lambchops's Full Review: Fat of the Land [PA] by The Prodigy
Everybody has their guilty pleasures—and some are definitely guiltier than others. Atop my short list rests big beat/electronica band The Prodigy with 1997’s The Fat of the Land. It’s without question the British group’s best known album. I’m not afraid to admit the fact that I love it, either.
Following the release of 1995’s Music For The Jilted Generation, The Prodigy released four singles and scored modest hits with Voodoo People and Poison. But it really did take until their next album, aforementioned The Fat of the Land, for them to make a major breakthrough. And by way of both popular songs and controversy, The Prodigy went to the #1 position on Billboard. Not just that, they also scored three hits--Breathe, Firestarter and Smack My Bitch Up.
The Prodigy went where few electronica/house/dance/big beat outfits have ever been. They went into the uncharted territory of major radio, MTV, and for that matter sales and critical success. Somehow their bass-thumping, rump-bumping songs hit a chord in listeners…and they have since bought over two million copies of the album in America alone. The Prodigy’s success was at least in part due to the fact that music in the mid and late 1990’s was in turmoil. It had little direction and what was generally popular lacked conviction and for that matter entertainment value. Without question The Fat of the Land was rousing and entertaining—and for that matter the perfect addition to DJ booth everywhere.
And yes. In college I was willing to dance, on occasion, to The Prodigy (not to mention White Zombie and nine inch nails).
While the most visible member of The Prodigy is certainly Keith Flint with his pierced, spiked look and his in-your-face attitude that was atypical of the usual electronica frontman. But it really was never Flint that was at the helm. Rather, without the production magic provided by Liam Howlett The Prodigy wouldn’t have ever existed. It was his tweaking of the usual rave/techno whistle and wailing to include metal guitars and hooky riffs. This change to the largely underground movement brought The Prodigy and techno to the masses. Also providing vocals was Maxim. The Prodigy is in essence Howlett’s creation—with a little help from some friends which in the case of The Fat of the Land also includes Saffron (Republica), Kool Keith, Jim Davies (Pitchshifter) and others.
The Fat of the Land is an impressive album, but not because it is perfect. As far as entertainment value and production levels go it delivers (and then some). This is the kind of album that is perfect after a long, hectic summer day at work. Just pop it in the CD player and rage. There’s nothing better that letting some aggression out. The fun all starts with the most “controversial” song of the album. Certainly, if the name Smack My Bitch Up isn’t shocking enough, the video was. But I never particularly cared, and when it comes to jumping around a crowded floor like a freakin’ idiot, there’s no better place to start than here. It’s a thumping, rousing, beat-heavy song with what could have been a repetitive melody. But in Howlett’s hands the song is crazed and frenetic. And I like it.
The Prodigy’s strength lies in the fact that Howlett manages to use similar equations for the songs. Everything on The Fat of the Land seems comfortable, but not once is it allowed for listeners to become too at home. As the album continues, this becomes more and more clear. And no matter if people like the songs or not—they’d never make it past Smack My Bitch Up if they weren’t meant to enjoy The Prodigy therefore only the intended listeners will even both to dig the nine tracks that follow. Breathe is next in line. While it wasn’t the first song I ever heard from The Prodigy, it was the first from this particular disc I can recall. Beginning with a grinding synth guitar, the song soon breaks into fantastic drum beats that continue throughout the remaining beats. It is an exciting, titillating song. The kind of think you just have to groove to—especially considering Flint’s guttural, spitting punk voice.
Diesel Power was never a single, but should have been. The song is exceedingly creative combining rap and rock and techno. And believe it or not in the end it is also incredibly entertaining. The mid-tempo droning beats aren’t typical of The Prodigy, and I think this is what makes the song something to behold. Kool Keith’s rapping works perfectly with Howlett’s production. But as much as I like Diesel Power I have to also admit to myself that as far as non-single tracks go Funky Shit manages to thump its way into my heart. It is also probably the closest thing to techno here. There is chanting and thumping and synthesize whoops but hey—it’s got about a zillion layers of production and contains some brutal beats.
Serial Thrilla is in essence a hard rock track with a great deal of electronica tossed in for good measure. I don’t dislike the track; rather I just think there are a lot more driving offerings. Mindfields is a gripping, compelling song. But once again it is overshadowed by the few excellent songs. Narayan is an unexpected, techno gem populated by a melodic keyboard and a heavy beat. When Kula Shaker’s Crispian Mills begins singing the song takes on an entirely other leaning. And I like it…quite a lot, but it isn’t quite as hard or gripping as some others.
Of course, the most popular single here is Firestarter. From the opening whirring production to the drum beats to Flint’s yelps the song is a classic. Back when it was particularly popular the mere opening beats would drive any dance floor or party into near frenzy. There is little more compelling on The Fat of the Land than Firestarter. Not to say the lyrics are profound, but they are catchy and rhythmic:
I'm a firestarter, twisted firestarter,
You're the firestarter, twisted firestarter.
Wrapping things up, The Prodigy includes two fine enough songs. The first is Climbatize, which isn’t difficult to listen to but not as impressive as most of the rest of the work here. The latter is a cover of Fuel My Fire by L7 pairing Flint and Saffron on vocals. Of course the original was loud and antagonistic, but as interpreted by The Prodigy it takes on an entirely other feel. I like the artificial noise and distortion, but am not particularly keen on Saffron’s voice placement and tone itself.
The Fat of the Land is a good, nearing on great, album. It is pretty good if you can ignore a few lackluster songs. I am nonetheless impressed by The Prodigy’s third and most widely known album.
Rating: 4/5 stars
Track Listing:
01. Smack My Bitch Up
02. Breathe
03. Diesel Power
04. Funky Shit
05. Serial Thrilla
06. Mindfields
07. Narayan
08. Firestarter
09. Climbatize
10. Fuel My Fire
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