That’s why on The Fat of the Land, trying to top “Firestarter,” they’ve removed the instrumentals, female vocalists, and house-derived piano parts that once diversified their albums, replacing them with a steady diet of tough-guy swagger over boomshakalakas.Īctually, I think Prodigy were right to take as their exclusive focus a style that began with Jilted‘s “Poison,” in which the toast, “I got the poison / I got the remedy,” sent the groove climaxing somewhere between Ministry’s hard-rock electro and dance hits like Snap!’s “The Power.” All that testosterone couldn’t be more appropriate: If the Chemical Brothers impress with the clever twists they insert into the sound and shape of their rhythm tracks, DJ/producer Liam Howlett’s beats are clubbish in the caveman sense–you can even hear a whoosh before the blow arrives. The group’s second album, 1994’s Music for the Jilted Generation, begins with a vow to take things “underground”–sure, guys, you don’t have a commercial bone in your body. ![]() ![]() Dancer/bellower Keith Flint may look like a punk now, but he’s a hippie with a feather in his cap on the comic inside 1992’s Experience booklet. Prodigy, to put it mildly, are malleable. This album originally came out June 30, 1997. In honor of the album turning 20 this year, and our feature on the Best Alternative Rock Songs of 1997 that includes Prodigy’s “Firestarter” and “Breathe,” we’ve republished it here.
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