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Who Got the Last Laugh Now
Who Got the Last Laugh Now
Genres: Dance & Electronic, World Music, Pop
  •  Track Listings (12) - Disc #1


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CD Details

All Artists: Scooter
Title: Who Got the Last Laugh Now
Members Wishing: 0
Total Copies: 0
Label: Avex Trax Japan
Original Release Date: 1/1/2006
Re-Release Date: 12/26/2005
Album Type: Import
Genres: Dance & Electronic, World Music, Pop
Styles: Techno, Europe, Continental Europe, Dance Pop
Number of Discs: 1
SwapaCD Credits: 1

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CD Reviews

Cameron Rochette | St Andrews, Scotland | 04/16/2006
(3 out of 5 stars)

"Apparently Scooter does, because they're making lots of money off of their worst album ever!

Scooter has created some absolutely amazing albums in the past, all way ahead of their time like "Wicked!", "The Age of Love" and "Back to the Heavyweight Jam". Since Jay Frog joined the band to replace Axel Coon in 2002, the band has lost its touch. Yes, obviously somehow, with Jay Frog they created one of their best albums ever, "The Stadium Techno Experience", but it's only gone downhill from there. The only good song since that album has been One (Always Hardcore). This album seems to be geared more towards commercialism, plagiarizing A LOT from bad pop songs. There is little creativity in this album compared to others.

LIGHTS OUT: This is a total rip-off of Sirius by the Alan Parsons Project. It's just an electronic version with a woman singing notes.

HELLO! (GOOD TO BE BACK): This is the only good song on the album. This is a rip-off of the Gary Glitter song with an interesting techno melody in the middle. It's a good pump-up song. But seriously, it's the only good song on the album.

PRIVELEGED TO WITNESS: Remember "Walking on the Moon" by The Police? Yes, you guessed it: they use a high-pitched vocal to copy the exact same melody and lyrics for this song, with some daft lyrics MC'd by frontman H.P. Baxxter.

ROCK BOTTOM: This song is stolen from one of Scooter's own songs, Maria. It employs the "dub-dub" technique, except much more boring. No excitement in this song.

THE LEADING HORSE: The Leading Horse is taken from two pop songs. The rhythm is based off of a 50 Cent song, while the high-pitched vocals melody is based off of The Four Horsemen by Axxis. It's a rap song, basically. Not even techno. Dreadful.

TAKE ME BABY: This song is so stupid I can't believe that Scooter would stoop to this level. The lyrics are extremely sappy and pop-song-esque. Not to mention that it's just plain boring. Maybe the bit in the middle is OK but the refrain is sung really badly by H.P.

APACHE: Gee, I wonder where this song is from! How about "Apache" by The Ventures? This is an instrumental song that copies and pastes the guitar riffs from the original song into the Scooter song.

SEE ME, FEEL ME: So, this song starts out with the high-pitched vocals by saying "See me feel hear me love me touch me". That should tell you something immediately. The B-section of this song is somewhat decent, but that's all that there is worth listening to.

UNITY WITHOUT WORDS, PT. 3: The percussion opening of this song is way too long. This trance song, unlike many of their others is just way too repetitive. Unlike "Level One", "Rhapsody in E", or "R U :-)?" this song just lacks the creativity that others didn't.

EVERLASTING LOVE: This song is lifted from the 1987 "Everlasting Love" by Sandra. There is a second-hand of a clock ticking throughout a lot of the song, which is kind of odd. However, the piano heard on the original song is just like the original song, and once again, we have the high-pitched vocals singing the same cheesy lyrics as the original as well.

SEVEN BRIDGES: Once again, we have silly lyrics by H.P. Baxxter again, with a repetitive bass. This song has piano interludes that sound like they're from some bad pop song, with the fake crowd singing along "la-la" style in the background.

MESMERIZED: This song isn't too bad; it has a nice melody, but it just takes a long time to get there and requires a lot of patience by the listener. It has an odd sort of electro-jazz-fusion-techno bit in the middle, with some electronic female voice repeating something incomprehensible.

Perhaps this review is a bit cynical, but the truth is that with the exception of "Hello!" this album is NOT worth your money. More than half of the songs are rip-offs of other songs not by Scooter. I really hope Scooter doesn't continue to go downhill. Maybe it is the addition of Jay Frog - who knows? It could also be that they're just finished creating good songs. It would be a shame to see such talent go to waste.