The Prodigy Red Ant Circle iPhone 4 Case

G’day Fanboys, and Fangirls :)

Hope you all have some money left over in your wallet after buying some neat new clothing items the other day. The Online Prodigy Store has been updated with some nice Accessories.

The following items have been added:

• The Prodigy White Dripping Ant iPhone 4 Case - £22
• The Prodigy Red Ant Circle iPhone 4 Case - £22
• The Prodigy Red Ant Wristband - £4
• The Prodigy Red Ant Travel Card Holder - £5

I think they are a bit ‘late to the party’ with the iPhone 4 cases, iPhone 5 coming out soon.. plus they are a little too pricey for me. Picked up a few wristbands and card holders. The card holder is exactly what I wanted! What are you picking up?

Checkout the The Prodigys Online Store here.

The Prodigy - No Good (Start the Dance)

So NME put together another top list. This time, the 100 best tracks of the nineties.

Somewhat disappointed that only one Prodigy track made the list. Also, usually in these types of lists, Firestarter seems to always make it. However it was actually No Good (Start the Dance) which made #33. In my opinion, Smack My Bitch Up should have been #1 ;)

Anyhow, this is what they had to say for The Prodigys No Good (Start the Dance) at #33:

Legend has it that Liam Howlett ummed-and-ahhed over his decision to release ‘No Good (Start The Dance’), fretting over whether the sample – a hyper, sped-up version of Kelly Charles’ vocal from her 80s hit ‘You’re No Good For Me’ – was too much like pop-froth. Thank heavens he went through with it, then, and birthed one of The Prodigy’s finest singles with its scuzzy euphoria and thumping bass.

For the full list, click here.

The Prodigy Corps on Rolled Sleeve Ladies White T-Shirt

G’day Fanboys!

It’s that time again to open up your wallets, there are a few new cloths added to The Prodigys Online Store.

So, we got the following:

• The Prodigy TV Drippy Black Ant on White T-Shirt
• The Prodigy TV Drippy Ant Black Ant on Charcoal T-Shirt
• The Prodigy Orange Neon TV on Black T-shirt
• The Prodigy Pink Neon TV on Black T-shirt, or as I like to call it, Fanboy Pink ;)
• The Prodigy Classic Logo Embroidered Red Zip Hoodie
• The Prodigy Corps on Rolled Sleeve Ladies White T-Shirt
• The Prodigy Corps on Military Green T-Shirt
• The Prodigy Corps on Rolled Sleeve Ladies Black T-Shirt
• The Prodigy Tour White Logo on Black T-Shirt
• The Prodigy Tour White Logo on Forest Green T-shirt
• The Prodigy Hatchet on Cardinal Red T-Shirt
• The Prodigy Photocopy on White T-Shirt

So there you go guys, a few to choose from. I myself might pick up the Red Zip Hoodie. Looks pretty neat! What will you buy?

The Prodigy Experience

The Prodigy’s first LP, Experience, hit shelves on XL in the centre of the rave scene that spawned the label. It was a triumph, with singles such as Charly, Out Of Space and Everybody In The Place beginning to trouble the mainstream. But the group’s second effort was a more driven, aggressive beast.

Music For The Jilted Generation railed against the corporate mutation of the rave movement. It turned the scene on its head, and became both Howlett and XL’s first mega-hit.

“I try and work on instinct; a sort of collective instinct that XL has developed by being a close-knit team. We have a feel for the sort of things we should get involved in and the things we shouldn’t. The things other people think you should be doing are irrelevant. The rules, as much as people think there are rules, are nonsense.”

Back before the internet; before Google, social media strategies and TV talent judges with big red buttons, there was the rave scene. It was disruptive, energised and brimful of disdain for the worst of popular culture. And it taught Richard Russell a heck of a lot.

Rave’s rise in the late Eighties had roots in the pills‘n’thrills‘n’bellyaches of the acid-house era, enhanced by a brazen blend of American breaks and Jamaican dub, plus a big dumb whack of European electronica. These multifarious influences were an enticing draw for Russell, then a teenage north London hip-hop obsessive and prolific club DJ.

He loved the music, identified with its biggest fans and – by unleashing the freshest cuts each and every week on pirate radio and in front of saucer-eyed, hedonistic dancefloors – cultivated a refined nose for its smashes-in-waiting.

Alongside friends Nick Halkes and Tim Palmer, the owner of regular haunt Groove Records in Soho, Russell set up a niche label to capitalise on the trio’s closeness to the scene, and to concrete their position within it.

“We couldn’t really get it wrong,” recalls Russell in XL Recordings’ Ladbroke Grove London offices, 23 astonishingly successful years later. “The records we were putting out were sort of road-tested. There was very little planning. No one considered themselves as an ‘artist’ – we never used that word. Our tunes were simple, made quickly and were fucking great.”

Listen to XL’s efforts from that era now – including Russell’s own chart hit The Bouncer by Kicks Like A Mule – and you’re confronted by a reckless, repetitive aural assault; strikingly of its time yet liberatingly uncommercial. This is the sound of Russell’s unconventional A&R education; the bedrock of an uncompromising, tastemaking XL ideology that has helped launch the careers of artists as diverse as The White Stripes, The Prodigy, Adele, The xx, Radiohead, Dizzee Rascal, The Horrors, Basement Jaxx and MIA.

“Those rave records were the first phase of a kind of unconsidered DIY spirit [at XL],” explains Russell. “It’s one very similar I would imagine to where the first flush of English indie labels came from – Martin with Beggars and the rest. My parents tell me I was quite anti-establishment from a young age. I think I’ve always had a mistrust of institutions.”

Interestingly, Russell has never had a job outside of music. As well as his fledgling DJ career, his teens involved stints working for Island Records, music export company Caroline and two retailers: Loppylugs in Edgware and Vinyl Mania in New York – where he surprised bosses by pitching up, aged 17, following a semi-serious transatlantic job offer over the phone.

He adds: “I did work experience in the warehouse of Island Records back in its golden period. In a way, that version of Island has been the model for all of this – it was what I foolishly thought all record companies would be like: multi-cultural with incredible taste and different styles of music – brilliant.”

If rave and punk were responsible for XL’s rebellious spirit, and Island can claim inspiration for the diversity of its roster, Russell’s belief that his artists should heavily contribute to label decisions was empowered by one individual: The Prodigy’s Liam Howlett.

“As soon as Liam and I met there was definitely a very close connection,” he says. “We were exactly the same age, were hip-hop fans from suburbia – and we were ambitious.”

The Prodigy’s first LP, Experience, hit shelves on XL in the centre of the rave scene that spawned the label. It was a triumph, with singles such as Charly, Out Of Space and Everybody In The Place beginning to trouble the mainstream. But the group’s second effort was a more driven, aggressive beast.

Music For The Jilted Generation railed against the corporate mutation of the rave movement. It turned the scene on its head, and became both Howlett and XL’s first mega-hit.

“When Nick [Halkes] left to set up Positiva after the first Prodigy album, Liam just had this focus,” recalls Russell. “Things really clicked after a TV appearance on a show called Dance Energy. Liam didn’t think it was good and he said: ‘We’re not going on TV again.’ It was a brilliant decision, and saved the group an awful lot of time, trouble, aggravation and stress. It wasn’t their medium, they didn’t need to do it. I realised that if you’re working with the right artists, they don’t have to do everything. If a label tries to make them, it only comes from a place of fear.

“That moment with Liam leapt into my head during a meeting here with Adele 20 years later. She said to all of us: ‘I’m not doing festivals, it’s not my place.’ That was before she was even successful – very few artists would have the confidence to make that decision. Some people would say she was risking earning less money, but it doesn’t work like that. Maybe you’re going to earn less money, but maybe you’re going to be a lot more successful because you’ve got the balls to not just jump through every hoop. That’s definitely what I look for and what interests me in an artist – not being a follower.”

You only need spend an hour in XL’s modern-day HQ to see just how prominently that strong-minded spirit cuts through the company – and how much belief it places in its artists’ decisions. The writing is quite literally on the wall.

Amongst the well-wishing from performers and counter-culture music media relics, Russell’s office – a spacious, open-plan shack adorned with slacker brown leather sofa and rarefied acoustics – projects a daily reminder of the exec’s place in the scheme of things. ‘THANK YOU FOR YOUR MUSIC’, reads a gaze-grabbing sign – only the ‘YOU’ has been scratched away. In its place, that most primal of punk syllables: ‘FUCK’.

Nip to the toilet, and you’ll be greeted by hidden evidence of XL’s sales triumphs; Russell uses shiny gold and platinum BPI discs – so often the pristine pride of the major labels – to decorate the walls of the company lavatory.

And on the door of the in-house XL studio (loaned to artists for free and stuffed with techy toys), there is a message more indicative of less exultant times: ‘IDLERS, KEEP OUT!’

“All you can ask for sometimes is functionality, especially as a record company,” says Russell. “We’ve had our dysfunctional periods in the past, for sure. There was a phase after The Prodigy’s [third, record-breaking 1997 LP] Fat of the Land came out. We’ve recently put together statistics about how many records XL has released in its history – it was one that year. The focus had definitely gone. It was party central. That’s a fairly poor work rate I suppose, but you can see how that would happen: The Prodigy are exciting people, and that was an exciting time.”

In a more typical year, XL will still only release around six records – a taxingly tight schedule for a company that receives thousands of demo submissions every few months.

“The total number of records that we’ve put out in our history is around 100,” explains Russell. “This is an artistic endeavour for me, so that is the basis on which I make decisions. People say: ‘Oh, you should do this record, you can make money out of it.’ But I’ve got no interest. I’m not saying that because I’m some kind of saint or spend my time doing charity work. But money is not my motivating factor. It’s about, ‘Does it feel right? Has it got a shot at being important?’”

Russell’s “close-knit” workforce at XL are given a great deal of creative power. Signing artists is often a team effort, while the role of product manager and A&R are not treated as separate jobs. The boss likes his staff to stay “closely involved in a record throughout its life”.

Welcoming colleagues to enrich his artist-centric, fastidious strategy has allowed Russell and XL to diversify into new and enjoyably uncomfortable areas – whether the libidinous electric jolt of Peaches, or the raw electric blues of The White Stripes.

The signing of Damon Gough, aka Badly Drawn Boy, was an important milestone in the widening of XL’s scope away from Russell’s dance heartland. The singer-songwriter rewarded the label’s support with its first ever Mercury Prize in 2000 – a feat later repeated by Dizzee Rascal (2003) and The xx (2010).

“Damon’s The Hour Of Bewilderbeast was a turning point,” acknowledges Russell. “He had a nice sort of skew-whiff way of looking at the world, which I really liked. Until then XL was a dance label – there was nothing wrong with that. But you can definitely get bored once people start thinking of you as being one particular thing. Badly Drawn Boy helped us start existing in different worlds.”

Those different worlds soon included The White Stripes’ breakthrough third LP White Blood Cells and Dizzee Rascal’s industry-shaking debut – two records which showed like never before XL’s propensity to unleash records in unfamiliar genres that would go on to sell millions.

None of this risk-taking would have been possible, acknowledges Russell, without the steadying involvement of Martin Mills and Beggars Group in XL’s operations: “Beggars and Martin take care, very efficiently, of a lot of functions – and do so with a lot of dedication and a lot of love. That has enabled me to think clearly about the creative stuff and about getting it out in the world in a strong way. It’s a fucking nightmare to put a record company together, it’s like trying to put a band together. You need to look after the magic of it – and this structure is definitely how it’s meant to be.

“I absolutely feel part of an independent label community,” he continues. “For the sake of other independent labels, I wouldn’t want anyone to stop thinking of us or Beggars as independent because of our success. I want us to show there is no limit to what you can achieve.”

Russell’s commercial accomplishments in the past few years – not least with modern industry phenomenon Adele – will have made many eyes glow green within XL’s label peers. But although the exec counts his blessings, he’s also got a top tip for anyone taking home a wage from the music industry: stop fighting so hard for victory – you’ve already made it.

“You have to stay aware of the fact that you’re just privileged to be involved in any capacity in this business,” he says. “The big dividing line is between not earning a living and earning a living. Beyond that, people get very hung up on the amounts – but it’s really not that relevant. If you’re past the point where you’re ever going to have to go and get a proper job, that’s a fucking result.”

He continues: “I’m not actually that bothered if [a great record] is on XL or not. This isn’t sport – to me, that’s a massive mistake that music industry people make. It’s not about you winning and others losing. It’s fine to want to be successful; it is not fine to want someone else to be unsuccessful. The more people engage with that kind of negativity, the less successful they will be.”

And with that, Russell disappears, off to introduce his latest intriguing production work – an LP with soul legend Bobby Womack – to a friend behind closed doors.

The album will no doubt prove another absorbing addition to a pantheon of vital, enthralling records that bear the XL name; and an artist spectrum that has gifted the world everything from ‘hardbeat’ rave to bhangra-synth; indie Africana to a reborn rap master; and screeching Delta blues to the 21st century’s defining soul star.

Without Richard Russell, these bizarre, sharp, fascinating projects may never have been brought to public attention. He fights the good fight for the weird and the mysterious every bit as much as he does the driven and the divine. In doing so, he not only enhances our industry, but the very fabric of our culture.

It is precisely because of this bravery, this discerning ingenuity, that his name last week rightly took its place on Music Week’s revered roll call of Strat Award winners.

Thank fuck for your music, Richard. And thank you, too.

Source: http://www.musicweek.com/story.asp?sectioncode=1&storycode=1049461&c=1

Liam Howlett

Damn, so does this mean no Kool Keith on the next record?

The Prodigy’s mainman Liam Howlett has spoken about his plans for the band’s new album.

Howlett, who revealed earlier this week that the Essex stadium fillers’ new record has been given the working title ‘How To Steal A Jet Fighter’, told NME that he plans to avoid big-name collaborations on the band’s new LP.

Howlett, who has collaborated with the likes of Liam Gallagher, Dave Grohl and Juliette Lewis on previous albums, has said that he wanted to work on collaborations with “people lower down the scale.”

Asked if there were any big name guests on the band’s new album, Howlett said: “Nothing well known at this stage. Maybe later down the line. I tend to try to work with people that are more lower down the scale, I’m bored of the big collaborations. Maybe on a production level there’s a few people I’m working with people lower down the scale.”

The multi-instrumentalist also spoke about the making of ‘How To Steal A Jet Fighter’ and said that his bandmates Keef Flint and Maxim had been much more involved in its creation. He also admitted that the band’s 2009 effort ‘Invaders Must Die’ might have benefited from their input.

Asked what the other members of The Prodigy were up to, Howlett said: “They’ve been in the studio with me. Even if they’re not working on lyrics every day, definitely a few days a week they’re come in, have a listen, talk about it. I made the mistake in the past, not the last record but before, where I delivered finished tracks. I think it would have been better with some input along the way.”

The Prodigy are expected to debut new songs during their headline slot at this summer’s Download Festival. They will top the bill at the event along with Metallica and Black Sabbath.

Credit: Andrea Prodigy from Fanboy Facebook. Source: NME.

Liam Howlett

So, Liam has a little neat interview with NME about the upcoming Download Festival. Which pretty much confirms a new track at Download to be dropped. However that could be AWOL or Dogbite. Also, the working album title is “How To Steal A Jet Fighter”.  Like the sound of the title? Let us know. Enjoy the interview!

Liam Howlett’s ready to go toe-to-toe with Sabbath

NME: Do you comfortable playing a metal festival like Download, Liam?

“Yeah man. Download, the fans, they’re not there to fuck about. People are into loud, uncompromising shit.”

Are you looking forward to seeing the likes of Metallica and Sabbath…?

“Nah. I won’t be staying. I won’t hang around.”

Will there be new songs?

“The idea is that we’ll turn up at Download playing some new shit. But playing festivals helps with the music. I’m best if you pull me offstage and throw me right in the studio, otherwise you’re not thinking about where the music is going to end up. I’m into the idea of sticking something out, just a track. Just something to remind people we’re still around. But nothing’s set in stone.”

How’s it sounding?

“We’re really excited about it. The last record was… kind of a party album, I guess. We were all happy to be back together again. But the best tunes on that album are the ones that have less of that. It’s definitely going heavier, darker. The title we’re working with is ‘How To Steal A Jet Fighter’. But that might change. Who knows?”

Credit: Brainkiller Crew, good work evans!

Flinty and Rob

Hey Warriors!

Our man Liam just blogged about the recent two gigs in Slovakia and Hungary. Must have been two epic performances. Here’s what Liam has to say:

Howdy people , been a while , just back from slovakia and hungary , 2 mega gigs , great to b playing again . Great way to drop new beats in the makin just like we used to , music made on the road in the zone always shows the way, luv it . Thanks to Rich fearless and death in vegas for playin budapest . More beats being built in the shelter as u read this , respect to the peoples who made the shows . Master H x

Sounds pretty exciting. Can’t wait to hear what new sounds they may be dropping in Lithuania on May 25th.

If you’re looking for further pictures from the gigs: the boys have also put up some photos from the Slowakia show by Michal Smrcok on their official website.

Liam Howlett - Hospital

There are not many, however these are some pretty high quality pictures.

There is a very neat one of Liam on set, now it’s my wallpaper!

Here is the link, enjoy: http://galeria.index.hu/blogok/2012/04/29/prodigy_az_arenaban/

Credit goes out to: @ProdigyNet & Glowkid.

Also, if you’re looking for wallpapers. Head over to our Wallpapers section.

The Prodigy Play AWOL & DOGBITE at Bratislava Slovakia : Setlist

Update:

G’day guys, just a few little neat updates. First, the updated version of AWOL & Dogbite. Also, new shirts from the gig! Hopefully they make the it to the online store soon!

Thanks to Cibo for the picture and thanks to everyone who sent in the videos via Fanboy Facebook & Contact.

Original:

The boys have wrapped their gig in Bratislava, Slovakia! They dropped AWOL and DOGBITE formally known as Bring The Noise. The following info was sent in by Kenjah via Fanboy Contact. I have also attached a video from the gig last night.

Hey ho…

Man, wicked gig !!!!

Just cambe back to the hotel to refresh a bit and Im heading for after party

I attached setlist which I received from a soundman after the gig

World’s On Fire
AWOL *
Breathe
Omen
Poison
Fill
Thunda Dub
Dogbite **
Warrior’s Dance
Firestarter
(action riff)
Run
Voodoo
Omen Reprise
Invaders Must Die
Diesel Power
Smack My Bitch Up
——
Take Me To The Hospital
Out Of Space
Thier Law

* different from the one played in Brasil in December last year
** also played in Brasil, floating on Youtube as Bring the Noise, looks like it has turned into a full track as it features Keith & Maxim on vocals

You can put it on teh website if you like

take care,

Kenjah  :)

Paul Dugdale

G’day all. You know our man Paul Dugdale, the guy who won Best Live Coverage for The Prodigys gig at Milton Keynes. And in my opinion, the only guy who has best captured that Prodigy Vibe on film.

Just going to share two videos with you all today. The first is Pauls Showreel Spring 2012 clip. Which obviously includes The Prodigy. The second video is the hidden video in the Milton Keynes DVD, Mescaline Corridor Film. Enjoy!

DUGDALE SIZZLE SHOWREEL SPRING 2012 (HD) – Click Here

MESCALINE. THE PRODIGY. CORRIDOR FILM- Click Here