22 april 2020
Naam | Hans Peter Geerdes, Michael Simon & Phil Speiser |
Functie | 52 × live act, groep |
Geslacht | man |
Groepslid | |
Herkomst | Duitsland |
Genres | eurodance, hardstyle, techno |
Site | scootertechno.com |
Links |
Biografie
Over The Top is one way to describe the SCOOTER charts history both at home and abroad, earning them the accolade of Germany's most successful chart act since records began. Even though the news of their #1 album in the UK rankings has long since penetrated the media world, causing considerable amazement in some quarters, the SCOOTER crew appear relatively underwhelmed by the whole phenomenon. Which seems to be the ideal strategy for maintaining their high altitude flight, beyond the reach of any radar wave interference.
In total, SCOOTER can look back on more than 400 weeks (and counting) in the German charts, the equivalent of eight years, pretty much half of SCOOTER's 16 year band history to date.
SCOOTER are one of a very few German acts to have shaped the musical landscape at home and abroad for well over 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!
Over 30 million sales and more than 80 gold and platinum awards all over the globe underline their extra-special status.
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 band's career, coupled with the question: 'what is the secret of the group's 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 can't 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 doesn't make much sense. And you need to stay credible. We do everything by ourselves in the studio and our fans respect that.' Baxxter's 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 that's why I love him, it's a real inspiration and you can be sure there's 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 Scooter's 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 team's '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 Scooter's 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 group's 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 Simon, one of Hamburg's most sought-after house DJs in Hamburg and, like Rick, keyboarder in the band, 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 what's going down in the clubs means he can always bring the newest sounds into the studio.
Live and Direct Scooter's 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 didn't use them' admits Jordan. "Even our warm-up backstage has become something of an institution in its own right, I wouldn't 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, I'll be running round in circles, that's 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 that's 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, it's certainly never dull. In fact, it's always exciting.'
44 singles, 18 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? It's 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 you've forgotten everything you've learned", H.P. Baxxter observes. These are the common hurdles in the production process. "Of course, at the same time, it's a chance to develop artistically, to try out new things'. The band's 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 that's what makes our songs so special – the confrontation of new and old."
Inspired by the live spirit of the 'Stadium Techno Inferno", the band's 16th studio album will be
released in October, with the characteristic title 'The Big Mash Up".
In total, SCOOTER can look back on more than 400 weeks (and counting) in the German charts, the equivalent of eight years, pretty much half of SCOOTER's 16 year band history to date.
SCOOTER are one of a very few German acts to have shaped the musical landscape at home and abroad for well over 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!
Over 30 million sales and more than 80 gold and platinum awards all over the globe underline their extra-special status.
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 band's career, coupled with the question: 'what is the secret of the group's 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 can't 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 doesn't make much sense. And you need to stay credible. We do everything by ourselves in the studio and our fans respect that.' Baxxter's 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 that's why I love him, it's a real inspiration and you can be sure there's 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 Scooter's 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 team's '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 Scooter's 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 group's 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 Simon, one of Hamburg's most sought-after house DJs in Hamburg and, like Rick, keyboarder in the band, 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 what's going down in the clubs means he can always bring the newest sounds into the studio.
Live and Direct Scooter's 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 didn't use them' admits Jordan. "Even our warm-up backstage has become something of an institution in its own right, I wouldn't 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, I'll be running round in circles, that's 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 that's 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, it's certainly never dull. In fact, it's always exciting.'
44 singles, 18 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? It's 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 you've forgotten everything you've learned", H.P. Baxxter observes. These are the common hurdles in the production process. "Of course, at the same time, it's a chance to develop artistically, to try out new things'. The band's 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 that's what makes our songs so special – the confrontation of new and old."
Inspired by the live spirit of the 'Stadium Techno Inferno", the band's 16th studio album will be
released in October, with the characteristic title 'The Big Mash Up".
Uitgaansagenda Scooter
Statistieken
52 | · | optredens |
geen | · | in de toekomst |
52 | · | in het verleden |
722 | fans | |
3 | · | nieuws |
22 | · | foto's tijdens optreden |
3 | · | video's |
85 | · | opmerkingen |
1 | · | waardering |
geweldig | · | stemresultaat (6.4814 stemmen) |
85 opmerkingen
Uitspraak van Distorded Freak op zondag 4 maart 2007 om 21:15:zeker wel relax
ckr
Dikke zuigheid. Beter gaan ze terug naar de 2th Chapter, daar hadden ze tenminste nog originele tracks en albums. We Bring The Noise enzo. The Stadium Techno Experience was ook wel te doen, maar daarna ging het alleen maar bergafwaarts.
Volgende album heet Jumpin' All Over The World Schrale sukkels, beetje meelopen met die hele jump hype.
Volgende album heet Jumpin' All Over The World Schrale sukkels, beetje meelopen met die hele jump hype.
laatste aanpassing
Uitspraak van verwijderd op dinsdag 2 oktober 2007 om 12:23:Wat vinden jullie van het nummer: The Question Is What Is The Question???
hoorde het nr. laatst op tv en dacht weer zo'n dom rip-off jump-nummer Wat..?? van Scooter, erg slecht niet verwacht dat ook zij met die Jump-Hype mee gingen doen
Schande voor de dance-scene dit! Complete stukken jatten van Tuuduu en Rock Civilization en er vervolgens de eer mee opstrijken...
Dat is echt verdomd zielig ja, Scooter is echt enorm diep gezonken in de afgelopen 2 à 3 jaar. Cover na cover na cover wordt echt te simpel...
Maar schande voor de dance-scene? Dat is toch echt te overdreven en nog eens niet waar ook. Scooter heeft zeker wel meegeholpen met het opbouwen van de scene, o.a. door Hyper Hyper, Move Your Ass en Friends in de vroege jaartjes. Ook hebben ze zat toffe tracks gehad op oudere albums en de eerste 8 jaar van hun artiestenleven waren gewoon top. Daarna werd het allemaal minder...
Maar dat zijn allemaal vervlogen tijden Eeuwig zonde.
Maar wel lekker gister
Whatever you want
Geniale mixen uitgebracht
Geniale mixen uitgebracht
laatste aanpassing
Uitspraak van Drunk 'n High op vrijdag 10 oktober 2008 om 22:41:rot op met je gejump kanker...
[NL] G.I.T. Hardcore Terreur :snuifsnuif:
Uitspraak van Hammertime op maandag 17 november 2008 om 22:08:lachwekkende producties tegenwoordig, en dat is negatief bedoelt!
vroeger ( voor 2000 ) hadden ze een paar leuke producties
Punt
Uitspraak van verwijderd op donderdag 6 augustus 2009 om 20:26:Nieuwe track van The Pitcher gejat..
En waar heeft de Pitcher het vandaan??
Planet Funk - Chase The Sun
Activator - Lullaby
Mickie Krause - DÜP DÜP
Uitspraak van verwijderd op zaterdag 8 augustus 2009 om 20:25:En waar heeft de Pitcher het vandaan??
Ik heb het ook over de elementen
Uitspraak van hakkuh EDDY!!! op donderdag 9 april 2009 om 11:24:met je always hardcore flikker toch op always techno miss ja idioot je gaat toch geen nr maken met always hardcore als het geen eens hardcore is!!!!
Je gaat toch ook geen nr maken met always techno als het geen techno is
Really looking forward to some new tracks from the now really respected SCOOTER
Great work Stealing probably every Melody and Line from songs from the Hardstyle-scene's most respected Producers
It's not even wurthy to be called Hardstyle or even Hardcore.. how he names it.
Really Q U I T this business.
Are they expecting to be on the line-up of Qlimax 2011 or what?, get the f*ck out
Great step in their already aweful career,
now even fucking up our Hardstyle, as if fucking up Hardcore wasn't enough
Great work Stealing probably every Melody and Line from songs from the Hardstyle-scene's most respected Producers
It's not even wurthy to be called Hardstyle or even Hardcore.. how he names it.
Really Q U I T this business.
Are they expecting to be on the line-up of Qlimax 2011 or what?, get the f*ck out
Great step in their already aweful career,
now even fucking up our Hardstyle, as if fucking up Hardcore wasn't enough
laatste aanpassing
beter kippen houden, rippen alleen maar nrs
maak zelf eens iets!
Tis juist goed dat ze die shit rippen. Toont aan hoe kut en cheesy die hardstyle van tegenwoordig is.
Scooter heeft btw in het verleden al bewezen dat ze erg goeie traxx maken, o.a. met de remix van Uhm Tiss van Bloodhound Gang, en met eigen traxx als Nessaja, The Night, etc.
Fout, ja dat zeker. Maar wel goed fout
laatste aanpassing
Uitspraak van royvandamme op zaterdag 17 oktober 2009 om 17:17:Great work Stealing probably every Melody and Line from songs from the Hardstyle-scene's most respected Producers
Enige hardstyle producer die hij geript heeft en die respect verdient is Crypsis.
The Pitcher bijv. produceert zn eigen platen niet, dus is geen producer maar gewoon n dj. Zelfde geldt voor Technoboy, en de andere gasten die ie ript en die wél zelf produceren maken de grootste schijtbagger en brengen bijv. 10 verschillende covers van Outside World en First Rebirth uit.
Dás pas zum Kotzen
Uitspraak van verwijderd op donderdag 26 november 2009 om 15:43:Toont aan hoe kut en cheesy die hardstyle van tegenwoordig is.
Uitspraak van verwijderd op donderdag 26 november 2009 om 15:45:gasten die ie ript en die wél zelf produceren maken de grootste schijtbagger en brengen bijv. 10 verschillende covers van Outside World en First Rebirth uit.
Hardstyle is geen style
Uitspraak van verwijderd op zondag 29 november 2009 om 11:40:Hardstyle is geen style
Jawel, maar gasten als Frontliner enzo die maken geen fatsoenlijke hardstyle.
Hardstyle die fatsoenlijk is klinkt evil en duister, en leent zich niet om gecoverd te worden door Scooter.
Volgens mij zijn veel reacties hier gebaseerd op onwetendheid. Ik heb nergens berichten gezien over dat het 'geript' zou zijn, misschien zijn de desbetreffende samples/melodieën wel gewoon gecleared, en dan ligt het verzieken (zoals jullie het hier zien) van de eigen scene in de handen van de hardstyle producers (of labels) zelf.
Ik zeg niet dat ik Scooter tof vind, maar je moet niet roepen voordat je de feiten hebt .
Ik zeg niet dat ik Scooter tof vind, maar je moet niet roepen voordat je de feiten hebt .
Uitspraak van verwijderd op donderdag 26 november 2009 om 15:45:Enige hardstyle producer die hij geript heeft en die respect verdient is Crypsis.
The Pitcher bijv. produceert zn eigen platen niet, dus is geen producer maar gewoon n dj. Zelfde geldt voor Technoboy, en de andere gasten die ie ript en die wél zelf produceren maken de grootste schijtbagger en brengen bijv. 10 verschillende covers van Outside World en First Rebirth uit.
Dás pas zum Kotzen
Het verschil zit im in het volgende: Technoboy, Headhunterz, The Pitcher etc. etc. claimen niet dat alles wat zij maken goud is. Zij brengen niet iets uit zonder een homeage te leveren aan de originele artiest. Plus (op de laatste tijd na dan, maar dat is allemaal WEL zelf gemaakt) moet niet alles wat de Hardstyle heren maken commercieel te zijn.
In het kort: de hardstylers denken: hmm, we rippen een beat en maken er wat leuks van, brengen het uit and thats its.
Scooter denkt: hmm, de hardstylers maken wat, ik rip dat en ga het gelijk financieel uitbuiten.
DAT mijn heren, is het verschil. Buiten dat, de nummers van Scooter zijn en blijven geweldig.
Uitspraak van De Antiheld op maandag 7 maart 2011 om 22:39:In het kort: de hardstylers denken: hmm, we rippen een beat en maken er wat leuks van, brengen het uit and thats its.
Scooter denkt: hmm, de hardstylers maken wat, ik rip dat en ga het gelijk financieel uitbuiten.
Scooter is ALTIJD een band geweest die voor de fun muziek maken, totaal pretentieloos. Dat ze er veel geld mee verdienen is omdat het amusant is om naar deze muziek te luisteren en de feel good vibe mensen aan spreekt. De producers van Scooter door de jaren heen zijn stuk voor stuk trouwens grote artiesten geweest die ook solo succes hebben, Jay Frog bijvoorbeeld produceerde tientallen platen onder zijn Planet Trax en Jay Frog aliasen... zelfs een early hardstyle-classics, Legend B. - Voyage (Jay Frog remix) is van zijn hand verschenen, evenals (door de Hennes & Cold remix bekende) Jay Frog - Pushin'.
Zelfde geldt voor hun eerdere producer, Axel Coon.
Uitspraak van verwijderd op zaterdag 6 maart 2010 om 22:29:maar goed dan benk ook eerlijk dat een bepaalde remix van posse beter is dan zijn originele
De TeeBee mix...?
Er is btw nog iets veel grappigers. Luister Scooter - Liquid Is Liquid, van het album The Stadium Techno Experience (2003) en daarna Zairon - I'm Techno (2004). Wie jat er nu van wie?
laatste aanpassing
You guys , you think that you made te Hardcore Music!
It's not Hadcore that you braught out!
It's 100% pure garbage that you produced.
I have no respect for that kind op music.
You guys are so fake that you stole the sample from the group bodylotion from Holland!
Also with the tittle Always Hardcore ! THE REAL ALWAYS HARDCORE TRACK!!!
Think about that losers ....
100% F*cking shit!
To fake for words!
It's not Hadcore that you braught out!
It's 100% pure garbage that you produced.
I have no respect for that kind op music.
You guys are so fake that you stole the sample from the group bodylotion from Holland!
Also with the tittle Always Hardcore ! THE REAL ALWAYS HARDCORE TRACK!!!
Think about that losers ....
100% F*cking shit!
To fake for words!
laatste aanpassing
Het blijven gewoon cult-helden
Dat ja.
Afgelopen zaterdag was Scooter dé reden voor mij om naar We love the 90's te gaan, en dat hebben ze waargemaakt! Lekkere mix van die heerlijke oude hits (Nessaja, Endless Summer etc) en wat nieuwere platen. Uur lang met een glimlach van oor tot oor uit m'n dak gegaan.