In phonetics, a stop, also known as a plosive, is an oral occlusive, a consonant in which the vocal tract is blocked so that all airflow ceases. The occlusion may be done with the tongue (blade [t], [d], or body [k], [ɡ]), lips ([b], [p]), or glottis ([ʔ]). Stops contrast with nasals, where the vocal tract is blocked but airflow continues through the nose, as in /m/ and /n/, and with fricatives, where partial occlusion impedes but does not block airflow in the vocal tract.

Terminology[link]

The terms stop, occlusive, and plosive are often used interchangeably. Linguists which distinguish them may not agree on the distinction being made. The terms refer to different features of the consonant. "Stop" refers to the airflow which is stopped. "Occlusive" refers to the articulation, which occludes (blocks) the vocal tract. And "plosive" refers to the release burst (plosion) of the consonant.

Either "occlusive" or "stop" may be used as a general term covering the other together with nasals. That is, 'occlusive' may be defined as oral occlusives (stops/plosives) plus nasal occlusives (nasals such as [m], [n]), or 'stop' may be defined as oral stops (plosives) plus nasal stops (nasals). Ladefoged and Maddieson (1996) prefer to restrict 'stop' to oral occlusives. They say,

what we call simply nasals are called nasal stops by some linguists. We avoid this phrase, preferring to reserve the term 'stop' for sounds in which there is a complete interruption of airflow.^[1]

If a term such as 'plosive' is used for oral obstruents, and nasals are not called nasal stops, then a stop may then mean the glottal stop; 'plosive' may even mean non-glottal stop. In other cases, however, it may be the word 'plosive' which is restricted to the glottal stop. Note that, generally speaking, stops do not have plosion (a release burst). in English, for example, there are stops with no audible release, such as the /p/ in apt.

In Ancient Greek, stops were called áphōna (stoicheîa),^[2] which was translated into Latin as mūtae (cōnsōnantēs), and from there borrowed into English as mute.^[3] (Mute was sometimes used instead for voiceless consonants, whether stops or fricatives, a usage which was later replaced with surd, a term still occasionally seen in the literature.)^[4] Both the Latin and Greek terms sometimes referred to consonants in general, which ancient grammarians did not consider pronounceable on their own without vowels.^[5]

Common stops[link]

All languages in the world have stops,^[6] and most have at least the voiceless stops [p], [t], and [k]. However, there are exceptions: Colloquial Samoan lacks the coronal [t], and several North American languages, such as the northern Iroquoian languages, lack the labial [p]. In fact, the labial is the least stable of the voiceless stops in the languages of the world, as the unconditioned sound change [p] → [f] (→ [h] → Ø) is quite common in unrelated languages, having occurred in the history of Classical Japanese, Classical Arabic, and Proto-Celtic, for instance. Formal Samoan has only one word with velar [k]; colloquial Samoan conflates {{IPA|/t/}] and /k/ to /k/. Ni‘ihau Hawaiian has [t] for /k/ to a greater extent than Standard Hawaiian, but neither distinguish a /k/ from a /t/. It may be more accurate to say that Hawaiian and colloquial Samoan do not distinguish velar and coronal stops than to say they lack one or the other.

See Common occlusives for the distribution of both stops and nasals.

Articulation[link]

In the articulation of the stop, three phases can be distinguished:

• Catch: The airway closes so that no air can escape (hence the name stop).
• Hold or occlusion: The airway stays closed, causing a slight pressure difference to build up (hence the name occlusive).
• Release or burst: The closure is opened. The released airflow produces a sudden impulse causing an audible sound, or burst (hence the name plosive).

In many languages, such as Malay and Vietnamese, word-final stops lack a release burst, even when followed by a vowel, or have a nasal release. See no audible release.

Nasal occlusives are somewhat similar. In the catch and hold, airflow continues through the nose; in the release, there is no burst, and final nasals are typically unreleased across most languages.

In affricates, the catch and hold are those of a stop, but the release is that of a fricative. That is, affricates are stop–fricative contours.

Classification[link]

Voice[link]

Voiced stops are pronounced with vibration of the vocal cords, voiceless stops without. Stops are commonly voiceless, and many languages, such as Mandarin Chinese and Hawaiian, have only voiceless stops. Others, such as most Australian languages, are indeterminate: stops may vary between voiced and voiceless without distinction.

Aspiration[link]

In aspirated stops, the vocal cords (vocal folds) are abducted at the time of release. In a prevocalic aspirated stop (a stop followed by a vowel or sonorant), the time when the vocal cords begin to vibrate will be delayed until the vocal folds come together enough for voicing to begin, and will usually start with breathy voicing. The duration between the release of the stop and the voice onset is called the voice onset time (VOT) or the aspiration interval. Highly aspirated stops have a long period of aspiration, so that there is a long period of voiceless airflow (a phonetic [h]) before the onset of the vowel. In tenuis stops, the vocal cords come together for voicing immediately following the release, and there is little or no aspiration (a voice onset time close to zero). In English, there may be a brief segment of breathy voice that identifies the stop as voiceless and not voiced. In voiced stops, the vocal folds are set for voice before the release, and often vibrate during the entire hold, and in English, the voicing after release is not breathy. A stop is called "fully voiced" if it is voiced during the entire occlusion. In English, however, initial voiced stops like /#b/ or /#d/ may have no voicing during the period of occlusion, or the voicing may start shortly before the release and continue after release, though word-final stops tend to be fully voiced: In most dialects of English, the final g in the bag is likely to be fully voiced, while the initial b will only be voiced during part of its occlusion. Initial voiceless stops, like the p in pie, are aspirated, with a palpable puff of air upon release, while a stop after an s, as in spy, is tenuis (unaspirated). When spoken near a candle flame, the flame will flicker more after the words par, tar, and car are articulated, compared with spar, star, and scar. In the common pronunciation of papa, the initial p is aspirated while the medial p is not.

Length[link]

In a geminate or long consonant, the occlusion lasts longer than in simple consonants. In languages where stops are only distinguished by length (e.g., Arabic, Ilwana, Icelandic), the long stops may be held up to three times as long as the short stops. Italian is well known for its geminate stops, as the double t in the name Vittoria takes just as long to say as the ct does in English Victoria. Japanese also prominently features geminate consonants, such as in the minimal pair 来た kita 'came' and 切った kitta 'cut'.

Note that there are many languages where the features voice, aspiration, and length reinforce each other, and in such cases it may be hard to determine which of these features predominates. In such cases, the terms fortis is sometimes used for aspiration or gemination, while lenis is used for single, tenuous, or voiced stops. Be aware, however, that the terms fortis and lenis are poorly defined, and their meanings vary from source to source.

Nasalization[link]

Simple nasals are differentiated from stops only by a lowered velum that allows the air to escape through the nose during the occlusion. Nasals are acoustically sonorants, as they have a non-turbulent airflow and are nearly always voiced, but they are articulatorily obstruents, as there is complete blockage of the oral cavity. The term occlusive may be used as a cover term for both nasals and stops.

A prenasalized stop starts out with a lowered velum that raises during the occlusion. The closest examples in English are consonant clusters such as the [nd] in candy, but many languages have prenasalized stops that function phonologically as single consonants. Swahili is well known for having words beginning with prenasalized stops, as in ndege 'bird', and is many languages of the South Pacific, such as Fijian, these are even spelled with single letters: b [mb], d [nd].

A postnasalized stop begins with a raised velum that lowers during the occlusion. This causes an audible nasal release, as in English sudden. Russian and other Slavic languages have words that begin with [dn], which can be seen in the name of the Dnieper River.

Note that the terms prenasalization and postnasalization are normally used only in languages where these sounds are phonemic: that is, not analyzed into sequences of stop plus nasal.

Airstream mechanism[link]

Stops may be made with more than one airstream mechanism. The normal mechanism is pulmonic egressive, that is, with air flowing outward from the lungs. All languages have pulmonic stops. Some languages have stops made with other mechanisms as well: ejective stops (glottalic egressive), implosive stops (glottalic ingressive), or click consonants (lingual ingressive).

Tenseness[link]

A fortis stop (in the narrow sense) is produced with more muscular tension than a lenis stop (in the narrow sense). However, this is difficult to measure, and there is usually debate over the actual mechanism of alleged fortis or lenis consonants.

There are a series of stops in Korean, sometimes written with the IPA symbol for ejectives, which are produced using "stiff voice", meaning there is increased contraction of the glottis than for normal production of voiceless stops. The indirect evidence for stiff voice is in the following vowels, which have a higher fundamental frequency than those following other stops. The higher frequency is explained as a result of the glottis being tense. Other such phonation types include breathy voice, or murmur; slack voice; and creaky voice.

Examples[link]

The following stops have been given dedicated symbols in the IPA.

English[link]

[p], [t], [k] (aspirated word-initially, tenuis in clusters with s)

[b], [d], [ɡ] (in most dialects: partially voiced word-initially, fully voiced intervocally)

[ʔ] (glottal stop, not as a phoneme in most dialects)

See also[link]

• Continuant (the opposite of a stop)
• List of phonetics topics
• Pop filter
• Nonexplosive stop

References[link]

1. ^ Ladefoged, Peter; Maddieson, Ian (1996). The Sounds of the World's Languages. Oxford: Blackwell. p. 102. ISBN 0-631-19814-8. 
2. ^ ἄφωνος. Liddell, Henry George; Scott, Robert; A Greek–English Lexicon at Perseus Project
3. ^ "mute". Oxford English Dictionary. Oxford University Press. 3rd ed. 2001.
4. ^ "surd". Oxford English Dictionary. Oxford University Press. 3rd ed. 2001.
5. ^ Dionysius Thrax. τέχνη γραμματική (Art of Grammar), ς´ περὶ στοιχείου (6. On the Sound):

   σύμφονα δὲ τὰ λοιπὰ ἑπτακαίδεκα· β γ δ ζ θ κ λ μ ν ξ π ρ σ τ φ χ ψ. σύμφοναι δὲ +λέγονται+, ὅτι αὐτὰ μὲν καθ᾽ ἑαυτὰ φωνὴν οὐκ ἔχει, συντασσόμενα δὲ μετὰ τῶν φωνηέντων φωνὴν ἀποτελεῖ.

   The remaining seventeen are consonants: b, g, d, z, th, k, l, m, n, x, p, r, s, t, ph, ch, ps. They are called consonants because they do not have a sound on their own, but, when arranged with vowels, they produce a sound.

6. ^ König, W. (ed) dtv Atlas zur deutschen Sprache dtv 1994

• Ladefoged, Peter; Maddieson, Ian (1996). The Sounds of the World's Languages. Oxford: Blackwell. ISBN 0-631-19814-8. 
• Ian Maddieson, Patterns of Sounds, Cambridge University Press, 1984. ISBN 0-521-26536-3

External links[link]

• Rothenberg M.. "The Breath-Stream Dynamics of Simple-Released Plosive Production". Vol. 6. http://www.rothenberg.org/Breath-Stream/BSD_contents.htm.  Bibliotheca Phonetica, Karger, Basel, 1968

v t e   International Phonetic Alphabet   IPA topics IPA International Phonetic Association History of the IPA Kiel convention (1989) Journal of the IPA (JIPA) Naming conventions Phonetics Diacritics* Segments Tone letter Place of articulation Manner of articulation Special topics Case variants of IPA letters Extensions to the IPA Obsolete and nonstandard symbols IPA chart for English dialects Encodings SAMPA X-SAMPA Conlang X-SAMPA Kirshenbaum TIPA Phonetic symbols in Unicode WorldBet   Consonants v t e IPA pulmonic consonants chartchart image • audio Place → Labial Coronal Dorsal Radical Glottal ↓ Manner Bila​bial Labio​dental Den​tal Alve​olar Post​alv. Retro​flex Pal​a​tal Ve​lar Uvu​lar Pha​ryn​geal Epi​glot​tal Glot​tal Nasal m̥ m ɱ n̪ n̥ n n̠ ɳ ɲ̥ ɲ ŋ̊ ŋ ɴ Stop p b p̪ b̪ t̪ d̪ t d ʈ ɖ c ɟ k ɡ q ɢ ʡ ʔ Fricative ɸ β f v θ ð s z ʃ ʒ ʂ ʐ ç ʝ x ɣ χ ʁ ħ ʕ ʜ ʢ h ɦ Approximant ʋ ɹ ɻ j ɰ Trill ʙ r ɽ͡r ʀ я * Flap or tap ⱱ̟ ⱱ ɾ ɽ ɢ̆ ʡ̯ Lateral Fric. ɬ ɮ ɭ˔̊ ʎ̥˔ ʟ̝̊ ʟ̝ Lateral Appr. l ɭ ʎ ʟ Lateral flap ɺ ɺ̠ ʎ̯ Non-pulmonic consonants Clicks ʘ ǀ ǃ ǂ ǁ ʘ̃ ʘ̃ˀ ʘ͡q ʘ͡qʼ Implosives ɓ ɗ ʄ ᶑ ɠ ʛ Ejectives pʼ tʼ cʼ ʈʼ kʼ qʼ fʼ θʼ sʼ ɬʼ xʼ χʼ tsʼ tɬʼ cʎ̝̥ʼ tʃʼ ʈʂʼ kxʼ kʟ̝̊ʼ Affricates p̪f b̪v ts dz tʃ dʒ tɕ dʑ ʈʂ ɖʐ tɬ dɮ cç ɟʝ cʎ̥˔ kʟ̝̊ Co-articulated consonants Fricatives ɕ ʑ ɧ Approximants ʍ w ɥ ɫ Stops k͡p ɡ͡b ŋ͡m These tables contain phonetic symbols, which may not display correctly in some browsers. [Help] Where symbols appear in pairs, left—right represent the voiceless—voiced consonants. Shaded areas denote pulmonic articulations judged to be impossible. * Symbol not defined in IPA. Chart image Pulmonics Non-pulmonics Affricates Co-articulated   Vowels Front Near-​front Central Near-​back Back Close •iy •ɨʉ •ɯu •ɪʏ •ɪ̈ʊ̈ •ʊ •eø •ɘɵ •ɤo •e̞ø̞ ə •ɤ̞o̞ •ɛœ •ɜɞ •ʌɔ •æ ɐ •aɶ •ä •ɑɒ Near-close Close-mid Mid Open-mid Near-open Open Vowels: IPA help • chart •  chart with audio • view

The Prodigy
The Prodigy performing at the Rock Am Ring festival
Background information
Origin	Braintree, Essex, England
Genres	Big beat, dance-punk, electropunk, electronica, breakbeat hardcore, oldschool jungle, alternative dance, drum and bass, synthrock
Years active	1990–present
Labels	Take Me to the Hospital, Ragged Flag, Cooking Vinyl, XL, Beggars Banquet, Mute, Maverick, Warner Bros., Elektra, Shock
Website	www.theprodigy.com
Members
Liam Howlett Keith Flint Maxim Reality Rob Holliday Leo Crabtree
Past members
Leeroy Thornhill Sharky

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 other acts, The Prodigy have been credited as pioneers of the big beat genre, which achieved mainstream popularity in the 1990s and 2000s.^[1] They have sold over 25 million records worldwide.^[2] The group has won numerous music awards throughout their career, including two Brit Awards—winning Best British Dance Act twice, three MTV Video Music Awards, two Kerrang! Awards, five MTV Europe Music Awards, and have twice been nominated for Grammy Awards.^[3][4]

The group's brand of music makes use of various styles ranging from rave, hardcore techno, industrial, and breakbeat in the early 1990s to big beat and electronic rock with punk vocal elements in later times. The current members include Liam Howlett (keyboardist and composer), Keith Flint (dancer and vocalist), and Maxim (MC and vocalist). Leeroy Thornhill (dancer and very rarely a live keyboardist) was a member of the band from 1990 to 2000, as was a female dancer and 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.

History[link]

Beginnings and first appearances (1990–1991)[link]

Liam Howlett named the group after the Moog Prodigy synthesizer.

Liam Howlett created an initial 10-track demo, put together on a Roland W-30 music workstation in Essex, England. XL Recordings picked up the demo after Howlett played several tracks to XL boss Nick Halkes in a meeting, and an initial 12" pressing of "What Evil Lurks" was released in February 1991. The Prodigy's name was chosen by Liam as a tribute to his first analogue synthesiser, the Moog Prodigy.^[5]

	G Force (Energy Flow) noicon An excerpt of the song "G Force (Energy Flow)" from Kaos Theory Volume 1 compilation.
Problems listening to this file? See media help.

The Prodigy's first public performance, with Howlett augmented by dancers Keith Flint and Leeroy Thornhill, was at the Four Aces in Dalston, London, then home to "Club Labyrinth".^[6]

"Charly", released six months later, became a huge hit in the rave scene at the time.^[7] The release reached number 3 in the UK Singles Chart, catapulting the band into the wider public attention. The Kaos Theory compilation series featured "G Force (Energy Flow)", from their third single, "Everybody in the Place".^[8]

After the release of the successful single "Charly", the charts included various "hardcore" rave tracks, to which speed and ecstasy-fuelled clubbers would dance to, but which did not appeal to reviewers from publications at the time.^[9] Examples were tracks such as Urban Hype's "A Trip to Trumpton" and Smart E's (as in Ecstasy) "Sesame's Treet", instigating death-by-publicity to the underground "hardcore rave" scene, according to a number of critics associated with the scene.^[9] As a result, "Charly", amid being titled after a contemporary reference to cocaine, with its memorable sample of the "Charley Says" children's Public information films, saw The Prodigy briefly identified by critics as "kiddie rave" or "Toytown Techno". Critical reception to the single was generally mixed.^[10]

Experience (1992–1993)[link]

The band's first full length album, the critically acclaimed Experience, followed "Charly" as a landmark release in the history of British rave music. The album closes with a live version of "Death of the Prodigy Dancers", featuring Maxim on vocals. There were five singles spawned from the album: "Charly", "Everybody in the Place", "Fire/Jericho", "Out of Space", and "Wind It Up (Rewound)"; the latter is a remix of "Wind It Up". The album was a commercial success in the UK, but failed to chart in other countries. Peaking at number 12, it was certified Platinum by the British Phonographic Industry.^[11][12]

After Experience and the run of singles that accompanied it, The Prodigy moved to distance themselves from the "kiddie rave" reputation that now dogged them. The rave scene was beginning to move on from its hardcore phase, with the Criminal Justice Act's "anti-rave" legislation on the horizon, calling rave music "repetitive beats".^[13] The Prodigy responded to the bill by writing "Their Law".

[edit] Music for the Jilted Generation (1993–1995)

In 1993, Howlett released an anonymous white label, bearing only the title "Earthbound I". Its hypnotic, hard-edged sound won wide underground approval. It was officially released as "One Love" later that year, and went on to chart at number 8 in the UK.^[14] The following year, The Prodigy's second album, Music for the Jilted Generation, debuted in the UK Albums Chart at number one, and jettisoned into positive reactions from album critics.^[15] Adding elements of big beat and electro-industrial to the mix, the album expressed a wider spectrum of musical styles, with heavy breakbeat-based tracks complemented by the concept sequence The Narcotic Suite and a rock-oriented inclination, "Their Law", featuring Pop Will Eat Itself.

The album was nominated for a Mercury Music Prize, although Howlett had reaffirmed his dedication to making The Prodigy a 'hard dance band', commercially successful but without compromise.^[16] The band managed to continue to prevent over-exposure in the media by refusing to appear on Top of the Pops or other television shows in the UK.^[17] To date, their only studio appearance on British television came when they appeared on the BBC2 series Dance Energy in 1991, performing "Everybody in the Place". In the ensuing years, their videos received a strong level of support by MTV Europe, which boosted their popularity across the continent. Keith Flint himself hosted an episode of the MTV show 120 Minutes in 1995.

Following the international success of Music for the Jilted Generation, the band augmented their line-up with guitarist Jim Davies (a live band member who later joined the group Pitchshifter) in 1995 for tracks such as "Their Law", "Break and Enter 95", and various live-only interludes and versions. He was soon to be replaced by Gizz Butt of the band Janus Stark, who remained with the band for the next three years.^[18]

[edit] The Fat of the Land and controversies (1996–2002)

The release of "Firestarter" in 1996, featuring vocals for the first time courtesy of a new-look Keith Flint, helped the band break into the U.S. and other overseas markets, and reached number one on the UK Singles Chart.^[19] In this year The Prodigy also headlined the prestigious Lollapalooza festival.^[20]

The long-awaited third Prodigy album, The Fat of the Land, was released in 1997, just as the band headlined the Glastonbury Festival on its opening night.^[20] Featuring simplified melodies, sparser sampling, less rave music influences, and punk-like vocals supplied by a shockingly madeover Flint, the album nevertheless retained the bone-jarring breaks and buzzsaw synths so idiomatic of the band. The album cemented the band's position as one of the most internationally successful acts in the dance genre, entering the UK and US charts at number one.^[19][21]

The Prodigy were getting considerable airplay on rock stations with their controversial track "Smack My Bitch Up"—and also a negative backlash for the song. The National Organization for Women (NOW) criticized the song and its music video. The song's lyrics consist entirely of the repeated phrase "Change my pitch up, smack my bitch up", which NOW stated are a "dangerous and offensive message advocating violence against women".^[22] Howlett responded to the criticism by stating that the meaning of the song and its lyrics were being misinterpreted, and the phrase meant "doing anything intensely, like being on stage – going for extreme manic energy".^[22] The band did not actually write the lyric, but rather, sampled it from the hip hop Ultramagnetic MCs' track "Give the Drummer Some"^[23] which also appears on the Dirtchamber Sessions; they had also sampled another Ultramagnetic MCs song "Critical Beatdown" on their earlier "Out of Space" single.^[24] The National Organization for Women also believed that the lyrics are in reference to administering heroin (smack) to another person.^[25] Several radio stations limited the song's airplay to nighttime hours.^[26] In September 1997, The Prodigy performed "Breathe" at the 1997 MTV Video Music Awards, and won the Viewer's Choice Award.^[27][28]

	"Smack My Bitch Up" noicon The song generated an amount of controversy, and received backlash for the repeating sample.
Problems listening to this file? See media help.

The music video for "Smack My Bitch Up", directed by Jonas Åkerlund, featured a first-person point of view of someone going clubbing and indulging in large amounts of drugs and alcohol. Other content shown includes the protagonist getting into fist fights with men, abusing women, vomiting repeatedly, and picking up a lap dancer (played by British glamour model Teresa May) and having sex with her. Much of the aforementioned is depicted fairly explicitly. At the end of the video, the camera pans over to a mirror, revealing the subject to be a woman. MTV only aired the video between 1 and 5 a.m due to the offensive material.^[29] After one week, the very same television network banned the music video at NOW's request.^[30] The director got the inspiration for the contents of the video after a night of drinking and partying in Copenhagen.^[25]

During a performance at the Reading Festival on 29 August 1998, The Prodigy and the Beastie Boys had an onstage disagreement over the track, with the Beastie Boys requesting the song should be pulled from their set as it could be considered offensive to those who had suffered domestic abuse.^[31] Choosing to ignore the Beastie Boys plea, Maxim introduced "Smack My Bitch Up" with the declaration "They didn't want us to play this fucking tune. But the way things go, I do what the fuck I want".^[32][33]

Wal-Mart and Kmart later announced they would pull The Fat of the Land off their shelves. Despite the fact that the LP had resided on their store shelves for over 20 weeks, and the fact that they had sold 150,000 copies of the album in total, the two stores found the marketing campaign for the new single release "offensive".^[34] At the 1998 MTV Video Music Awards in Los Angeles, "Smack My Bitch Up" won two awards; Best Dance Video and Breakthrough Video.^[35]

1999 saw the release of The Prodigy's The Dirtchamber Sessions Volume One, a DJ mix album by Howlett, produced as an official record of a successful guest appearance on the British Radio 1.^[36] In June of the same year, when the band had arguably reached their commercial peak, they parted company with guitarist Gizz Butt.

Following 1999, Thornhill departed from the group while he divorced Sara Cox due to the risk of nervous breakdown, resulting in the band's website being replaced with their logo and the words "We will be back" set against a black background, a stint that it'd remain until 2002.^[37]

Reunion (2002–2004)[link]

In 2002, after a break from touring and recording, the single "Baby's Got a Temper" was released to critical disappointment. The song was written by Keith Flint's sideband, Flint, produced by Howlett, and also featured Jim Davies. Once again, the band courted controversy by including references to the so-called "date rape" drug Rohypnol in the song's lyrics, although it is unclear whether or not the band "glorifies" or presents the drug in a negative light.^[38] The song's music video was also controversial, which featured topless women milking cows in a suggestive fashion. The complete, unedited video was aired on MTV2 in 2002 as part of a special countdown showing the most controversial videos ever to air on MTV. This countdown was only shown late at night because of the graphic imagery of "Smack My Bitch Up" and several other videos on the countdown, including Nine Inch Nails' 1994 hit "Closer". The "Smack My Bitch Up" video in particular was deemed the "Most Controversial Video" by MTV and showed at the number 1 spot on the countdown.^[39] In the same year, however, Q magazine named The Prodigy one of the "50 Bands to See Before You Die".^[40]

This year also saw the marriage of Howlett and All Saints' Natalie Appleton on 6 June.^[41] Their son, Ace Billy, was born on 2 March 2004.

[edit] Always Outnumbered, Never Outgunned (2004–2008)

The Prodigy band member and founder Liam Howlett live in August 2005.

The Prodigy's fourth studio album, Always Outnumbered, Never Outgunned, was released on 23 August 2004, and 14 September 2004 in the USA. A precursory and experimental single, "Memphis Bells", was released in very limited numbers, followed by the traditional release of the single "Girls". The U.S. version of the studio album contained a bonus track; a remix of "Girls", entitled "More Girls". The album, which topped the UK Album Charts on its debut week,^[11] was promoted by a 2-year-long tour.

5,000 digital copies of "Memphis Bells" were sold over the Internet. Each copy was a combination of customer-chosen instrumental, rhythmic, and melodic options, of which 39,600 choices were available. Five mixes were sold in three file formats, WAV, two audio mixes in MP3, and a 5.1 DTS surround sound mix, and all were free of digital rights management.^[39]

In 2005, they released a compilation, Their Law: The Singles 1990-2005, which spawned a single containing new remixes of the songs "Out of Space" (the "Audio Bullys Remix") and "Voodoo People" (the "Pendulum Remix"). The artwork represented drawn versions of the front covers of the "Out of Space" and "Voodoo People" single releases. The latter was also followed by a music video filmed in Romford Market, Essex, which featured on the DVD release of the compilation. Sharky, the group's only female member, is shown running and winning the race depicted in the video.

The Prodigy's first two albums, 1992's Experience and 1994's Music for the Jilted Generation, were re-released in expanded, deluxe editions on 4 August 2008.^[42] As well as being remastered, the new packages featured a bonus disc including mixes, rarities, and live tracks. The two albums also featured expanded artwork in addition to the new musical content.

When asked about the idea, Howlett responded that they were getting ready to make a new album:

No, we're all done with that [those albums] now, all the old material. We didn't actually want to do the Greatest Hits, we were ready to start our new record—until the record company pointed out that it was in the contract. But then we got into it, and tried to be creative with it as much as [we could]. And, you know, we ended up being really proud of it. You have to have a different brain when you're doing a record like that. It's more about [saying] "this is your achievement"; I could hold in one hand all the records we've released, so that was cool. We're moving on now, and getting on with the new record.^[39]

[edit] Invaders Must Die (2008–2010)

The Prodigy showcased four new songs at the Oxegen Festival in the early hours of 13 July 2008. Among the tracks previewed were "Worlds on Fire", "Warriors Dance", "Mescaline", and "First Warning", which was featured in the gangster movie Smokin' Aces and as among the songs featured in the soundtrack for Electronic Arts video game Need for Speed: Undercover.

Frontman Keith Flint and live member, Rob Holliday.

On 5 November 2008, it was announced that the band's fifth studio album would be called Invaders Must Die and would be released on the band's new label, Take Me to the Hospital. It was released in the US on 3 March 2009, and was the first Prodigy album since 1997's The Fat of the Land to feature all three members of the band.^[43][44]

The album featured drummer Dave Grohl on drums for "Run with the Wolves". The top five hit "Omen" and "Invaders Must Die" were co-produced with Does It Offend You, Yeah? frontman James Rushent.^[45] The band said that the album would go back to their "old-school but cutting edge" roots.^[46] The album was released as a CD, CD-DVD set, double vinyl, digital download, and a luxury 7-inch vinyl box set including five 7-inches, CD-DVD, bonus CD, poster, stickers, and stencils.^[47]

Invaders Must Die was released on 21 February 2009 in Australia and in Europe on 23 February 2009, charting at number one in the UK with week one sales of over 97,000 – a higher figure than for either Always Outnumbered or their singles collection.^[19] The album also reached the top five in Germany and Australia and top 10 in Norway and several other European countries.

To coincide with the release of the album, the band embarked on a nine-date UK arena tour, with support from Dizzee Rascal, Noisia, Herve, and DJ Kissy Sell Out. The single "Omen" debuted at number 1 on the Canadian Singles Chart the week of 25 February 2009 and won the Kerrang! Award for Best Single. Initial critical response to Invaders Must Die was somewhat mixed. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 60, based on 20 reviews.^[48] However, the album was well received by the fans, who welcomed it in a positive light compared to Always Outnumbered, Never Outgunned.^[49] Two singles followed, "Warrior's Dance" and "Take Me to the Hospital", which were released on 11 May and 31 August 2009 respectively. The former song peaked at number 9 on the UK Singles Chart,^[19] while the latter included a VHS-filmed music video that premiered on VidZone.^[50]

A fourth single, "Invaders Must Die (Liam H Reamped Version)", from the Special Edition of the album, was released.^[50]

In an interview with Rob Swire of Pendulum, he revealed that The Prodigy were collaborating on Pendulum's third album, Immersion. Howlett was a co-producer of the song Immunize.^[51] They also played at Glastonbury Music Festival in 2008.

[edit] How to Steal a Jet Fighter (2010–present)

On November 16, 2010, Liam Howlett announced that after their American tour with Linkin Park, The Prodigy are going back to the studio to record their next album. In a recent interview, Liam Howlett said that The Prodigy are currently back in the studio and working around new ideas for their new album.^[52]

On March 18, 2010, The Prodigy announced through their website and mailing list a showing of World's on Fire, a film made mostly from footage of the Warrior's Dance festival from July 2010, for one night only in selected cinemas across Europe. Recorded before 65,000 fans, World's on Fire is the debut live film of The Prodigy, documenting their biggest concert to date.^[53] The CD, DVD, and Blu-ray of World's on Fire was released on 23 May 2011.^[54]

On 6 August 2011, The Prodigy headlined Przystanek Woodstock (Poland) playing to a crowd of over 700,000 fans, though the police declared the band's role at the festival unsafe.^[55] At their two final shows of 2011 (in Brazil), The Prodigy played two new tracks: "A.W.O.L" and "Dogbite".^[56] On 18 November, The Prodigy were announced as a headliner for Download Festival 2012, and will be closing the main stage on Friday 8 June with songs from their new album, to be released later in 2012. ^[57] Liam Howlett has confirmed this album will not be Dubstep, but they have announced their new album sound will feel "Fresh" whilst darker.

On 3 May 2012, The Prodigy announced the working title of their new album: How To Steal A Jet Fighter.^[58]

Members[link]

Discography[link]

Studio albums

• Experience (1992)
• Music for the Jilted Generation (1994)
• The Fat of the Land (1997)
• Always Outnumbered, Never Outgunned (2004)
• Invaders Must Die (2009)

Live album

• World's on Fire (2011)

References[link]

External links[link]

• Official website
• The Prodigy at Allmusic
• The Prodigy at the Internet Movie Database
• The Prodigy on Twitter
• The Prodigy on Facebook
• The Prodigy on Myspace