The Prodigy
Always Outnumbered, Never Outgunned
2004 Maverick


I think I'm in big trouble.  See, I requested a promo copy of the new Prodigy CD from Maverick Records to review right here at CREEM. I received it at the office, and immediately wanted to hear it. I was actually excited to see what beatmeister Liam Howlett had been up to since his 1997 international smash The Fat of the Land, which of course yielded the big video hit "Firestarter" (recently covered by Gene Simmons, for those keeping track).  I immediately tossed the CD into my awful PC office electric paperweight and threw the accompanying biographical hype into my briefcase for later perusal.  Of course, being a modern CD by a big label, one has to "trick" the computer into playing it with a number of maneuvers that I'm seemingly getting pretty good at.  (The recent Beastie Boys CD requires a bachelor's in engineering to play).

Now, I work at a nightclub where the hipster quotient is pretty up there, I mean, everyone's got an opinion on everything audio, like, even your tone of voice.  Prodigy elicited immediate response: "Cool beat," "Who's this again??" and "Sounds dated!"  I gave it a coupla listens then took it home for the official write-up.  I gave the paperwork the once-over and that's when I realized doomsday is around the corner for your humble scribe.  A personal letter to me from Maverick's Marketing Manager informs me that my CD is watermarked.  No matter whose hands it falls into, that watermark betrays me as the original owner.  What I didn't realize when I first unzipped the protective wallet packaging of this CD is that, "by accepting (it), I (apparently) agree to not make copies of the CD, to not play it in my computer (oops)…and to not lend the CD to anyone, and that I alone will listen to it (double 'n' triple oops)."  Wow.  While this certainly re-emphasized the weighty responsibility I accept as part of being a music critic, it also reveals the loneliness of the craft in 2004.  As my friends are out drinking and listening to live music, I'm at home with my headphones, dutifully listening to Liam and his special guests.  "Accordingly, you will not play this CD for anyone."

I'm sure our friends at Maverick don't mind if I tell you what a great record it is and recommend that you buy it. I feel kind of weird verbally describing something I'm banned from playing for anyone.  Oh well, if you liked Fat of the Land and have been waiting for a proper follow-up, you'll mostly likely enjoy this.  You'll recall that album was supposed to be the re-invention of punk and hard rock via the computer and big beat, and for a coupla months that seemed real enough.  The revolution failed to materialize, though, and everyone yawned and went back to the same old indie rock conventions and pop star vanities.  Hence, Liam's lack of forward motion in seven years time seems all the more daunting.  To the disc's credit, the guest vocalists by and large bring quality performances to the table.  Guests like actress Juliette Lewis (whose track "Hot Ride" is the album's highlight, proving – along with her current Metal Edge cover -- that she is indeed the real deal), Liam Gallagher, Princess Superstar, and of course, Kool Keith.  The beats still sound huge, the first track has a synth patch the replicates the sound of stepping on a cat's tale, and elsewhere things get pretty darn Egyptian. My friend is right, it does sound dated, but so does Big Elf, Rooney, 50 Cent, and most everything else out there, so if you're still embracing break beat this is about as loud as it gets.  But don't just take my word for it, I'm sure there are plenty of downloads out there to sample.  Now, I gotta hightail it before my critical criminal acts catch up with me.