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<title>Top Big Beat Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=363&amp;rws=%2Felectronica-dance%2Fbeats-breaks%2Fbig-beat%2Fartist-chart.rss</link><description>Top Big Beat Artists on Rhapsody Online</description><category>Big Beat</category><language>en</language><ttl>720</ttl><pubDate>Wed, 16 Dec 2009 15:52:12 -0800</pubDate><image>
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<title>Top Big Beat Artists on Rhapsody Online</title>
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<title>The Crystal Method</title>
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<category>Beats &amp; Breaks</category>
<pubDate>Tue, 17 Nov 2009 09:07:23 -0800</pubDate>
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<description><![CDATA[U.S. groundbreakers who took cues from The Chemical Brothers. Born in Las Vegas, Ken Jordan and Scott Kirkland moved to Los Angeles and revitalized the waning Southern California scene with their legendary 1995 debut single "Keep Hope Alive." Armed with an artillery of Acid, Funk, rock, hip-hop and Soul, The Crystal Method's Prodigy-style attack upon American audiences soon inflated into a worldwide conquest. Traces of this duo's aggressive big beat sound can be detected in endless numbers of international producers of both the bedroom and commercial types. A mind-jarring mix of ruthless breaks and basslines that quake like a building about to fall, this high-powered style is sewn together with threads of soulful vocal hooks and no-nonsense rap lyrics. Unavoidable.
- Melissa Piazza]]></description>
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<title>Fatboy Slim</title>
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<category>Big Beat</category>
<pubDate>Tue, 15 Dec 2009 10:31:12 -0800</pubDate>
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<description><![CDATA[Recording under the alias Fatboy Slim, British DJ/producer Norman Cook was one of the major pioneers of big beat; he ranks second only to the Chemical Brothers in terms of breaking the genre in the States. Cook samples from a wide range of music—house, funk, even rock—to create electronic music specifically designed for dancing. This emphasis on hedonism over experimentalism caused many techno purists to scorn Fatboy Slim, though it granted him immense success both at home and in America.
<br><br>
Cook, who was christened Quentin, started DJ'ing at age 15. In 1985 he changed his name to Norman and joined the British pop band the Housemartins, replacing departing bassist and founding member Ted Key. The Housemartins were known for their socially conscious, no-frills image and scathing sarcasm. Their 1986 and 1987 albums yielded several Top 20 pop hits, including "Caravan of Love" (Number One U.K., 1986) and "Happy Hour" (Number Three U.K., 1986).
<br><br>
Following the band's split in 1988, Housemartins frontman Paul Heaton and drummer Dave Hemingway formed the Beautiful South; Cook, meanwhile, returned to his dance-music roots with Beats International, which scored a Number One hit in the U.K. with its 1990 single "Dub Be Good to Me." Cook also recorded under numerous other monikers, including Pizzaman, Freakpower, and Mighty Dub Katz &#8212; who all charted in the U.K. &#8212; before embarking on his Fatboy Slim project. He made a minor splash in America with 1996's <i>Better Living Through Chemistry</i> and its single, "Going Out of My Head," which drew its defining guitar sample from Yvonne Elliman's remake of the Who's "I Can't Explain." But it was 1998's <i>You've Come a Long Way, Baby</i> that transformed Cook into an international star with its inescapable hits "The Rockafeller Skank" and "Praise You," the latter of which stayed on the U.S. pop chart for 20 weeks in 1999. Cook veered away from big beat for his next venture, <i>Halfway Between the Gutter and the Stars,</i> on which he worked with live vocalists (including R&B singer Macy Gray) for the first time. The single "Weapon of Choice" went on to hit Number 33 on the Modern Rock charts, and drew attention for its music video featuring a dancing (and flying) Christopher Walken, which won six MTV video awards in 2001.
<br><br>
<I>Palookaville</I> followed in 2004, and two years later he issued a best-of. In 2008, Cook announced he was looking for a new moniker with which to release his next album, which is mostly finished and features tracks with Iggy Pop. ]]></description>
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<title>The Chemical Brothers</title>
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<category>Big Beat</category>
<pubDate>Tue, 8 Dec 2009 09:16:39 -0800</pubDate>
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<description><![CDATA[It was a love of dance and rock music that brought Tom Rowlands and Ed Simons together at Manchester University. Tom had enrolled to be nearer to Factory Records' fabled Hacienda nightclub, and Ed wanted to spend time in the city of his heroes -- The Smiths and New Order. This was the early nineties, a heady time for musical change in England. Emerging DJ's like Mike Pickering and Paul Oakenfold were coming back from their Ibiza holidays and trying to re-create the <I>anything goes</I> playlists they had experienced at clubs on the island. This blend of hip-hop, rare house, classic rock and just about anything else provided it <I>worked</I> became known as Balearic (named after the group of Mediterranean islands that include Ibiza). Tom and Ed loved the Balearic blending of genres and started their own similar night at local Manchester club, Naked Under Leather, in 1991. As this extra-curricular diversion grew in popularity, they took the name The Dust Brothers in tribute to the U.S. production team responsible for the Beastie Boys' <I>Paul's Boutique</I>, and started to produce their own music. Their first effort, "Song To The Siren" immediately put them on the map. Darren Emerson, Andy Weatherall and Lionrock's Justin Robertson all took notice and they soon found themselves in-residence in London as a production and remixing duo. It was here that they began their now-legendary Heavenly Social Sunday night parties -- a regular hedonistic gathering that has become over time a touchstone of electronica history credibility with more people claiming to have been than there were nights available. As their notoriety grew, the "real" Dust Brothers sent in the lawyers, so a name change to The Chemical Brothers was required and a graceful departure was fashioned in the title of their debut album <I>Exit Planet Dust</I> (1995). By now they were approaching Underworld levels of fame and critical appreciation, so it was no surprise when Oasis's Noel Gallagher agreed to sing on their Beatle-y "Setting Sun" release, again cementing their popularity in both the rock and dance camps, something that was underscored by their opening gig for Oasis at the Knebworth music festival, a pre-cursor to several headlining global tours. <I>Dig Your Own Hole</I> (1997) followed, with the inescapable hit "Block Rockin' Beats," after which there was the excellent <I>Surrender</I> (1999) ("The Sunshine Underground" being a standout track) and <I>Come With Us</I> (2002). The inevitable career review <I>Singles 93-03</I> (2003) started tongues wagging about a creative block, but the beats kept rockin' with 2005's <I>Push The Button</I> and 2007's <i>We Are The Night.</i>
- Nicholas Baker]]></description>
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<title>Junkie XL</title>
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<category>Big Beat</category>
<pubDate>Thu, 10 Dec 2009 10:52:24 -0800</pubDate>
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<description><![CDATA[Starting out in the tradition of the Prodigy, Amsterdam-based rock/electronic hybrid Junkie XL (aka Tom Holkenborg) attacked your eardrums with a crackling, complex mix of hip-hop approved breaks, carelessly edgy vocals and blood-curdling guitar riffs. Carefully produced, dense tracks included both live instrumentation and electronic manipulation to draw a fanbase of headbangers and club-goers. That fanbase got even larger in 2002, when his remix of Elvis Presley's "A Little Less Conversation" hit a Nike World Cup commercial -- and the charts in 24 countries. Around the same time, his friendship with trance master Sasha led Holkenborg to develop a more progressive house sound. With his newfound clout and direction, Holkenborg recruited a host of superstars to contribute to 2004's concept album <I>Radio JXL: A Broadcast From the Computer Hell Cabin</I>.
- Melissa Piazza]]></description>
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<title>Propellerheads</title>
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<category>Big Beat</category>
<pubDate>Thu, 5 Nov 2009 12:40:59 -0800</pubDate>
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<description><![CDATA[Launched by the highly respected U.K. dance label Wall of Sound, DreamWorks artists the Propellerheads stand in the company of the Chemical Brothers and Fatboy Slim as one of the most respected acts on the Big Beat scene. With their expertly pasted elements of Funk, House, Techno, hip-hop and jazz, the Propellerheads ensure there's no sitting still when this duo is pimping on the decks.
- Melissa Piazza]]></description>
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<title>Freestylers</title>
<link>http://www.rhapsody.com/goto?rcid=art.6056&amp;rws=%2Felectronica-dance%2Fbeats-breaks%2Fbig-beat%2Fartist-chart.rss</link>
<category>Breaks</category>
<pubDate>Sat, 25 Jul 2009 12:08:26 -0700</pubDate>
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<description><![CDATA[Brimming with tributes to hip-hop, electro and Ragga, the Freestylers' blend of party-pleasing vibes and raise-the-roof jams ropes off a special spot for these veteran b-boys in the Big Beat arena. Amidst a blissfully disorienting rush of electro rips, pilfered sound samples and nuclear basslines, these floor-burners are graced with cameos from Ragga rapper MC Tenor Fly, junglist MC Navigator and Afrika Baambaataa's crew the Soul Sonic Force. Expertly tossing out one riotous romp after another, the Freestylers demonstrate the best way to rock a body.]]></description>
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<title>Dub Pistols</title>
<link>http://www.rhapsody.com/goto?rcid=art.5772&amp;rws=%2Felectronica-dance%2Fbeats-breaks%2Fbig-beat%2Fartist-chart.rss</link>
<category>Beats &amp; Breaks</category>
<pubDate>Sun, 18 Oct 2009 10:43:41 -0700</pubDate>
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<description><![CDATA[The Dub Pistols offer a cleaner, commercial-friendly presentation of Monkey Mafia's fusion of dub and Big Beat. These London hedonists -- often compared to Big Beat contemporaries the Freestylers, Lo Fidelity Allstars and the Chemical Brothers -- layer rough elements of Dub Reggae, hip-hop and Acid-oriented dance styles with a fierce Punk rock temperament in the tradition of Madchester bands like the Happy Mondays and the Stone Roses. Confident pop, rap and dub lyrics serve up revolutionary themes over contagious Crystal Method-inspired breaks, lonely horns and mean rhythms from the dark side of the island. Satisfying to open-minded Dub Reggae followers, this explosive mix fronts a readiness to rock the party that will make even the most dedicated hip-hop heads chuckle in spite of themselves.
- Melissa Piazza]]></description>
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<title>Timo Maas</title>
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<category>Progressive/Tribal House</category>
<pubDate>Thu, 10 Dec 2009 10:52:37 -0800</pubDate>
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<description><![CDATA[Describing his style as "percussive wet funk," Timo Maas has come a long way from his early days spinning chart hits and simple trance at friends' parties in Germany. An early hit with "Mama Konda" (1997) under his Orinoko moniker caught the attention of some big names in the dance world and he soon picked up several high profile residencies, including a regular slot at New York's Twilo. By this time he had moved on to a big beat progressive house sound, with remixes by Azzido Da Bass' "Dooms Night" and Lustral's epic "Everytime" cementing his reputation. His debut solo work (actually recorded with long-time production partner Martin Buttrich) <I>Loud</I> (2002) took both fans and critics by surprise. Instead of a predictably banging techno-electro-house energy fest, he produced something altogether more thoughtful. Tracks like "Help Me" almost had a pop feel to them, the break beat monster, "Shifter" would remain a club classic for years to come while "To Get Down" and "Ubik" called to mind Blancmange and Heaven 17 in the best ways possible. <I>Pictures</I> (2005) confounded fans once again and proved to be an altogether more mellow affair, leaning closer to the rock world than house, perhaps reflecting a more calm private life resulting from marriage and parenthood.
- Nicholas Baker]]></description>
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<title>The Brighton Port Authority</title>
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<category>Big Beat</category>
<pubDate>Wed, 23 Sep 2009 09:48:48 -0700</pubDate>
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<title>Alan T.</title>
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<category>Big Beat</category>
<pubDate>Thu, 11 Jun 2009 09:46:44 -0700</pubDate>
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<title>Lionrock</title>
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<category>Big Beat</category>
<pubDate>Sun, 18 Oct 2009 10:44:21 -0700</pubDate>
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<description><![CDATA[Truly embodying the Balearic ideal, DJ Justin Robertson's Lionrock blend all manner of dancefloor styles, from loping House beats to propulsive Techno, hip-hop and down-tempo grooves. An undeniably funky undercurrent ties it all together, keeping the dancefloor humming.
- Mike Schulman]]></description>
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<title>Bentley Rhythm Ace</title>
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<category>Beats &amp; Breaks</category>
<pubDate>Fri, 4 Sep 2009 10:47:26 -0700</pubDate>
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<description><![CDATA[Birmingham-based Bentley Rhythm Ace combine the talents of record-digging cut 'n' pasters Mike Stokes and Richard March, the ex-bassist for Alt Dance outfit Pop Will Eat Itself. Genre-pioneering Skint-style big beat grooves start the party with a mix of mashed-up elements of Funk, jazz, rock, Lounge and exotica served upon a hip-hop platter. Suspiciously groovy rhythms chug along at an unhurried mid-tempo pace like slacking off on a Saturday afternoon, weaving in and out of a hazy blend of peculiar effects and slovenly sound samples. Unusually stylish.
- Melissa Piazza]]></description>
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<title>Bassbin Twins</title>
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<category>Beats &amp; Breaks</category>
<pubDate>Fri, 31 Jul 2009 11:39:51 -0700</pubDate>
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<title>Hypnotic Fix</title>
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<category>Big Beat</category>
<pubDate>Tue, 5 Aug 2008 07:40:44 -0700</pubDate>
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