"Crazy Beat" is a track by the English rock ensemble Blur, plucked from their seventh studio collection, Think Tank, which saw the light of day in 2003. The genesis of the song lies with the band members Damon Albarn, Alex James, and Dave Rowntree, who not only penned it but also produced it amidst the vibrant backdrop of Morocco. Further production polish was provided by Norman Cook. Its initial foray into the public consciousness occurred on March 17, 2003, when it was dispatched to alternative radio frequencies in the United States by Virgin Records. A more official, commercial release followed in the United Kingdom on July 7, 2003, courtesy of Parlophone, accompanied by the sonic companions "The Outsider" and "Don't Be" as B-sides.
Structurally, "Crazy Beat" is a three-chord affair, a spirited plunge into the realms of dance-pop and electropop. Its soundscape, however, is far from monolithic, weaving in threads of big beat and even a hint of nu metal. Lyrically, the song is an ode to the transformative power of music and the communal energy found within club environments. It’s a sentiment that resonates, even if the execution occasionally veers into territory that some might find… unsubtle.
Critical reception for "Crazy Beat" was, shall we say, a mixed bag. Many critics, perhaps fatigued by the band's sonic explorations, found themselves drawing parallels to their earlier, more raucous hit, "Song 2" from 1997. While some lauded its energetic, if somewhat unhinged, delivery as an interesting diversion, others deemed it "cartoonish" and a jarring anomaly on the otherwise introspective canvas of Think Tank. Commercially, it charted respectably in the UK, reaching number 18, though its global performance was less spectacular. In the United States, it marked a notable return to the Modern Rock Tracks chart for Blur, albeit at a modest number 22. Two distinct music videos were also produced, each attempting to capture the song's peculiar brand of chaos.
Background and Development
The creative crucible where Think Tank was forged was far from conventional. Recording sessions commenced in London in November 2001, notably without the presence of lead guitarist Graham Coxon. Coxon, grappling with personal demons—alcoholism and depression—had, rather inconveniently, failed to materialize for the initial sessions. His absence eventually solidified into a departure in 2002, following what was described as a "mental breakdown" during these very sessions. The remaining trio, Albarn, James, and Rowntree, resolved to press onward, electing to relocate their sonic endeavors to Morocco. Their stated aim was to "escape from whatever ghetto we're in and free ourselves by going somewhere new and exciting," a sentiment that, while perhaps a touch dramatic, speaks to a desire for artistic renewal. This geographical shift was, in part, inspired by vocalist Damon Albarn's prior visit to the North African nation.
They established a makeshift studio in Marrakesh, an environment that, according to bassist Alex James, fostered a sense of camaraderie and closeness within the band. James, however, did not shy away from the logistical nightmares involved: "It was a real hassle to go to Morocco. We had to get all scruffy with customs because they wouldn't let us import our gear into the country. It was a struggle and it cost a fucking fortune," though he conceded it was "well worth it." It was during this period that Norman Cook, a figure already synonymous with the big beat sound, was brought into the fold. James described his involvement as a "really nice injection of fresh energy at a point in the proceedings when we needed one, and he fundamentally understands music."
The villa they’d commandeered in Marrakesh offered a variety of acoustic spaces. Ben Hillier, the engineer, recalled that the distinctive drum sound on "Crazy Beat" was a direct result of the room's natural acoustics—a marble floor, tiled walls, and a concrete ceiling—producing a "really banging reverb." Interestingly, the initial conception of "Crazy Beat" was quite different. Albarn admitted it was a "really bad version of Daft Punk" before the band and Cook collectively decided to "get sick of it and then put in that descending guitar line over it to rough it up a bit." He later characterized the track as "just a bit of fun we had with Norman," one of the few moments on Think Tank where they allowed themselves to "let our hair down and get dumb." Cook also lent his production skills to "Gene by Gene," another track featured on the album. In retrospect, Albarn expressed a degree of regret in 2015 for including "Crazy Beat" on the album, preferring a track called "Me, White Noise" which, through a bit of digital trickery, was hidden as a prologue on the CD.
Release
Commercially, "Crazy Beat" made its debut in the United Kingdom on July 7, 2003, released by Parlophone. The single package was generous, offering two new tracks as B-sides: "Don't Be," recorded during the Moroccan sessions, appeared on the CD version, while "The Outsider" graced the 7" vinyl format. For those opting for the DVD, a more comprehensive offering awaited, including both B-sides, the main music video for "Crazy Beat," and an animated storyboard of the video. The CD single also boasted an enhanced section featuring an alternative video. The artwork adorning the single was a provocative piece by the enigmatic graffiti artist Banksy, a satirical depiction of the British royal family painted on a wall in Stoke Newington. Sadly, this public art was later subjected to vandalism by council workers in September 2009, though a spontaneous crowd intervention prevented its complete destruction.
In the United States, Virgin Records took the initiative, servicing "Crazy Beat" to alternative radio on March 17, 2003, positioning it as the lead single from Think Tank in that territory. The song also found its way into a commercial for the iconic clothing brand Levi's. At the time of its release, the band themselves harbored reservations, feeling the track didn't entirely encapsulate the broader sonic identity of Think Tank.
Composition
The sonic architecture of "Crazy Beat" was a collaborative effort, credited to Blur with additional production input from Norman Cook. Musically, it’s a genre-bending piece, firmly rooted in dance-pop and electropop, but with a decidedly raw edge. Reviewers frequently pointed to its "rowdy" three-chord structure as a foundational element, a stark contrast to some of the more experimental textures found elsewhere on the album. The sonic palette was further enriched by echoes of big beat and a surprising infusion of nu metal. Descriptions often included a "big rock beat and fuzz-punk guitar," underscored by "pounding percussion." Bram Teitelman of Billboard highlighted it as one of Blur's most guitar-centric tracks, noting its divergence from the world music leanings of the rest of Think Tank. Lúcio Ribeiro of Folha de S.Paulo simply called it "the rock track of the record," while Kitty Empire of The Observer identified it as a "raw rock tune" augmented with "dancefloor dynamics" courtesy of Cook. Steve Lowe of Q even ventured a comparison to The Stooges' "I Wanna Be Your Dog".
The track opens with a signature Fatboy Slim drum loop, overlaid with vocodered vocals repeating the titular phrase. This gives way to what some describe as "classic Blur," characterized by a deep, resonant guitar and powerful analog drums. The vocoded voice itself drew comparisons to Donald Duck, and Jeff Elbel of Paste noted a resemblance to Rick Dees' novelty hit "Disco Duck". During the chorus, Albarn's vocal erupts in an emphatic "yeah yeah yeah!". The persistent comparison to Blur's own "Song 2" was almost unavoidable, and some critics also heard echoes of The Clash. Lyrically, the song champions the unifying power of music and nightlife, embodying a sentiment akin to "the best music makes the people comes together style." Intriguingly, the lyrics also make a rather unexpected mention of the Central Intelligence Agency.
Critical Reception
The critical consensus on "Crazy Beat" was decidedly fractured. Nigel Williamson of Uncut perceived the track as bearing "the unmistakable cartoon signature of Fatboy Slim." Steve Lowe from Q lauded it as "the album's prime Fatboy Slim moment" and a potential hit. Keith Phipps of The A.V. Club, however, offered a more colorful, if less flattering, assessment, describing it as sounding like "a deranged midget" and a "poundingly ingratiating track." John Lamb of The Forum of Fargo-Moorhead found it "pulsating" and capable of fulfilling any listener's "novelty fix."
The Independent staff saw "Crazy Beat" as a "second cousin" to "Song 2," noting its "ironic swagger." Similarly, Russell Baillie of The New Zealand Herald deemed it "highly infectious meaty beaty big and bouncy." Bram Teitelman of Billboard suggested that the synergy between Cook's production and the aggressive guitar riff provided "a shot of adrenaline," positioning it as a potential successor to "Song 2" in terms of sporting event ubiquity. Jeres from Playlouder simply stated it "packs a punch, and has lots of strange squelchy devil belches for your entertainment."
However, dissenting voices were plentiful. Kitty Empire of The Observer opined that it was neither "Blur's finest hour, nor Norman Cook's," but acknowledged its role in reassuring observers that the band hadn't completely vanished into Albarn's world music obsessions. Steve Harnell of Classic Pop labeled it "airhead fun," but felt the album's true strengths lay elsewhere. Alex Needham of NME offered a rather dismissive take, stating the song "sounds like four old yobs making an exhibition of themselves in a disco." Andy Greenwald of Spin found the "escapist laddism" to be forced and lacking substance, a sentiment echoed by Sam Bloch of Stylus Magazine, who criticized its "hollow commercialism."
Rob Brunner of Entertainment Weekly outright dismissed "Crazy Beat" as a "cartoon-voiced throwaway that’s neither deranged nor danceable." Ryan Leas of Stereogum considered it "one of Blur’s lowest moments," a "cartoonish retread of ideas they achieved better elsewhere," a view that Jeff Elbel of Paste also shared, describing it as "cartoonish."
Alexis Petridis of The Guardian found Cook's contributions to Think Tank, including "Crazy Beat," to be "cluttered-sounding collaborations" that ultimately "fall short of their ambition" and were a "disappointment." Devon Powers of PopMatters characterized it as an "energetic, punked-out rocker," but questioned its authenticity given Blur's established persona. John Murphy of musicOMH found "Crazy Beat" to be "somewhat jarring" on the album, essentially a "Fatboy Slim remix of Song 2." While he anticipated its commercial appeal, he felt it was tonally ill-suited between the more delicate "Out Of Time" and "Good Song." Sal Cinquemani of Slant Magazine concurred, believing the song "ultimately sound[s] out of place" on the album. Gareth James of Clash was even more critical, condemning it as "'hit-by-numbers' brash nonsense" that was "glaringly out of place." Ben Gilbert of Dotmusic delivered a scathing review, pointing to its "lazy, predictable, sub-'Song 2' primal noise and pointless, throwaway chorus," declaring it "Think Tank's weakest moment by some considerable distance." Thomas Hannan of The Line of Best Fit echoed this sentiment, describing it as a "sub-'Song 2' abomination." Julian Marshall of BBC Newsbeat noted that "Crazy Beat" "[has] aged badly" and had the feel of a novelty hit.
Commercial Performance
In the United Kingdom, "Crazy Beat" entered the UK Singles Chart at number 18 for the week ending July 19, 2003. It maintained a presence for two weeks before dropping out, only to re-enter for a further two-week stint, accumulating a total of five weeks on the chart. Its performance outside the UK was less impactful, reaching number 26 in Scotland, number 41 in Ireland, and number 20 in Sweden.
In the United States, "Crazy Beat" achieved a peak position of number 22 on Billboard's Alternative Airplay chart. This marked Blur's first appearance on this chart since "Song 2," and, notably, their last until "The Narcissist" in 2023. The single also charted in Canada, reaching number 30 on the Canadian Hot 100. On the pan-Eurochart Hot 100 Singles, it peaked at number 63.
Promotion
Music Video
Two distinct visual interpretations accompanied the release of "Crazy Beat." The first, helmed by the animation collective Shynola, was shot in late March 2003 at Ealing Studios in London. It premiered on MTV's website the following month and subsequently entered rotation on MTV2 in May. This video depicts the band performing in a pub setting, with a green audio waveform springing to life and pulsating in sync with the music. The alternative video, directed by John Hardwick, presented a different narrative: four women, uniformly dressed in brown frocks and blonde wigs, executing a synchronized dance routine.
Live Performances
Despite reports of the band's alleged annoyance at performing the song on television programs, "Crazy Beat" was indeed featured on shows like Top of the Pops, Headliners, and Supersonic. It was also a regular fixture in the setlists for the 2003 tour supporting Think Tank.
Track Listings
UK 7-inch single [66]
| No. | Title | Length |
|---|---|---|
| 1. | "Crazy Beat" | 3:14 |
| 2. | "The Outsider" | 5:13 |
UK CD single and Australian maxi-single [67] [68]
| No. | Title | Length |
|---|---|---|
| 1. | "Crazy Beat" | 3:14 |
| 2. | "Don't Be" | 2:39 |
| 3. | "Crazy Beat" (alternative video) | 3:35 |
UK DVD single [69]
| No. | Title | Length |
|---|---|---|
| 1. | "Crazy Beat" (video) | 3:22 |
| 2. | "Don't Be" | 2:38 |
| 3. | "The Outsider" | 5:13 |
| 4. | "Crazy Beat" (animatic) | 1:56 |
Canadian CD single [70]
| No. | Title | Length |
|---|---|---|
| 1. | "Crazy Beat" | 3:14 |
| 2. | "Tune Two" | 3:48 |
Credits and Personnel
Credits and personnel are adapted from the Think Tank album liner notes. [15]
- Damon Albarn – vocals, songwriter, producer, guitars, programming
- Alex James – songwriter, producer, bass, backing vocals
- Dave Rowntree – songwriter, producer, drums, programming
- Fatboy Slim – producer, keyboards, synths, programming, effects
- Ben Hillier – percussion, engineering, mixing
- Jason Cox – production assistant, engineering
- James Dring – additional engineering, programming
Charts
| Chart (2003) | Peak position |
|---|---|
| Australia (ARIA) [71] | 102 |
| Canada (Canadian Hot 100) [56] | 30 |
| Europe (Eurochart Hot 100) [57] | 63 |
| Germany (GfK) [73] | 98 |
| Ireland (IRMA) [52] | 41 |
| Scotland Singles (OCC) [51] | 26 |
| Sweden (Sverigetopplistan) [53] | 20 |
| UK Singles (OCC) [74] | 18 |
| US Alternative Airplay (Billboard) [54] | 22 |
Release History
| Region | Date | Format(s) | Label | Ref. |
|---|---|---|---|---|
| United States | 17 March 2003 | Alternative radio | Virgin | [14] |
| United Kingdom | 7 July 2003 | • CD single • DVD single • 7" |
Parlophone | [11] |