famous for their energetic sound with tracks like Maria (I Like It Loud) or One (Always Hardcore).
- Music For A Big Night Out
SCOOTER took the world by storm in 2008, conquering all before them not only in Germany, but also in the UK, where they swept the competition aside on their way to the top of the charts. International superstars most definitely sat up and took notice - SCOOTER were officially number one in the motherland of pop, a just reward for the bands unflinching graft and sticking to their own guns for all these years.
To list their countless successes would take up more space than most artists need for their entire biography. Over 25 million sales and more than 80 gold and platinum awards all over the globe underline their extra-special status. SCOOTER are a rare phenomenon, staying at the top for well over a decade without losing their golden touch, their energy levels as high as the day they started! Always ready to think outside the box, they have even crossed musical boundaries to collaborate with legends like Status Quo.
Scooter are one of a very few German acts to have shaped the musical landscape at home and abroad for more than a decade, without losing any of their energy or freshness.
You either love Scooter or you hate them either way, their style is the antithesis of boring!
Scooter founding members H.P. Baxxter, Rick J. Jordan, Michael Simon and Jens Thele, have turned that name into a worldwide phenomenon.
Let`s take a closer look at this phenomenon:
Back in 1994 the worldwide party nation was celebrating rave culture in the underground as new techno clubs sprung up everywhere, whilst the charts were dominated by mindnumbing Euro dance and mainstream singles.
At that time, Hyper Hyper could not be considered a commercial track by any stretch of the imagination, and yet Scooter took the charts by storm, launching techno into the overground overnight. Eight years of graft with "Celebrate The Nun" and other projects and remixes were finally about to pay off.
Songs like Move Your Ass, "Friends", "Endless Summer" and "Back In The UK" proved beyond all doubt that Scooter were more than just another one hit wonder of the early 90s.
How Much Is The Fish?, Maria (I Like It Loud), Nessaja, One (Always Hardcore), Weekend, Jumping All Over The World and Jump That Rock to name just a few, continued the hit tradition of this remarkable formation. Many an interview begins with sheer wonder at the longevity of the bands career, coupled with the question: what is the secret of the groups success?
"Find out what you are unable to do and then go and do it!" is one of H.P.s favourite quotes, which has become something of a mission statement for the combo. You cant afford to lose your curiosity or a certain healthy naivety, otherwise you might as well pack it in on the spot. If the element of fun is gone, it doesnt make much sense. And you need to stay credible. We do everything by ourselves in the studio and our fans respect that. Baxxters fondness for unconventional methods can drive his colleagues to distraction, however.
"He comes up with the maddest ideas and then we have to see how we can build a song together is how Rick J. Jordan describes their way of working, a twinkle in his eye. "But thats why I love him, its a real inspiration and you can be sure theres something worthwhile in there, once you get used to his style."
His lyrics may, at first glance, focus on whipping up the crowd into a frenzy, enacting battles with imaginary M.C.s (and winning), embracing the Scooter phenomenon, but H.P. has come to delight in sprinkling literary references and hidden messages among the more apparently simplistic shouts (Respect to the man in the icecream van, by way of example, is a tribute to The KLF). Baxxter is Scooters enfant terrible, and has been the focal point of the band, in terms of sound as well as vision, over the past 13 years.
Keyboard player and sound engineer Rick J. Jordan is, in contrast, the calming influence of the team. Explaining how they work in the studio, Jordan notes "I try to sort the creative chaos and add in my own ideas into the production process. Responsible for sound design and audio engineering, he is also the teams musician with over 30 years of experience with piano and keyboards and a knowledge of classical music theory to back it up. He has even created a virtual symphony orchestra and has enthusiastically paved the way for Scooters excursions into musical genres as diverse as rock, classical and Celtic folklore.
The third founder member of the band, Jens Thele, is more in the background, taking care of the groups business affairs. As the mastermind and managing director of KONTOR Records, he introduces Scooter to the international market and brings his visionary expertise in marketing and concepts on board. It did not take the newest member, Michael Simon, long to spot this:
"When Jens joins us in the studio towards the end of the production phase, his input is absolutely invaluable, both in terms of his A&R talent and his years of Djing. He can add that extra special something, an unexpected idea or suggestion how to improve a track. You really notice that music is an important part of his life.
Michael has come in to replace Jay Frog, who left the band halfway through 2006. One of Hamburgs most renowned house DJs, Michael is no stranger to the group, nor to their faithful followers. Back in 1997 he went on tour as support act for Scooter with his "Shahin & Simon" project, and he has remixed Scooter tracks, as well as releasing productions on Kontor Records. With a diverse musical background, covering house, techno and hardtrance on the one hand, plus HipHop and R´n´B on the other, it did not take long for him to find his way into the Scooter project, proving to be a born programmer of beats. His boundless enthusiasm for whats going down in the clubs means he can always bring the newest sounds into the studio.
Live and Direct
Scooters working ethic is marked by clear synergy and impressive results. Beyond this, what also makes Scooter what it is, is their live performance.
The live show is probably the area of operations in which they truly demolish any preconceptions or clichés about dance music. The stage show is a potent cocktail of punk, rock´n´roll and quite deliberate delusions of grandeur. "We believe in the bigger picture, spectacular stage sets and theatrical effects. I think we would really miss the fireworks and lightning flashes if we didnt use them admits Jordan. "Even our warm-up backstage has become something of an institution in its own right, I wouldnt swap it for anything.."
A souped up 3000 watt "ghettoblaster", a full-on sound system backstage, various trance- and house mixes, not forgetting one or two long drinks, all go to make the Scooter pre-show ritual what it is. In the hour before the curtain goes up, Scooter focus all their energy on this point in the day.
"On the afternoon before a show, i often get engulfed by a sense of lethargy, as if I could never get up on stage ever again. Ten minutes before the show starts, Ill be running round in circles, thats how nervous I get. I mean, you never really know is it going to work or not? Then, when it begins, you just give it your absolute all. I guess thats my own personal rhythm. A true night owl, if Baxxter is asked to do an interview before midday, then that counts as the middle of the night for him. "I love the mix of studio work and playing live, its certainly never dull. In fact, its always exciting.
50 singles, 16 studio albums and no end in sight
Just how do Scooter manage to keep coming up with new ideas, re-inventing themselves after so many years of single and album releases? Its a question which pops up time and time again. The answer? Simple. Hard work!
"The closing phase of an album production can often lead to us spending over 12 hours a day in the studio. A song needs time to develop, ideas need time to mature Michael points out. He has quickly come to learn that other engagements such as festivals or promotional dates can interrupt the creative flow. "If you have been out of the studio for a while, on tour, doing interviews, or even just on holiday, you can easily get the feeling that you have to start from scratch, as if youve forgotten everything youve learned", H.P. Baxxter observes. These are the common hurdles in the production process. "Of course, at the same time, its a chance to develop artistically, to try out new things.
The bands penchant for quoting other musical sources is, on occasion, a bone of contention. Whereas sampling is an accepted phenomenon in Hip-Hop, the use of song fragments or samples in techno and dance music is still frowned upon by some.
Not that this has unduly concerned Scooter. They have stuck to their guns and have never been afraid to dip into other styles or musical currents to enhance their own creations. "Strictly speaking, classical luminaries such as Karajan, Callas and Pavarotti all base their art on interpretations of existing works, without having surrendered anything of their brilliance or individuality notes Rick, with a hint of irony. "Sometimes thats what makes our songs so special the confrontation of new and old."