British electronic group, founded in 1990. Their first release was single 'What Evil Lurks' (1991). Their early music was mostly rave/breakbeat, but has become more mainstream mixing in rock guitars with the third album 'The Fat Of The Land' (1997). Band members: - (head of the group; producer). (vocals, dancing).
The Prodigy discography download MP3 free torrent albums complete description. The Prodigy - Music For The Jilted Generation - The Prodigy1994.mp3.
(MCing, vocals). (- (dancing) – former longterm member). The original Prodigy line-up was Liam on keyboards and Leeroy, Keith and Sharky as dancers.
Maxim was recruited at short notice to MC at their debut gig at Labrynth in Dalston, London. Sharky left the group at Christmas 1990 after they got their record deal with XL as she didn't want to devote more time to the band. Their initial deal with XL was for 4 singles, with XL paying a £1500 advance prior to the first single.
The Prodigy briefly used the pseudonym (named after Liam's studio) for the original white-label summer releases of 'One Love' (1993). Left the band in 2000. I first heard the prodigy in 1991 and prior to that i was a disillusioned thrash metal fan who couldn't find anything besides Mertallica worth listening too, from the first moment i heard the opening riff of Charlie i new i had found the type of music that was looking for, metal was instantly swepped away by breakbeats and techno!!! I think a lot of metal fans made the switch to techno and raves in those early days.
This has all been said before but i love the Prodigy's uncompromising attitude to the commercialisation of dance music which is the great tragedy of our time, raves are not what they were in the 90's, these days they are sponsored by multi national corp like Coca cola and advertised on the side s of buses. Superstar DJ'S are a bunch of fuckheads, ever since vinyl went out of fashion in favour of sticking a stupid frigging usb stick into a sound system and making out like they are actually mixing when in fact they are playing a pre recorded mix it is impossible for cynicism to not set in. I still love electronic music but there is no denying the new generation of DJ'S suck!!!
From the beginning when I grew up in a littel village in Germany, sitting every saturday to listen to the UK charts on the radio I fell in love with this band. I began buying all their CD´s when other guys in school didn´t even know them. Then Out of space hit the charts across europe and they got more popular outside the UK. In 94 Music for the jilted generation was released.everybody began loving them. I was in 2 concerts, 95 together with Moby and 97 solo. Especially the 97 concert just blow my mind.so fucking loud your whole body was in vibration even you stood still.
I always regret that I was only 14 and from Germany when the rave scene in the UK started, it must have been amazing to visit such parties. For sure this must be the best electronic band that ever set foot on this planet. So innovative, creative, powerful and full of ideas, always ahead of their time and never tired to mix music styles to one unique sound. The Prodigy is possibly the greatest electronic dance music act in history. Apart from staying on the level even with new tracks, they showed that the amount of energy they bring live on their gigs is uncomparable to any other EDM band as I know it. And I'm not the one who sits at home listening to the music that should be danced to. I've been on their concerts in 1995, 2005 and 2009 and all I can say they're actually getting better and better over the time.
I'm their hardcore fan because they simply stood the test of time, and because Liam is constantly inovating, and he also likes to bring some old-skool beats and vibes again. The Prodigy's first demo tape to XL Records in 1990 contained 5 tracks: 'Evil Minds', 'Dr. Zupan', 'Oz', 'Lift Me' and 'Charly' (Remix '91).
XL also have a floppy disk containing 'Death Of The Prodigy Dancer' (Studio Version) 1992, which is different to the version found on 'The Experience' album because the album version was recorded live with Keith MCing. 1) - 'Evil Minds' - Breakbeat, with grimey bass line and ravey synths. 'What's wrong with you man?
- He's crazy' is a vocal sample used over parts of the song, mostly cut to just 'What's wrong with you man?' On this tape, 'Evil Minds' and 'Lift Me' are my joint favourite tracks.
Zupan' - Acid House with a slight electro feel to it on the percussion. To me this tracks sounds dated and a bit simple, but I can imagine in it's day being pretty good. On The tape it is my least favourite.
3) 'Oz' - Breakbeat with a guitar sample. The guitar sample; in my opinion gives a feeling of the Middle East and Arabian nights. It sounds quite fresh and up-to-date, like the music from 'The Fat Of The Land Album', or the soundtrack to the motion picture 'The Matrix'.
I wasn't fond of this track when I first heard it but has grown on me a lot. 4) 'Lift Me' - Very typically Old Skool music - if your a fan of the Rave sound i'd strongly suggest trying to find this. It's not fast, but the bass line is definitely grimey! Also the 'Woo-hoo' sample you may recognise; as The Prodigy used it again in the track 'Your Love'.
5) 'Charly' (Remix '91) - Breakbeat laiden Rave / Hardcore. Sounds quite similar to the Original Mix, only there are little differences like sound effects, the way the song is constructed, extra pads, different introduction and different outro. 6) 'Death Of The Prodigy Dancer' (Studio Version) - just the same as what you can hear on the album, only without the MCing, and marginally clearer.
The distortion on the album is also on the Studio Version in places which makes me think that was the sound Liam was trying to create. As the track fades out you can hear 'Everybody Into The Place' (155 And Rising) fading up, which makes me think this was the next track Liam wanted on the album, only it was all re-arranged when they couldn't fit all the tracks on.
With exception to 'Charly' (Remix '91) and 'Death Of The Prodigy Dancer' (Studio Version) most of the tracks are quite slow compared to their Hardcore/Rave/Techno tracks some may expect from their singles and albums released between 1991-1995. Old Skool Hardcore fans should check out 'Evil Minds', 'Lift Me' and 'Death Of The Prodigy Dancer' (Studio Version). I found them on The Prodigy's official website in 2007, but now the site is being updated and I don't know if these tracks will be included on their home page again.
Good luck finding them! Really XL should just release everything they have they have kept back from us over the years, and we wouldn't have to settle with poorer quality sound over the internet. The Prodigy have managed to stay on the fringes of electronic music styles since their start in the early ninties.
They began with 'Experience', a unique blend of old-skool jungle, breakbeat and hardcore techno. They only hit the world wide stage with the release of 'Music for the Jilted Generation' which demonstrated the diversity of music styles they were able to achieve.
Many people think that the third albulm 'Fat of the Land' was a sell out, but personally I think it was a move back to Liam's preferred style, an elctro/punk clash which bought them world-wide fame.
. Artist:. Album:. Format: mp3 - lossy. Summary Last.fm: Due to incorrect music tags, most of the music on this profile belongs to The Prodigy, and the top tracks should not be associated with the rapper Prodigy. Prodigy is generally considered to be the more lyrically skilled member of the hip hop duo Mobb Deep.
He was born to parents of Ethiopian and Jamaican descent. Prodigy was born with sickle cell anemia and has suffered from the disease throughout his life. Albums:,. Music: Electro / Techno: MP3/Over 256Kbps Prodigy - The Fat Of The Land (1997) (MP3-EAC-320 kBs) Prodigy Biography From allmusic.com Biography by John Bush The Prodigy navigated the high-wire, balancing artistic merit and mainstream visibility with more flair than any electronica act of the 1990s. Ably defeating the image-unconscious attitude of most electronic artists in favor of a focus on nominal frontman Keith Flint, the group crossed over to the mainstream of pop music with an incendiary live experience that approximated the original atmosphere of the British rave scene even while leaning uncomfortably close to arena-rock showmanship and punk theatrics.
True, Flint's spiky hairstyle and numerous piercings often made for better advertising, but it was producer Liam Howlett whose studio wizardry launched the Prodigy to the top of the charts, spinning a web of hard-hitting breakbeat techno with king-sized hooks and unmissable samples. Despite electronic music's diversity and quick progression during the 1990s - from rave/hardcore to ambient/downtempo and back again, thanks to the breakbeat/drum'n'bass movement - Howlett modified the Prodigy's sound only sparingly; swapping the rave-whistle effects and ragga samples for metal chords and chanted vocals proved the only major difference in the band's evolution from their debut to their worldwide breakthrough with their third album The Fat of the Land. Even before the band took its place as the premiere dance act for the alternative masses, the Prodigy had proved a consistent entry in the british charts, with over a dozen consecutive singles in the Top 20. Howlett, the prodigy behind the group's name, was trained on the piano while growing up in Braintree, Essex. He began listening to hip-hop in the mid-'80s and later DJed with the British rap act Cut to Kill before moving on to acid house later in the decade. The fledgling hardcore breakbeat sound was perfect for an old hip-hop fan fluent in up-tempo dance music, and Howlett began producing tracks in his bedroom studio during 1988.
His first release, the EP What Evil Lurks, became a major mover on the fledgling rave scene in 1990. After Howlett met up with Keith Flint and Leeroy Thornhill (both Essex natives as well) in the growing British rave scene, the trio formed the Prodigy later that year. Howlett's recordings gained the trio a contract with XL Records, which re-released What Evil Lurks in February 1991. Six months later, Howlett issued his second single 'Charly,' built around a sample from a children's public-service announcement. It hit number one on the British dance charts, then crossed over to the pop charts, stalling only at number three.
(It wasn't long before a copycat craze saw the launch of rave takeoffs on Speed Racer, The Magic Roundabout and Sesame Street) Two additional Prodigy singles, 'Everybody in the Place' and 'Fire/Jericho,' charted in the U.K. During late 1991 and early 1992. The Prodigy showed they were no one-anthem wonders in late 1992, with the release of The Prodigy Experience, one of the first LPs by a rave act. Mixing chunky breakbeats with vocal samples from dub legend Lee 'Scratch' Perry and the Crazy World of Arthur Brown, it hit the Top Ten and easily went gold. During 1993, Howlett added a ragga/hip-hop MC named Maxim Reality (Keeti Palmer) and occupied himself with remix work for Front 242, Jesus Jones and Art of Noise. He also released the white-label single 'Earthbound' to fool image-conscious DJs who had written off the Prodigy as hopelessly commercial.
Late 1993 brought the commercial release of 'Earthbound' (as the group's seventh consecutive Top 20 singles entry, 'One Love'). After several months of working on tracks, Howlett issued the next Prodigy single, 'No Good (Start the Dance).' Despite the fact that the single's hook was a sped-up diva-vocal tag (an early rave staple), the following album Music for the Jilted Generation provided a transition for the group, from piano pieces and rave-signal tracks to more guitar-integrated singles like 'Voodoo People.' The album also continued Prodigy's allegiance to breakbeat drum'n'bass; though the style had only recently become commercially viable (after a long gestation period in the dance underground), Howlett had been incorporating it from the beginning of his career. Music for the Jilted Generation entered the British charts at number one and went gold in its first week of release.
The album was also nominated for a Mercury Music Prize, as one of the best albums of the year. The Prodigy spent much of 1994 and 1995 touring around the world, and made a splashy appearance at the 1995 Glastonbury Festival, proving that electronica could make it in a live venue. The group had already made a transition from the club/rave circuit to more traditional rock venues, and the Glastonbury show set in stone the fact that they were no longer just a dance group.
Flint's newly emerged persona - the consummate in-your-face punk showman and master of ceremonies for the digital-age crowd - provided a point of reference for rock critics uncomfortable covering Howlett (whom they saw as a glorified keyboard player). The Prodigy's incessant road schedule left little time to record, but Howlett managed to bring out the next new Prodigy single in March 1996. 'Firestarter' entered the British charts at number one, though the video was almost banned due to complaints about arson fixation; many Top of the Pops viewers also complained that Keith Flint had scared their children.
An unmissable guitar hook and Flint's catcall vocal antics - his first on record - made it a quick worldwide hit and though 'Firestarter' wasn't a major success in the U.S., its high-profile spot in MTV's Buzz Bin introduced the Prodigy to many Americans and helped fuel the major-label push for electronica during the following year (though the Prodigy did reject collaborative offers from David Bowie, U2 and Madonna). In the middle of the electronica buzz, the Prodigy dropped their third album, The Fat of the Land. Despite rather obvious attempts to court mainstream rock fans (including several guest-vocalist spots and an L7 cover), the LP entered both British and American charts at number one, shifting several million units worldwide. The next Prodigy full-length was 1999's The Dirtchamber Sessions, a mix album helmed by Howlett. The 'Baby's Got a Temper' single - one Howlett would later disown - appeared in 2002 and soon after Leeroy Thornhill left the band. Maxim and Keith Flint were still in the band but they weren't to be found on 2004's Always Outnumbered, Never Outgunned. Instead the album featured guest spots from Oasis' Liam Gallagher, Kool Keith, Twista, and actress Juliette Lewis.
Flint and Maxim did join Howlett for a worldwide tour to support the album that launched in October 2004. A year later Their Law: Singles compiled the big hits.
CD Pressing Information Label: XL Recordings Catalog#: XLCD 121 Format: CD, Album Country: UK Released: 30 Jun 1997 Genre: Electronic, Hip Hop Style: Breakbeat, Big Beat Credits Artwork By Art Direction - Alex Jenkins, Liam Howlett Artwork By Design - Alex Jenkins Photography Ant - Terry Whittaker Photography Band, Train And Equipment - Pat Pope Photography Front Cover - Konrad Wothe, Silvestris Photography Inside Traycard - Lous Smith Photography Live Shots - Alex Scaglia, Christian Ammann, Pat Pope Photography Truck And Background - Alex Jenkins Producer, Mixed By - L. Howlett Recorded By Vocals - Neil McLellan (tracks: 1, 2, 7, 8) Notes Produced & mixed at Earthbound. Vocals on 1, 2, 7 and 8 recorded at Strongroom.
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'Fuel My Fire' originally performed by L7. Sample Information: 1. Contains parts of 'Give The Drummer Some' by Ultramagnetic M.C.' S from their album entitled 'Critical Beatdown' used courtesy of Next Plateau Records. Excerpts from 'Root Down' used under license from Capitol Records. Sample from '2-3 Break' by The B-Boys used courtesy of Vintertainment. Published by Vintertainment Enterprises (ASCAP).
Sample from 'Theme From S.W.A.T.' By Barry Derorzan, used courtesy of MCA Records, Inc. Under license from Universal Music Special Markets Inc. Published by EMI Gold Horizon Music.
'Selling Jesus' by Skunk Anansie used courtesy of One Little Indian except USA courtesy of Sony Music Inc. Sample of Breeders 'SOS' courtesy of 4AD/Elektra (by arrangement by Warner Special Products). 'Close To The Edit' by Art Of Noise under licence from ZTT Records Ltd. Contains portion of 'Horn Track' by Egyptian Empire/Tim Taylor courtesy of London Records and published by Northcott Music administered by International Music Network.
The Fat Of The Land album review from allmusic.com Review by Stephen Thomas Erlewine Few albums were as eagerly anticipated as The Fat of the Land, the Prodigy's long-awaited follow-up to Music for the Jilted Generation. By the time of its release, the group had two number one British singles with 'Firestarter' and 'Breathe' and had begun to make inroads in America. The Fat of the Land was touted as the album that would bring electronica/techno to a wide American audience; in Britain, the group already had a staggeringly large following that was breathlessly awaiting the album. The Fat of the Land falls short of masterpiece status, but that isn't because it doesn't deliver. Instead, it delivers exactly what anyone would expect: intense hip-hop-derived rhythms, imaginatively reconstructed samples, and meaningless shouted lyrics from Keith Flint and Maxim.
Half of the album does sound quite similar to 'Firestarter,' especially when Flint is singing. Still, Liam Howlett is an inventive producer, and he can make empty songs like 'Smack My Bitch Up' and 'Serial Thrilla' kick with a visceral power, but he is at his best on the funky hip-hop of 'Diesel Power' (which is driven by an excellent Kool Keith rap) and 'Funky Shit,' as well as the mind-bending neo-psychedelia of 'Narayan' (featuring guest vocals by Crispian Mills of Kula Shaker) and the blood-curdling cover of L7's 'Fuel My Fire,' which features vocals by Republica's Saffron. All those guest vocalists mean something - Howlett is at his best when he's writing for himself or others, not his group's own vocalists. 'Firestarter' and all of its rewrites capture the fire of the Prodigy at their peak, and the remaining songs have imagination that give the album weight. The Fat of the Land doesn't have quite enough depth or variety to qualify as a flat-out masterpiece, but what it does have to offer is damn good. Track List Prodigy - The Fat Of The Land (1997) 01.
Smack My Bitch Up 05:42 02. Breathe 05:34 03. Diesel Power 04:17 04. Funky Shit 05:16 05. Serial Thrilla 05:11 06. Mindfields 05:39 07. Narayan 09:05 08.
Firestarter 04:39 09. Climbatize 06:38 10. Fuel My Fire 04:18 ENJOY.
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