From Keflavík, With Love is a retrospective anthology issued in 2001 by Big Beat Records consisting of twenty songs by Thor's Hammer (Hljómar), a 1960s garage rock and beat group from Iceland who were one of the best-known Icelandic groups during the era.
 Though they worked with different producers on various labels, Thor's Hammer sound is best-typified by the tough, aggressive fuzz-drenched rockers they recorded in London for Parlophone Records in 1966, such as "I Don't Care," "My Life," "Better Days," and "The Big Beat Country Dance", and "If You Knew".
 While the lyrics to most of their songs were sung in English, several tracks were recorded in their native Icelandic, such as "Fyrsti Kossinn", "Ef Hún Er Nálægt Mér", and "Ertu Med", which was covered by the Savages on their "Live 'n Wild" album.
 Some of the tracks from Thor's Hammer's final period in the late 1960s, such as "Stay", show the group stretching their sound stylistically, augmenting certain arrangements with keyboards and horns.
 At his time, Thor's Hammer moved into a more eclectic direction, but they broke up in 1969, with several of their members going on to join the progressive rock group, Trubrot.
Azealia Amanda Banks ( born May 31, 1991) is an American rapper, singer-songwriter, and actress.
 Raised in the Harlem neighborhood of New York City, Banks began releasing music through MySpace in 2008, eventually being signed to XL Recordings at age 17.
 After releasing her debut single "212", she secured a recording contract with Interscope and Polydor Records, and later released her first extended play "1991" (2012).
 Banks' debut studio album "Broke with Expensive Taste" experienced several delays since its initial announcement before being released in 2014.
 In 2016, she released the mixtape "Slay-Z".
 Her is due to be released on October 31, 2017.
 Banks' outspoken views and controversial social media presence have been the subject of media scrutiny throughout her career.
A Date with Elvis is the third full-length studio album by the American garage punk band the Cramps, released in the UK on Big Beat Records in 1986.
 The title was appropriated from "A Date with Elvis" (1959), the eighth album by Elvis Presley.
 The album was recorded in fall 1985 and engineered by Steve McMillan and Mark Ettel at Ocean Way Studios in Hollywood, California.
 The album was first released in the US in 1990 by Enigma Records, with the bonus tracks "Blue Moon Baby", "Georgia Lee Brown", "Give Me a Woman" and "Get Off the Road".
 The Cramps reissued the album (with bonus tracks) on their own Vengeance Records in 2001.
 The original album was reissued in the UK by Big Beat in 2013 on orange vinyl, and subsequently reissued again by Vengeance Records in the US, UK and Canada in 2014.
"The Big Big Beat" is a song recorded by American rapper Azealia Banks for her second mixtape "Slay-Z" (2016).
 It was released as the lead single from the mixtape on February 19, 2016 after Banks had announced the mixtape in the previous May.
 Production of the song was handled by new producer An Expresso, while the song was penned by Banks alone.
 The song contains an uncredited sample of The Notorious B.I.G.'s voice.
 Lyrically, the track discusses staying true to your roots when you become famous.
Grimspound is the tenth studio album by the English progressive rock band Big Big Train.
 Released on 28 April 2017, it was recorded at English Electric Studios, produced by Big Big Train, and mixed and mastered at Aubitt Studios by Rob Aubrey.
The Midnite Sound of the Milky Way is a garage rock compilation available on compact disc put out by Big Beat Records (UK) that consists of songs recorded at the Midnite Sound recording studio in Danville, Illinois during the 1960s.
 The Midnite Sound studio one of many such venues pushing out obscure garage rock in the mid-1960s.
 The set was compiled by Alec Palao, who also wrote the liner notes.
 The compilation features twenty four tracks by different various artists who recorded there, and all except four have not been previously compiled.
 The Midnite Sound recording were often typified by an echo-laden sound, giving them a characteristically "outer space" vibe.
 The performers tended to be, even by 1960s garage rock norms, untutored and naively strange and noncommercial racket.
 The groups and artists who recorded at Midnite Sound tended to be less British Invasion-influenced than most, sometimes displaying rockabilly and pre-Beatles stylistics.
 The best-known act to record for the label was rockabilly/garage rocker Dean Carter, who is known for the song "Rebel Woman", which has appeared on several other compilations such as his "Call of the Wild" anthology on Big Beat Records.
 He does not appear on this set, but two performers here, George Jacks and The 12th Knight, do renditions of the song.
On the Floor at the Boutique is a live album mixed by British big beat musician Fatboy Slim.
 It was recorded at the Big Beat Boutique in 1997 in Brighton, England and released in 1998.
Folklore is the ninth studio album by the English progressive rock band Big Big Train.
 Released on 27 May 2016, it was recorded at English Electric Studios, produced by Big Big Train, and mixed and mastered at Aubitt Studios by Rob Aubrey.
 It is the first studio album to feature Rachel Hall and then-Beardfish lead vocalist Rikard Sjöblom as official members.
Surf-Jet Girl is the first EP released by surf music band "The Surfin' Lungs", released in 1986 on Ace Records' Big Beat label.
 Produced by Roman Jugg of The Damned, Big Beat had huge plans for the release and were planning a big promotion in which a surf jet was to be given away in a national competition, but the idea never got off the ground.
 Three of the four tracks were written by the group, but the fourth, "Decoy" was a cover of a track by 60s surf instrumental group "The Sandals".
Ether was an experimental music project by John Watts, released under the name Fischer-Z.
 After releasing two successful solo albums and one album of remixes, since the last Fischer-Z album, "Stream", John Watts had started to take an interest in creating big beat music.
 After creating a whole big beat style album in 1999 entitled "Bigbeatpoetry", Watts carried on in a similar style for "Ether".
 He recorded a number of songs, featuring only his guitar and voice, and then put them over cut-up beats as a rhythm track.
 Watts had also added a filmic touch to the project, he travelled throughout Europe and post-9/11 New York City to find musicians at random and record them using his laptop, in their homes and on the street.
 Sarah Vermeersch filmed & edited the process into a road movie.
 "Ether" was further released as a John Watts solo album (see: Ether Music & Film), including the road movie DVD and a CD of tracks from the "Ether" album that appeared in the movie.

Question: What neighborhood was the rapper who recorded "The Big Big Beat" raised in?
Answer: Harlem