1 	Asteroids 	3:09
2 	Piggy 	3:09
3 	Laughs 	3:30
4 	Aim 4 	2:58
5 	Kamikaze 	4:26
6 	Prescription 	3:33
7 	Ju Ju 	3:32
8 	Femme Fatale 	3:11
9 	Vacation 	3:28
10 	Razor 	8:06
11	Hell Yeah	3:16
12	Inflow	3:33
13	Mobscene (Overnight Mix) (Remix) 3:52
14	No Pain No Gain		3:32

Keith Flint - vocals
Jim Davies - guitar
Kieron Pepper - bass, percussion
Tony Howlett - drums

Keith Flint was the third member of Prodigy to spread his wings to do a solo project, after MC, Maxim and their dancer, Leeroy Thornhill (who left the group). His first own solo project called Flint wasn't big succes. The band had four members; Keith on vocals, Jim Davies (Prodigy live guitar, ex-Pitchshifter) on guitar, Kieron Pepper (Prodigy live drummer, ex-RealTV, ex-Happy Gilmore) and Tony Howlett (co-wrote BGAT, but not related to Liam Howlett) (both) on drums. Kieron's role in Flint band was to be the bassist on recordings, but on live he sat down behind drums and left the bass to Rob Holliday.

They managed to do several gigs and their first live gig was held at Scala, London 11 June 2003. The first limited single was called 'Asteroids' released in May 2003 (as one sided pink vinyl 10" limited to 2000 copies). The first official single was 'Aim 4', released on 14th July 2003. The video for the single was directed by Jonas Åkerlund who also directed 'Smack My Bitch Up', among others. After that the band was supposed to release their debut album 'Device #1' produced by Youth 28th July 2003. Because 'Aim 4' single sales were terribly low record label and band decided to broke their contract, cancel last 3 gigs and the whole album was aborted and later the band decided to split up.

After quiting the label band members started working new versions of all tracks and planed to re-produce album and release it with new label. New version of Asteroids was played on Radio One, and new version of No Name No Number produced by Serio Galoyan (T.a.t.u.) can also be found from the net. U.N.C.L.E. also remixed Aim #4 and Leeroy also remixed two tracks.

Anyway the new album was never released and all band members later formed their new bands. Jim and Kieron with both Hyper and Victory Pill, Keith had a solo project called Clever Brains Fryin.

Flint has also remixed Marilyn Manson's single 'mOBSCENE'. Keith even came up with his own vocals for the remix. The following text was found from the official Marilyn Manson pages: "Pay attention! In London, we vandalized a Versace billboard with two gigantic Marilyn Mice and had an amazing crowd sing along to the three piano numbers. Keith Flint (The Prodigy) presented me with his new band’s remix of mOBSCENE on which he sings. We discussed illegal behavior, participated in illegal behavior and became the best of friends over a bottle of Absinthe. ---theprodigy.info

Keith Flint (Keith Charles Flint) was an English singer, musician and dancer. He was best known for been the vocalist and dancer for the electronic music band The Prodigy and singing on the group’s two 1996 UK number one singles – “Firestarter” and “Breathe”. Flint was also the lead singer of his own band Flint.

At the time of his death on March 4, 2019, Flint was 49 years old. He was born September 17, 1969 in Redbridge, London, and initially raised in East London; in the mid-1970s his parents moved out to Springfield, Essex.

Flint was the vocalist and dancer for the electronic music band The Prodigy an English electronic music band from Braintree, Essex, formed in 1990 by Liam Howlett.

The band, along with the Chemical Brothers, Fatboy Slim, and other acts, has been credited as pioneers of the breakbeat-influenced genre big beat, which achieved mainstream popularity in the 1990s.

The prodigy has won numerous music awards and sold an estimated 30 million records worldwide during their career. Some of the awards include; three MTV Video Music Awards, two Brit Awards for Best British Dance Act, two Kerrang! Awards, five MTV Europe Music Awards, and two Grammy Award nominations. ---informationcradle.com

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01.Invaders Must Die 
02.Omen 
03.Thunder 
04.Colours 
05.Take Me To The Hospital 
06.Warrior's Dance 
07.Run With The Wolves 
08.Omen Reprise 
09.World's On Fire 
10.Piranha 
11.Stand Up

Brother Culture 	Vocals
Keith Flint 	 Vocals 
Dave Grohl 	Drums 
Liam Howlett 	Keyboards
Tim Hutton 	Guitar, Guitars, Horn 
Maxim 	Vocals 

Twenty years after England's Summer of Love, rave had made a comeback -- at least in indie circles -- and Liam Howlett's Prodigy, the only original rave group still going (anyone remember Altern-8?), could hardly have done worse than jump aboard. But Invaders Must Die is a curious nu-rave record, as though the sound of 1991 (such as their Top Ten hit "Charly") has been filtered through the sound of 1996 (such as their number one, "Firestarter") to emerge as nothing more than a hodgepodge of uptempo dance music with extroverted beats and grimy basslines. If that sounds basically like your average electronica record circa the turn of the millennium (albeit produced by one of its greatest heroes), then you're a long way towards understanding what this nu-rave record from the Prodigy sounds like. Add a few period-appropriate cues -- unfiltered synth or keyboard runs, ring-the-alarm effects, samples of divas or ragga chatters (sped-up and slowed-down, respectively) -- and you get a strange album indeed. The single "Omen" is a good example, although it has few qualities to recommend it beyond its basic energy; tellingly, it's a rare co-production, with James Rushent from Does It Offend You, Yeah?. The other two tracks with the most rave signals are "Take Me to the Hospital" and "Warrior's Dance," which both sound like follow-ups to "Charly" or "Out of Space" filtered through the darkside strains of latter-day hardcore techno (aka 4Hero's "Mr. Kirk's Nightmare"). And as usual with the Prodigy -- going back to Music for the Jilted Generation -- there's plenty of polemics and struggle, most of it delivered in shouted, sloganeering fashion by Keith Flint and Maxim (who are both back in the fold after being absent from the previous Prodigy record, Always Outnumbered, Never Outgunned). Howlett is no slouch in the production chair, and the sounds are mostly blinding, but the songs are strictly by-the-books. ---John Bush, AllMusic Review

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1 	Intro 	0:46
2 	Break & Enter 	8:24
3 	Their Law    (Featuring - Pop Will Eat Itself)	6:41
4 	Full Throttle 	5:03
5 	Voodoo People	6:27
6 	Speedway (Theme From Fastlane) 	8:56
7 	The Heat (The Energy) 	4:28
8 	Poison	6:42
9 	No Good (Start The Dance) 	6:18
10 	One Love (Edit) 	3:53
	The Narcotic Suite 	
11 	3 Kilos 	7:26
12 	Skylined 	5:58
13 	Claustrophobic Sting 	7:12

Liam Howlett - keyboards
Simone - vocals
Maxim Reality - vocals
+
Phil Bent - Flute [Live] 
Lance Riddler - Guitar [Live] (tracks: 5) 

The Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent. Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut, Experience, up the charts in Britain, but yokes it to a cause other than massive drug intake. Compared to their previous work, the sound is grubbier and less reliant on samples; the effect moved the Prodigy away from the American-influenced rave and acid house of the past and toward a uniquely British vision of breakbeat techno that was increasingly allied to the limey invention of drum'n'bass. As on Experience, there are so many great songs here that first-time listeners would be forgiven for thinking of a greatest-hits compilation instead of a proper studio album. After a short intro, the shattering of panes of glass on "Break & Enter" catapults the album ahead with a propulsive flair. Each of the four singles -- "Voodoo People," "Poison," "No Good (Start the Dance)," and "One Love" -- are excellent, though album tracks like "Speedway" and "Their Law" (with help from Pop Will Eat Itself) don't slip up either. If Experience seemed like an excellent fluke, Music for the Jilted Generation is the album that announced the Prodigy were on the charts to stay. ---John Bush, AllMusic Review

It was their chart-topping 1996 single, “Firestarter”, that first took up lighter and aerosol and burnt the name of The Prodigy – and the piercing-covered gurn of Keith Flint – onto the national consciousness. But if you want to mark the point this gang of Essex ravers first learnt to unite the chemical rush of acid house and the anti-authority attitude that had hitherto been the preserve of black-clad anarcho-punks like Crass and their ilk, not loved-up glowstick twirlers, look back a couple of years to their 1994 album Music For The Jilted Generation.

Recorded against the backdrop of the Criminal Justice Act, the ’94 legislation that effectively criminalised outdoor raving – ‘How can the government stop young people from having a good time?’, reads a note on the inner sleeve –Music… simmers with righteous, adrenalised anger, rave pianos and pounding hardcore breakbeats augmented by gnarly punk guitar, wailing sirens and on “Break And Enter”, the sound of shattering glass. At no point is this merely a band coasting on edgy vibes and bad attitude, though; rather, this is a record that saw Prodigy mainman Liam Howlett maturing as a producer, increasing his palette of sounds and instruments without diluting The Prodigy’s insolent rush, and simultaneously smash ’n’ grabbing from a diverse range of influences that would be neatly integrated into the band’s design.

On “Their Law”, a guesting Pop Will Eat Itself supply a vitriolic vocal aimed at the powers that be. The knuckle-scraping guitar riff from Nirvana’s “Very Ape” forms the scuzzy chassis to the flute-augmented ‘Voodoo People’. And “No Good (Start The Dance)”, with its Kelly Charles vocal hook, proves that despite The Prodigy’s punk snarl, their pop impulse remained intact.

Best track here, though, is the immortal call-and-response track “Poison”, marking MC Maxim Reality’s on the microphone. And in a surprising nod to the emerging phenomenon of the chill-out room, Howlett divides the album’s final three tracks off into “The Narcotic Suite”, a spacey, synthesiser-powered closing stretch that closes the album like a valium comedown. Anyone who called The Prodigy a one-trick pony clearly never heard this. ---Louis Pattison, BBC Review

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Track listing:
   1. Section 1 – 7:18
         1. Intro Beats - taken from Run-D.M.C.'s "Here We Go (Live at the Funhouse)".
         2. Rasmus, "Punk Shock" (1998) - is mislabeled as "Tonto's Release" in the CD booklet.
         3. Hardnoise, "Untitled" (1991)
         4. The Chemical Brothers, "Chemical Beats" (1995)
         5. Ultramagnetic MCs, "Kool Keith Housing Things" (1988)
         6. Lightnin' Rod featuring Jalal, "Sport" (1988)
         7. Ultramagnetic MCs, "Give the Drummer Some" (1988)
         8. Time Zone, "Wildstyle" (1983)
   2. Section 2 – 6:44
         1. Bomb the Bass, "Bug Powder Dust" (1994)
         2. Trouble Funk, "Pump Me Up" (1984) - is mislabeled as being by Grandmaster Flash 
            & The Furious Five.
         3. The Charlatans, "How High" (1997)
         4. The Prodigy, "Poison" (1995)
         5. Jane's Addiction, "Been Caught Stealing" (1990)
         6. Tim Dog featuring KRS-One, "I Get Wrecked" (1993)
   3. Section 3 – 6:03
         1. Babe Ruth, "The Mexican" (1972)
         2. The B-Boys, "Rock the House" (1983)
         3. The Chemical Brothers, "(The Best Part of) Breaking Up" (1996)
         4. Word of Mouth, "King Kut" (1985)
   4. Section 4 – 7:52                                                    
         1. DJ Mink, "Hey Hey Can You Relate" (Instrumental) (1990)
         2. The KLF, "What Time Is Love" (1988)
         3. Bones Breaks, "Funky Acid Makossa" (1988)
         4. Bones Breaks, "Shafted Off" (1988)
         5. Bones Breaks, "And the Break Goes Again" (1988)
         6. Meat Beat Manifesto, "Radio Babylon" (1990)
         7. Herbie Hancock, "Rockit" (1983)
         8. The 45 King, "900 Number" (1992)
         9. Propellerheads, "Spybreak!" (1997)
        10. Beastie Boys, "It's the New Style" (1986)
   5. Section 5 – 4:57                                                     play
         1. Sex Pistols, "New York" (1977)
         2. Fatboy Slim, "Punk to Funk" (1996)
         3. Medicine, "I'm Sick" (1997)
   6. Section 6 – 5:48
         1. D.S.T., "The Home of Hip Hop" (1985)
         2. JVC Force, "Strong Island" (1984)
         3. Primal Scream, "Kowalski" (1997)
         4. Beastie Boys, "Time to Get Ill" (1986)
         5. Barry White, "I'm Gonna Love You a Little More Babe" (1973)
         6. Public Enemy, "Public Enemy No. 1" (1987)
         7. The JB's, "Blow Your Head" (1974)
         8. T La Rock, "Breakin' Bells" (1993)
   7. Section 7 – 3:59                                                      play
         1. LL Cool J, "Get Down" (1987)
         2. Digital Underground, "The Humpty Dance" (1989)
         3. Uptown, "Dope on Plastic" (1989)
         4. Coldcut, "Beats and Pieces" (1987)
   8. Section 8 – 8:40
         1. London Funk Allstars, "Sure Shot" (1995)
         2. West Street Mob, "Break Dancin' (Electric Boogie)" (1983)
         3. Hijack, "Doomsday of Rap" (1988)
         4. Renegade Soundwave, "Ozone Breakdown" (1988)
         5. The Beginning of the End, "Funky Nassau" (1971)
         6. The Jimmy Castor Bunch, "It's Just Begun" (1972)

In 1998, and still reveling in the global success of The Fat Of The Land Liam Howlett called into The Breezeblock, a popular BBC Radio 1 show hosted by Mary Anne Hobbs. During his time there Liam performed a DJ set which sure him chopping and mixing several different artists and genres into an eclectic retro sounding performance. The set received immediate critical acclaim from the show’s devoted listeners, and several fans set about releasing bootlegs of the show. In a bid to suppress the pirated copies from reaching a high level of distribution amongst the public, Liam decided to replicate the set in his studio. Sadly, not of all his samples were allowed to be used, as releasing a cd is obviously for profit as opposed to incorporating them into what was, originally, a one off set. Released in 1999, and while omitting several of the aforementioned samples (namely The Beatles’ Sgt. Peppers Lonely Hearts Club Band) ended up becoming almost double in length. This is one of the most genre crossing, awe inspiring, ensembles of music I have ever come across; this is The Dirtchamber Sessions, Vol. 1.

This is an album that has one of the shortest attention spans I’ve ever heard (it cuts through about 30 different tracks in just under an hour), but that’s not the strangest thing about this mix; it’s the massive amount of variety of music contained in it that makes it stand out the most. In the process of putting together a collection of some of his most favorite tracks Liam has managed to go completely across the board in terms of varying sounds. To give you an idea of just how varied this album is; it’s broken into eight sections, or tracks, with each spanning 5-8 minutes in length, and hidden in these segments are such varied genres as Hip Hop, Funk, Electro, Punk, Tech, and even some Rap to boot. In the first section alone, he plows through choice cuts from The Chemical Brothers (their genre defining classic ‘Chemical Beats’ to be precise), Rasmus, Time Zone and the Ultramagnetic MC’s (cutting in their breakthrough hit ‘Give The Drummer Some’, which of course was earlier sampled by Liam for ‘Smack My Bitch Up’). Things then take a turn into Rock territory for the second installment as The Charlatans (their entry into the fold is one of the more delightful additions to the album), and Jane’s Addiction all vie for a chance in the spotlight, with Grandmaster Flash even peeking in from the sidelines.

Sound interesting so far" Just wait until the beckoning sounds of Flamenco guitars hit you as Babe Ruth’s ‘The Mexican’ bursts onto the scene. Howlett then effortlessly mixes in The B-Boys, before pushing The Chem’s jaw dropping scratch showcase ‘(The Best Part Of) Breaking Up’ into the fray. Without giving you a chance to play genre catch up he quickly moves into the next segment and pulls ‘Hey Hey Can You Relate’ by DJ Mink out of the box and takes it for a walk across your speakers. Howlett never seems to lose either focus or pace on this or any of the joints put forth here, but what does seem to come across in his performance however is an almost sense of urgency, as if Liam quickly realizes there’s another song that needs to be heard or another beat to throw into the pot. From here on in and all the way until the last note is wrung dry it becomes a who’s who of the music community as Liam cuts and splices such artists as The Beastie Boys, Propellerheads, KLF, Public Enemy, himself (‘Smack My Bitch Up’ is briefly lifted up into the mix), Meat Beat manifesto, LL Cool J, Primal Scream, and yet still finds room to include almost an entire Sex Pistols track. To say this album is busy would be somewhat of an understatement.

This is one strange mix compilation, and while it is essentially a release by The Prodigy, it isn’t an album to fuel the dance floor. This is an album that requires a nice quiet place, a good pair of headphones, an open mind and a sense of adventure. It’s a musical journey, and also one of the greatest ways for a DJ to pay respect to all of his influences and peers. While it would be a hard task to find an individual who loves and appreciates every song on offer here, there genuinely is something for everyone to enjoy here. This is without a doubt one of the greatest mix tapes I have ever had the privilege of hearing. ---Deviant, sputnikmusic.com

Po ukazaniu się "Fat of The Land" poszczególni członkowie formacji zajmują się projektami solowymi. Maxim Reality, "eMCe" zespołu wydaje solową płytę "Hell's Kitchen", której bliżej do elektronicznych eksperymentów z rytmiką, stylistyce trip hopu, hip hopu i delikatnym wprowadzaniu elementów rocka, niż do próby odświeżenia punkowej energii poprzez użycie współczesnych metod nagrywania i samplingu, co miało miejsce na ostatnej płycie THE PRODIGY. Najbardziej charakterystyczny z zespołu Keith Flint realizuje się w projekcie o zabarwieniu hardcore'owym Flint. Kolejne dzieło, które powstało pod szyldem THE PRODIGY ukazuje się w 1999 roku i nosi tytuł "The Dirtchamber Sessions Volume One", prezentujący przegląd stylistyczny muzycznych fascynacji jego lidera, albowiem Liam Howlett zajmuje się karierą DJ'a i przez pewien okres czasu grywa w brytyjskich klubach. W okresie pewnej swoistej posuchy i stagnacji 'cudownego dziecka brytyjskiej electroniki' jedna z wyspiarskich stacji radiowych proponuje mu czas antenowy w swoim studio, na co się zgodza, choć nie bez oporów i tak oto rodzi się pomysł na sesję nagraniową "The Dirtchamber Sessions Volume One" , która jak na obecną chwilę nie doczekała się swojej kontynuacji... . Muzykę zawartą w jej ramach uznać można za pewną swoistą improwizację podzieloną na osiem sekcji złożonych z około pięćdziesięciu utworów, wśród których znajdziemy m. in. Chemical Brothers i Primal Scream, czyli niejako znajomych Howlett'a, z którymi ten spotykał się na imprezach w londyńskich klubach, Ultramagnetic MC's, czyli old schoolową, hip hopową formację, jeden z pierwszych zespołów jakie Howlett słuchał, Beastie Boys, których nikomu raczej nie trzeba przedstawiać, ale i rockowe Jane's Addiction i pionierów punk rocka Sex Pistols. Propozycje DJ'a Liam'a Howlett'a pochodzą z najróżniejszych półek muzycznych, jednak łączy on je w taki sposób, że stanowią jednorodną całość, nawet jeśli ścierają się ze sobą style wywodzące się z funk, punk-rocka i techno opartego na rytmie, pulsie basu, oraz atakujące gdzieś z tyłu, z dna tej muzycznej studni gitary i dźwięki prosto z komputera, czy też instrumenty dęte wprowadzanych gdzieś w tle latynoskich brzmień. ---wrestlefans.pl

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1 	Smack My Bitch Up 	5:42
2 	Breathe 	5:35
3 	Diesel Power 	4:17
4 	Funky Shit 	5:16
5 	Serial Thrilla 	5:11
6 	Mindfields 	5:40
7 	Narayan 	9:05
8 	Firestarter 	4:40
9 	Climbatize 	6:36
10 	Fuel My Fire 	4:18
+ Japan bonus tracks
11. No Man Army		4:44
12. Molotov Bitch	4:51

Shahin Bada - Vocals
Jim Davies - Guitar
Keith Flint - Vocals
Liam Howlett - Art Direction, Mixing, Producer
Kool Keith -  Vocals
Maxim - Vocals
Crispian Mills - Vocals
Saffron - Vocals 

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 worldwide audience (Of course, 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. Granted, 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. ---Stephen Thomas Erlewine, AllMusic Review

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1 	Need Some1 	2:43
2 	Light Up The Sky 	3:20
3 	We Live Forever 	3:43
4 	No Tourists 	4:18
5 	Fight Fire With Fire	3:29
6 	Timebomb Zone 	3:24
7 	Champions Of London 	4:49
8 	Boom Boom Tap 	4:05
9 	Resonate 	3:50
10 	Give Me A Signal 	4:01

Brother Culture - Vocals 
Olly Burden - Guitar
Barns Courtney - Vocals 
Leo Crabtree - Drums 
Keef Flint - Vocals
Ho99o9 - Vocals 
Maxim - Vocals
Andy Milonakis - Vocal Samples 

The Essex ravers’ brilliant seventh album takes various touchstones from their 28-year career and gleefully beats you over the head with them. It is – dare we say it? – touched with genius

There’s a telling detail buried in the album artwork of ‘No Tourists’, The Prodigy’s seething seventh album, which shows no signs of the Essex ravers mellowing out. It’s in the destination sign of a London bus that lurks in the shadows: “Four Aces, Dalston”. That was the tiny venue in which frenetic rapper Maxim, anarchic punk vocalist Keith Flint and brooding songwriter Liam Howlett played their first show back in 1990, for the princely sum of £100.

28 years later, and ‘No Tourists’ – somewhat counter-intuitively – finds them sounding more violent and fearsome than ever. The album’s not quite a return to Prodigy’s early days – there’s so much more menace here than borderline-novelty singles such as 1991’s ‘Charly’ ever possessed – but it does take touchstones from their previous records and beat you over head with them. This is the kind of record you can only make nearly three decades at the frontline of dance music.

The deranged, head-spinning synth of ‘We Live Forever’ comes laced with a scything vocal sample that recalls the one that dipped and dived throughout 1992’s bashment-influenced ‘Out Of Space’, while the garrotting guitar line that punctuates ‘Light Up The Sky’ nods to 1997 rap-rock banger ‘Breathe’, taken from classic crossover album ‘The Fat Of The Land’. This is not nostalgia; it’s The Prodigy utilising every weapon in their arsenal to commit their sonic assault.

As Flint alluded to in their recent NME interview, Prodigy’s music is mainly about massive beats and shouted, minimalist vocals – it’s pretty simple, really – but here that simplicity is (dare we say it?) touched with genius. Howlett, the group’s songwriter, is an indisputable master of his craft and demonstrates stunning prowess across these 10 tracks. It’s the smartest dumb record you’ll hear this year. The layers of vocals, howling synths and clattering beats on ‘We Live Forever’, the marching build-up and the pitiless drop – this is the stuff of crazed nightmares. --- Jordan Bassett, nme.com

Siódmy studyjny album weteranów sceny tanecznej, pionierów big beatu i popularyzatorów rave'u, którzy wraz z Chemical Brothers i Fatboy Slimem dominowali na listach w pierwszej połowie lat 90. Do tej pory kapela sprzedała na świecie ponad 20 mln płyt i singli.

"No Tourists" wyprodukował oczywiście mózg zespołu, Liam Howlett, a całość nagrano w należącym do niego londyńskim studiu. Album promowało dynamiczne nagranie "Need Some1", do którego powstał znakomity teledysk.

Jak podkreśla Liam, duży wkład w powstanie 10 premierowych kompozycji mieli też pozostali członkowie The Prodigy, Maxim i Keef Flint. Utwory pisano głównie z myślą o tym, aby doskonale brzmiały na koncertach. ---empik.com

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All songs written by Liam Howlett.

 1. "Jericho" – 3:42                                      play
 2. "Music Reach (1/2/3/4)" – 4:12
 3. "Wind It Up" – 4:33
 4. "Your Love (Remix)" – 5:30
 5. "Hyperspeed (G-Force Part 2)" – 5:16
 6. "Charly (Trip into Drum and Bass Version)" – 5:12
 7. "Out of Space" – 4:57
 8. "Everybody in the Place (155 and Rising)" – 4:10
 9. "Weather Experience" – 8:06
10. "Fire (Sunrise Version)" – 4:57
11. "Ruff in the Jungle Bizness" – 5:10
12. "Death of the Prodigy Dancers (Live)" – 3:43          play

Personnel
* Liam Howlett - keyboards, producer, engineer
* Alex Garland - artwork
* Simone - vocals
* Maxim Reality - vocals

One of the few noncompilation rave albums of any worth, Experience balances a supply of top-this siren whistles and chipmunk divas with Liam Howlett's surprising flair for constructing track after track of intense breakbeat techno. Almost every song sounds like a potential chart-topper (circa 1992, of course) while the true singles "Your Love," "Charly," "Music Reach," and "Out of Space" add that extra bit of energy to the fray. More than just a relic of the rave experience, Experience shows the Prodigy near the peak of their game from the get-go. ---John Bush, AllMusic Review

The Prodigy are one of the most popular electronic music acts in the world today, and though the peak of popularity was in 1997 with the release of The Fat Of The Land Liam Howlett and co's project still enjoys a massive cult fanbase that will follow them to the bitter end. Indeed, many claim their post-FOTL material such as Always Outnumbered, Never Outgunned and Invaders Must Die are completely disposable and have already signalled this, but it doesn't matter to those who still have fond memories of discovering The Prodigy's work for the first time. The groups debut release Experience brings us back to the dim, dead days of 1992 or perhaps that is not an good description. How about the explosive, energetic days of 1992" That's much more appropriate.

Many who are only vaguely familiar with The Prodigy regard The Fat of The Land as the only album worth bothering with, and the abrasive industrial-electro cum hard trance whatever the hell they were skirting with at the time as the signature sound of the group. The truth of the matter is the group had been releasing hardcore electronic releases since the late 80's, several EP's such as What Evil Lurks and Charly gained popularity and became firmly entrenched in the drug fueled British rave scene at the time. Experience would appear to be a culmination of those days, and is a frenetic, energetic mind*** that does not let go.

This album would come to define the hardcore electronic music style which other acts such as SL2 and Acen were making at the time. Fast, upbeat, driven by repetitive old school synths and breakbeats, the energy of this era of rave music is almost unparalelled. Tracks such as Music Reach [1/2/3/4], Wind It Up, Your Love, Everybody In The Place, Fire and Ruff In The Jungle sound incredibly fresh with their focus on piano rhythms and intricate electronic arrangements despite the archaic production, but even so something about the old school digital gloss to it all has a quality I can only describe as the audio equivalent of pixel art. The string samples weaving around all this blockiness give the music a heavenly, ethereal quality and the albums most popular track Out Of Space is the best example of this (I'll take your brain to another dimension!). With its focus on sparse basslines and percussion, Charly [Trip Into Drum And Bass Version] is unique as far as the album goes, but it is Weather Experience which is the real standout. It is a lengthy ambient track that takes it's time building up from the beginning with strings, hammer noises, and samples of British weathermen which ultimately explodes into a similar tone as the rest of the album. Despite being a little bit different, it's all gravy. Every track sits nicely alongside each other.

Experience is definitive of the first era of The Prodigy, that is The Prodigy of the early 90's hardcore electronica scene. It is a frenetic, upbeat affair which is nothing like what they would sound like on Fat Of The Land, nor should it be. Being on drugs back in 1992 hearing this for the first time, now that would be an experience. Not of the pharmaceutical kind. –--Meatplow, sputnikmusic.com

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1-01 	Firestarter 	4:43
1-02 	Their Law 	5:36		play
1-03 	Breathe 	5:36		play
1-04 	Out Of Space 	5:02
1-05 	Smack My Bitch Up 	5:43
1-06 	Poison 	4:01
1-07 	Girls 	4:13
1-08 	Voodoo People 	3:40
1-09 	Charly 	5:23
1-10 	No Good (Start The Dance) 	6:20
1-11 	Spitfire 	3:27
1-12 	Jericho 	3:47
1-13 	Everybody In The Place 	5:10
1-14 	One Love 	5:25
1-15 	Hotride 	4:33
2-01 	Razor 	4:00
2-02 	Back 2 Skool 	5:02
2-03 	Voodoo People (Pendulum Remix) 	5:08
2-04 	Under My Wheels (Remix) 	3:15
2-05 	No Man Army 	4:10
2-06 	Molotov Bitch 	4:54
2-07 	Voodoo Beats 	3:54
2-08 	Out Of Space (Audio Bullys Remix) 	4:57
2-09 	The Way It Is (Live Remix) 	4:17
2-10 	We Are The Ruffest 	5:19
2-11 	Your Love 	6:03
2-12 	Spitfire (Live) 	4:12
2-13 	Their Law (Live) 	5:32
2-14 	Breathe (Live) 	6:40
2-15 	Serial Thrilla (Live) 	5:15
2-16 	Firestarter (Live) 	5:21

Their Law: The Singles 1990-2005 — album grupy The Prodigy zawierający największe przeboje zespołu, nagrane w latach 1990-2005.

The Prodigy – brytyjski zespół tworzący muzykę elektroniczną. Ich muzyka składa się z rozmaitych stylów, począwszy od rave we wczesnych latach 90., po dance, big beat i industrial z elementami punkowego wokalu w późniejszych latach. Obecnie zespół tworzą: Liam Howlett (kompozytor), Keith Flint (tancerz/frontman/wokalista) oraz Maxim Reality (wokalista/frontman). W latach 1990 – 2000 do zespołu należał tancerz Leeroy Thornhill, a we wczesnych latach istnienia The Prodigy występowała także wokalistka i tancerka Sharky. The Prodigy początkowo zaistnieli na undergroundowej scenie rave, na początku lat 90., ale już wkrótce osiągnęli światową sławę. Jedne z ich najbardziej znanych utworów to: "Out of Space", "Smack My Bitch Up", "No Good (Start the Dance)", "Breathe", "Firestarter", "Poison", "Spitfire", "Voodoo People", "Omen" oraz "Warrior Dance". W księdze Guinness 2000 Prodigy zostało wpisane przy dwóch rekordach (m.in. w kategorii najszybciej sprzedana ilość płyt).

Their Law: The Singles 1990–2005 is a singles collection from the UK band The Prodigy. It was released on 17 October 2005, and entered the UK album chart at #1 on 23 October.

The Prodigy are an English electronic dance music group formed by Liam Howlett in 1990 in Braintree, Essex. Along with Fatboy Slim, The Chemical Brothers and The Crystal Method, as well as other acts, members of the Prodigy have been credited as pioneers of the big beat genre which achieved mainstream popularity in the 1990s and 2000s. They have sold over 25 million records worldwide. The group's brand of big beat music makes use of various styles ranging from rave, hardcore techno, industrial and breakbeat in the early 1990s to electronic rock with punk vocal elements in later times. The current members include Liam Howlett (composer/keyboards), Keith Flint (dancer/vocalist) and Maxim (MC/vocalist). Leeroy Thornhill (dancer/very occasional live keyboards) was a member of the band from 1990 to 2000, as was a female dancer/vocalist called Sharky who left the group during their early period. The Prodigy first emerged on the underground rave scene in the early 1990s, and have since then achieved immense popularity and worldwide renown. Some of their most popular songs include "Charly", "Out of Space", "No Good (Start the Dance)", "Voodoo People", "Poison", "Firestarter", "Breathe", "Smack My Bitch Up", "Omen", "Spitfire", "Invaders Must Die" and "Warrior's Dance." The name displayed on album covers changed from "The Prodigy" to "Prodigy" between Music for the Jilted Generation and The Fat of the Land in 1997 and back again with the release of Always Outnumbered, Never Outgunned in 2004. However, Howlett has stated that the title has always been "The Prodigy." The change was made only to fit within the displayed logo, according to Howlett

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