Wonder Child - The Fat Of The Touch (1997) (MP3-EAC-320 kBs)

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Mental Giant — The Fat Of The Settle On (1997) (MP3-EAC — 320 kBs)

Mental Giant Biography From allmusic.com

Biography by John Bush

The Mental Giant navigated the spaced out-wire, balancing artistic piece-goods e freight and mainstream visibility with more chic than any electronica act of the 1990s. Ably defeating the archetype-insensible orientation of most electronic artists in favor of a woolly on puppet frontman Keith Flint, the catalogue crossed over to the mainstream of pop music with an incendiary persist that approximated the primary tone of the British thing get around even while tendency uncomfortably assiduous to arena-crag showmanship and inferior theatrics. Faithful, Flint«s spiky hairstyle and numerous piercings often made for better advertising, but it was in britain director Liam Howlett whose studio wizardry launched the Mental Giant to the top of the charts, spinning a web of rocklike-hitting breakbeat techno with royal-sized hooks and unmissable samples. Despite electronic music»s multiplicity and energetic making during the 1990s -- from rave/hardcore to ambient/downtempo and no hope again, thanks to the breakbeat/drum«n»bass wing -- Howlett modified the Prodigy«s right-minded only sparingly; swapping the thing-whistle effects and ragga samples for metal chords and chanted vocals proved the only dominant variation in the band»s growing from their introduction to their worldwide breakthrough with their third album The Fat of the Settle On. Even before the fillet took its position as the introduction gambol act for the different masses, the Mental Giant had proved a in keeping access in the british charts, with over a dozen consecutive singles in the Top 20.

Howlett, the mental giant behind the group«s name, was trained on the piano while growing up in Braintree, Essex. He began listening to hip-hop in the mid-»80s and later DJed with the British rap act Cut to Murder before in motion on to acid lodgings later in the decade. The fledgling hardcore breakbeat right-minded was ameliorate for an old hip-hop fan flowing in up-metre gambol music, and Howlett began producing tracks in his bedroom studio during 1988. His first hand out, the EP What Bad Lurks, became a dominant mover on the fledgling thing get around in 1990. After Howlett met up with Keith Flint and Leeroy Thornhill (both Essex natives as well) in the growing British thing get around, the triplex formed the Mental Giant later that year. Howlett's recordings gained the triplex a catch with XL Records, which re-released What Bad Lurks in February 1991.

Six months later, Howlett issued his second take «Charly,» built around a sampling from a children«s social-assignment notification. It hit handful one on the British gambol charts, then crossed over to the pop charts, stalling only at handful three. (It wasn»t extensive before a copycat fashion saw the skiff of thing takeoffs on Scamper Racer, The Necromancy Oblique and Sesame Circle) Two additional Mental Giant singles, «Everybody in the Place» and «Fire/Jericho,» charted in the U.K. during 1991 and antiquated 1992.

The Mental Giant showed they were no one-anthem wonders in 1992, with the hand out of The Mental Giant , one of the first LPs by a thing act. Mixing chunky breakbeats with vocal samples from dub somebody Lee «Scratch» Perry and the Inane Faction of Arthur Brown, it hit the Top Ten and definitively went gold. During 1993, Howlett added a ragga/hip-hop MC named Saw Actuality (Keeti Palmer) and occupied himself with remix occupation for Pan 242, Jesus Jones and Art of Tumult. He also released the whitish-hallmark take «Earthbound» to dupe archetype-purposeful DJs who had written off the Mental Giant as hopelessly commercial. 1993 brought the commercial hand out of «Earthbound» (as the group's seventh consecutive Top 20 singles access, «One Love»).

After several months of working on tracks, Howlett issued the next Mental Giant take, «No Piece-Goods E Freight (Start the Gambol).» Despite the inside info that the single«s palm was a sped-up diva-vocal tag (an antiquated thing necessary), the following album Music for the Jilted Times provided a modification for the catalogue, from piano pieces and thing-signal tracks to more guitar-integrated singles like «Voodoo People.» The album also continued Prodigy»s allegiance to breakbeat drum«n»bass; though the taste had only recently become commercially rapport (after a extensive gestation age in the gambol subversives), Howlett had been incorporating it from the origination of his employment. Music for the Jilted Times entered the British charts at handful one and went gold in its first week of hand out. The album was also nominated for a Mercury Music Winnings, as one of the best albums of the year.

The Mental Giant burned-out much of 1994 and 1995 touring around the faction, and made a splashy form at the 1995 Glastonbury Carnival, proving that electronica could turn into it in a persist venue. The catalogue had already made a modification from the club/rave girth to more standard crag venues, and the Glastonbury direct set in stone the inside info that they were no longer just a gambol catalogue. Flint's newly emerged pan -- the consummate in-your-pan inferior impresario and sovereign of ceremonies for the digital-age press -- provided a import of innuendo for crag critics uncomfortable covering Howlett (whom they saw as a pompous keyboard punter).

The Prodigy«s incessant procedure arrange left-wing little stretch to documentation, but Howlett managed to produce out the next new Mental Giant take in Procession 1996. «Firestarter» entered the British charts at handful one, though the video was almost banned due to complaints about arson fixation; many Top of the Pops viewers also complained that Keith Flint had alarmed their children. An unmissable guitar palm and Flint»s catcall vocal antics -- his first on documentation -- made it a energetic worldwide hit and though «Firestarter» wasn«t a dominant outcome in the U.S., its spaced out- bespatter in MTV»s Ring Bin introduced the Mental Giant to many Americans and helped incite the dominant-hallmark assault for electronica during the following year (though the Mental Giant did renounce collaborative offers from David Bowie, U2 and Madonna). In the waist of the electronica ring, the Mental Giant dropped their third album, The Fat of the Settle On. Despite rather plain attempts to court mainstream crag fans (including several visitor-canary spots and an L7 obscure), the LP entered both British and American charts at handful one, shifting several million units worldwide. The next Mental Giant absorbed-for ages c in depth was 1999's The Dirtchamber Sessions, a mix album helmed by Howlett.

The «Baby«s Got a Temper» take -- one Howlett would later disown -- appeared in 2002 and soon after Leeroy Thornhill left-wing the fillet. Saw and Keith Flint were still in the fillet but they weren«t to be produce about on 2004»s Always Outnumbered, Never Outgunned. Instead the album featured visitor spots from Oasis» Liam Gallagher, Kool Keith, Twista, and actress Juliette Lewis. Flint and Saw did go Howlett for a worldwide trek to undergo the album that launched in October 2004. A year later Their Law: Singles compiled the big hits.

CD Significant Information

Hallmark: XL Recordings
Catalog#: XLCD 121
Layout: CD, Album
Woods: UK
Released: 30 Jun 1997
Genus: Electronic, Hip Hop
Taste: Breakbeat, Big Beat


Artwork By [Art Conduct] — Alex Jenkins , Liam Howlett
Artwork By [Diagram] — Alex Jenkins
Photography [Ant] — Terry Whittaker
Photography [Fillet, Drill And Furnishings] — Pat Pope
Photography [Pan Obscure] — Konrad Wothe , Silvestris
Photography [Innards Everted Traycard] — Lous Smith
Photography [Persist Shots] — Alex Scaglia , Christian Ammann ,
Pat Pope
Photography [Sundries And Credentials] — Alex Jenkins
In Britain Director, Impure By — L. Howlett
Recorded By [Vocals] — Neil McLellan (tracks: 1, 2, 7, 8)


Produced & impure at Earthbound.

Vocals on 1, 2, 7 and 8 recorded at Strongroom.

«Fuel My Fire» at performed by L7.

Sampling Info:

1. contains parts of «Give The Drummer Some» by Ultramagnetic M.C.'s from their album entitled «Critical Beatdown» used civility of Next Lull Records.

4. excerpts from «Root Down» used under document from Capitol Records. Sampling from «2-3 Break» by The B-Boys used civility of Vintertainment. Published by Vintertainment Enterprises (ASCAP). Sampling from «Theme From S.W.A.T.» by Barry Derorzan, used civility of MCA Records, Inc. under document from Widespread Music Distinguished Markets Inc.. Published by EMI Gold Compass Music.

5. «Selling Jesus» by Skunk Anansie used civility of One Little Indian except USA civility of Sony Music Inc.

8. sampling of Breeders «SOS» civility of 4AD/Elektra (by combination by Warner Distinguished Products). «Close To The Edit» by Art Of Tumult under right from ZTT Records Ltd.

9. contains share out of «Horn Track» by Egyptian Empire/Tim Taylor civility of London Records and published by Northcott Music administered by Intercontinental Music Network.

The Fat Of The Settle On album inspection from allmusic.com

Inspection by Stephen Thomas Erlewine

Few albums were as eagerly anticipated as The Fat of the Settle On, the Prodigy«s extensive-awaited go-up to Music for the Jilted Times. By the stretch of its hand out, the catalogue had two handful one British singles with «Firestarter» and «Breathe» and had begun to turn into inroads in America. The Fat of the Settle On was touted as the album that would produce electronica/techno to a roomy American audience; in Britain, the catalogue already had a staggeringly rotund following that was breathlessly awaiting the album. The Fat of the Settle On falls exclusive of of magnum opus importance, but that isn»t because it doesn«t redeem. Instead, it delivers exactly what anyone would keep in view: spaced out-spirited hip-hop-derived rhythms, imaginatively reconstructed samples, and paltry shouted lyrics from Keith Flint and Saw. Half of the album does right-minded quite correspond to to «Firestarter,» especially when Flint is singing. Still, Liam Howlett is an inventive in britain director, and he can turn into worthless songs like «Smack My Spitfire Up» and «Serial Thrilla» rebound with a visceral power, but he is at his best on the funky hip-hop of «Diesel Power» (which is driven by an sterling Kool Keith rap) and «Funky Shit,» as well as the rebuke-bending neo-psychedelia of «Narayan» (featuring visitor vocals by Crispian Mills of Kula Shaker) and the blood-curdling obscure of L7»s «Fuel My Inferno,» which features vocals by Republica«s Saffron. All those visitor vocalists mean something -- Howlett is at his best when he»s criticism for himself or others, not his group«s own vocalists. «Firestarter» and all of its rewrites pinch the inferno of the Mental Giant at their mountain top, and the outstanding songs have inventiveness that cause the album manipulate. The Fat of the Settle On doesn»t have quite enough nethermost reaches or multiplicity to ready as a hell for leather-out magnum opus, but what it does have to offering is find fault with piece-goods e freight.

Run To Earth List

Mental Giant — The Fat Of The Settle On (1997)

01. Smack My Spitfire Up 05:42
02. Murmur 05:34
03. Diesel Power 04:17
04. Funky Shit 05:16
05. Serial Thrilla 05:11
06. Mindfields 05:39
07. Narayan 09:05
08. Firestarter 04:39
09. Climbatize 06:38
10. Incite My Inferno 04:18

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