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His confidence would appear, again, in the singles from Music From the Jilted Generation, and Howlett used his regained confidence to brilliant ends. Experience tracks like “Jericho” and the much-beloved “Charly” show the origins of such a style, though Howlett evidently didn’t believe in his own programming skills enough to refrain from smothering them in samples like the annoying public service announcement-spouting cat in “Charly”. But with The Fat of the Land, this was never a problem for Howlett, who once knew how to develop an electronic track in a way that would ensure the avoidance of boredom. Now, in an awful lot of cases, electronic music can be a cold medium, where it’s difficult to make things like emotion and straight-up hunger shine through. Experience and Music for the Jilted Generation get four and five tracks on the album respectively, while The Fat of the Land and Always Outnumbered, Never Outgunned get stuck with three each. Their Law: The Singles 1990-2005 appears to exist as proof that, yes, The Prodigy was once great. The band returned in 2002 with the ode to Rohypnol that is “Baby’s Got a Temper”, an aggressive slab of nothing that was dominated by Flint and crushed by critics worldwide, and 2004’s Always Outnumbered, Never Outgunned, which had no Keith Flint or Maxim Reality but was still crushed by critics worldwide, not to mention the public. The album won about 17,362 awards, The Prodigy played a lot of shows, made a lot of money, and watched as “electronica” immediately died via public overexposure. The Fat of the Land arrived, 22 countries (including the US) sent it straight to #1, and The Prodigy turned into a band of superstars, mostly on the flamboyant, belligerent stylings of Keith Flint (he of the sculpted rainbow of hairdos) and Maxim Reality (he of the scary contact lenses). The so-called “electronica revolution” was in full swing and the American music press and public were looking for the band to cement the staying power of an entire genre. Songs like “Out of Space” and “Charly” turned into massive club hits, while “Poison” and “Their Law” saw Prodigy in a state of transition, incorporating elements of hip-hop and rock into the requisite big beat sound. Albums like Experience and Music for the Jilted Generation were both well regarded as dance classics, the latter of which managed to hit #1 in the UK and break Billboard‘s top 200 in the dance-deprived US. When Liam Howlett’s Prodigy project first hit the scene, it quickly blew up into an underground phenomenon, renowned at least as much for its live show (which featured a couple of dancers and an MC on stage with Howlett) as its solid recorded output.