Liam Howlett Quotes
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That didn't really matter, how you judge how successful you are is basically when you turn up to do a gig and people come and have a good time.
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I go in and out of the studio in sporadic periods, I don't go in there for hours on end. I'm looking for that initial vibe, be it from a beat, a sound, a loop, whatever. Nothing is planned, nothig is deliberate.
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All Prodigy music is raw, and that will never change, the production is raw, the sounds are dirty, you can't get away from that. Take it or leave it.
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'Firestarter' was like that. Keith heard the track as an instrumental and thought it was wicked and said he couldn't wait to dance to it on stage. He sat down there for a while and then said 'I would love to put some vocals on this'. We put the actual words down in a London studio, and I can't explain the feeling me and Keith got that night, driving home listening to the tape, playing it over and over again. I knew then it was something original, that I had achieved something.
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I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.
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When you first break into the music scene, everyone is so naive. I was only nineteen when i started happening whith 'Charly' and I was so into the rave scene - apart from hip hop, I was blind to everything else.
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The music business is like a big trap and that's why I never like to put both feet into it - I like to stand back and laugh at it, because if you jump into the mainstream completely then you are never going to escape. ---Songs like 'Firestarter' burst into the mainstream and bend it, twist it. Then we retreat back underground. That's the best way.
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We'd been away for a year and we needed to come back with a big impact, but just another dance track would not have broken any new ground. As far as I'm concerned 'Firestarter' set a whole new level for English music, that's my honest opinion, crossing the barriers between punk and dance. Keith re-invented himself and it was a great introduction to him. It was onvincing but not just because it was #1. The track sounds like it means business, the way Keith delivers the vocals, the music has such attitude. It was a landmark.
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I'm fascinated with aggressive music on a street level. We draw from all corners of rock 'n' roll history , hip hop, dance, punk, whatever, and spit it out as the Prodigy sound. The live element allows us to take it one step further, to really connect with the crowd and bring out a darker side to the band. It will always remain important to me to create something raw and unpolished.
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The bloke is a complete lunatic. When I met him (Keith) five or six years ago, he was driving round in this battered up old Ford Escort and there was one night we went out doing three-point turns in the snow, off our faces on E and mushrooms. I’m not saying this was acceptable behaviour in fact it was fucking stupid but it’ll give you an idea of where our heads were at at the time.
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I went through eight years of classical piano lessons without being able to read notes. I only have to hear a melody to be able to play it. It used to freak my piano teacher out when he finally noticed that notes don't make any sense to me and that I played by ear.
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Things can only go so far before you can't take them any further for them to be exciting.
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When I was 14 years old, I used to record stuff off the radio and do mixes with the pause button on my cassette player. I’ve always loved doing mixes. I never liked sport or anything like that. Mixing tunes together was just what I always wanted to do...
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As far as the rock 'n' roll format in dance music goes, I don't think it's been done before with such full-on attitude. The idea behind that was because no-one else hade done it. Everything was right at the time for us to do that.