Prodigy* ‎– The Dirtchamber Sessions Volume One

Label:
XL Recordings ‎– XLCD 128
Format:
CD, Compilation, Mixed, Digipak
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

1.1 Liam Howlett Intro Beats
Written-By [Uncredited] – Liam Howlett
7:18
1.2 Rasmus Punk Shock
Written-By – Rasmus Gardell
1.3 Hardnoise Untitled
Written-By – A Pancho*, Johnson*, Roberts*, J Pancho*, Odeghe*, Taylor (8)
1.4 Chemical Brothers* Chemical Beats
Written-By – Simons*, Rowlands*
1.5 Ultramagnetic MC's Kool Keith Housing Things
Written-By – C. Miller*, K. Thornton*, M. Smith*, T. Randolph*
1.6 Lightning Rod* Featuring Jalal* Sport
Featuring – Jalal*Written-By – Lightning Rod*
1.7 Ultramagnetic MC's Give The Drummer Some
Written-By – C. Miller*, K. Thornton*, M. Smith*, T. Randolph*
1.8 Time Zone Wildstyle
Written-By – Afrika Bambaataa, Amad Henderson, Egan*
2.1 Bomb The Bass Bug Powder Dust
Written-By – Warfield*, Simenon*
6:45
2.2 Grandmaster Flash And The Furious Five* Pump Me Up
Written-By – James Avery, Robert Reed, Tony Fisher
2.3 The Charlatans How High
Written-By – Brookes*, M. Collins*, Blunt*, R. Collins*, Burgess*
2.4 Prodigy* Poison
Written-By – K. Palmer*, L. Howlett*
2.5 Janes Addiction* Been Caught Stealing
Written-By – David Navarro*, Eric Avery, Perry Farrell, Stephen Perkins
2.6 Tim Dog Featuring KRS One* I Get Wrecked
Featuring – KRS One*Lyrics By – L. Parker*, T. Blair*Music By – M Smith*, T Randolph*
3.1 Babe Ruth The Mexican
Written-By – Shacklock*
6:03
3.2 The B-Boys Rock The House
Written-By – V. Davis*
3.3 Chemical Brothers* (The Best Part Of) Breaking Up
Written-By – Simons*, Rowlands*
3.4 Word Of Mouth (2) King Kut
Written-By – D Pretlow*, D Miller*, E Fletcher*, R Cheese*
4.1 DJ Mink Hey Hey Can U Relate (Instrumental)
Written-By – Carruthers, Mink*, McDevitt (2)
7:53
4.2 Klf* What Time Is Love
Written-By – W Drummond*, J Cauty*
4.3 Frankie Bones Funky Acid Makossa
Written-By – Frankie 'Bones'*
4.4 Frankie Bones Shifted Off
Written-By – Frankie 'Bones'*
4.5 Frankie Bones And The Break Goes Again
Written-By – Frankie 'Bones'*
4.6 Meat Beat Manifesto Radio Babylon
Written-By – Jack Dangers
4.7 Herbie Hancock Rockit
Written-By – B Laswell*, H Hancock*, M Beinhorn*
4.8 Mark The 45 King* 900 Number
Written-By – Mark James (5)
4.9 Propeller Heads* Spybreak!
Written-By – Alex Gifford
4.10 Beastie Boys It's The New Style
Written-By – Horowitz*, Yauch*, Diamond*, Rubin*
5.1 Sex Pistols New York
Written-By – Matlock*, Rotten*, Cook*, Jones*
4:57
5.2 Fatboy Slim Punk To Funk
Written-By – Keith Mansfield, Norman Cook
5.3 Medicine* I'm Sick
Written-By – Liam May, Luke Ezra
6.1 D.S.t.* The Home Of Hip-Hop
Written-By – D. Showard*, T Johnson
5:49
6.2 JVC Force* Strong Island
Written-By – A. J. Woodson, C. Small*, B. Taylor*
6.3 Primal Scream Kowalski
Film Director [Dialogue] – Richard SarafianOther [Actor, Dialogue] – Cleavon J Little Living TrustProducer [Dialogue] – Norman SpencerWritten-By – Innes*, Gillespie*, Mounfield*, Duffy*, Young*Written-By [Dialogue] – Guillermo Cain
6.4 Beastie Boys Time To Get Ill
Written-By – Horowitz*, Yauch*, Diamond*, Rubin*
6.5 Barry White I'm Gonna Love You A Little More Baby
Written-By – Barry White
6.6 Public Enemy Public Enemy No. 1
Written-By – Carlton C. Ridenhour*, H. Shocklee*
6.7 JB's* Blow Your Head
Written-By – Fred Wesley, James Brown
6.8 T-La-Rock* Breakin' Bells
Written-By – Clearance Keaton, Kirk Khaleel
7.1 LL Cool J Get Down
Written-By – B. Ervin*, D. Pierce*, D. Simon*, J. T. Smith*
4:00
7.2 Digital Underground Humpty Dance
Written-By – B Collins*, E Humphrey*, G Clinton*, G Jacobs*, W Morrison*
7.3 Uptown (3) Dope On Plastic
Written-By – C J Moore*, D Ross*, R. Dacosta*
7.4 Cold Cut* More Beats & Pieces
Written-By – More*, Foakes*, Black*
8.1 London Funk Allstars Sure Shot
Written-By – Jason Carter*
8:41
8.2 West Street Mob Breakdance Electric Boogie
Written-By – Joey Robinson*, L Robinson Jr*
8.3 Hijack (2) Doomsday Of Rap
Written-By – R. Nwohia*, V. A. Mclean*
8.4 Renegade Soundwave Ozone Breakdown
Written-By – Renegade Soundwave
8.5 The Beginning Of The End Funky Nassau
Written-By – Munnings*, Fitzgerald*
8.6 The Jimmy Castor Bunch It's Just Begun
Written-By – Thomas*, Castor*, Pruitt*

Companies, etc.

Credits

Notes

Cover reads: Prodigy Present: The Dirtchamber Sessions Volume One.
Each CD track contains excerpts from several different tracks. The total track time is given on the first sub-track.
Comes packaged in a double-gatefold digipak case with a front pocket for the booklet.

Track 1.2: Mistitled as "Tonto's Release".
Track 3.3: Written on the release as 'Best Part Of Breaking Up'.
Track 4.1 Written on the release as 'Hey Can You Relate' in the liner notes and 'Hey Hey Can You Relate (Instrumental) in the copyright info.
Tracks 4.3, 4.4, 4.5: Artist written as 'Frankie Bones' in the liner notes and 'Bones Breaks' in the copyright info.
Track 4.7 Written on the release as 'Rokit'.
Track 4.9 Written on the release as 'Spy Break'.

Not listed Artists/Songs:
3.4: The break which runs from 5:45 up to the end of the track is a looped break from "Funky Music is the Thing" by Dynamic Corvettes.
Featured between track 4.7, 4.8 and 4.9: Portions from The Prodigy's "Smack My Bitch Up" and "Molotov Bitch".

Track 1.2 published by Big Life Music. (P) 1998 Bolshi Recordings. Licensed courtesy of Big Life.
Track 1.3 published by Music Of Life Publishing. (P) 1991 Music Of Life Ltd. Licensed courtesy of Music Of Life Ltd.
Track 1.4 published by M62/BMG Music Publishing Ltd/Copyright Control. (P) 1995 Virgin Records Ltd. Licensed courtesy of Virgin Records Ltd.
Track 1.5 published by Next Plateau Music (ASCAP)/Ultramagnetic Music (ASCAP). (P) 1988 Next Plateau Entertainment. Used by permission of Roadrunner Records.
Track 1.6 published by On The One Publishing. (P) 1988 Liberty (the copyright in this sound recording is owned by Liberty, a division of Capitol records Inc). Licensed courtesy of EMI Commercial Markets.
Track 1.7 published by Next Plateau Music (ASCAP)/Ultramagnetic Music (ASCAP). (P) 1988 Next Plateau Entertainment. Used by permission of Roadrunner Records.
Track 1.8 published by Chu Teh Music/UK: Copyright Control/Warner Chappell Music Ltd/Leosong Copyright Service Ltd/Copyright Control. (P) 1983 Celluoid Inc. Licensed courtesy of Lendway/Polygram Licensing Division.
Track 2.1 published by Cop Con/10 Soup. (P) 1994 Island Records Ltd. Licensed from Polygram Licensing Division on behalf of Island Records.
Track 2.2 published by UK: Island Music Ltd/Hugabut Music/Maxx Kidds Music/USA: Sugar Hill Music. (P) 1984 Sugar Hill Records Inc. Licensed courtesy of Castle Music Ltd/Rhino Entertainment Company.
Track 2.3 published by Warner Chappell Music Limited. (P) 1997 Beggars Banquet Records Limited. Licensed courtesy of Beggars Banquet Records/Universal Music.
Track 2.4 published by EMI Virgin Music Publishers Ltd. (P) 1995 XL-Recordings Ltd.
Track 2.5 published by EMI Virgin Music Limited. (P) 1997 Warner Bros Records Inc. (Licensed courtesy of Warner Special Projects).
Track 2.6 published by Tim Dog Music (BMI)/Zomba Enterprises Inc/BDP Music administered by Zomba Enterprises Inc/Super Star International Music (ASCAP)/Ultramagnetic Music (ASCAP). (P) 1993 Sony Music Entertainment. (Licensed courtesy of Sony Music Entertainment Inc).
Track 3.1 published by Carlin Music Corp. (P) 1972 EMI Records Ltd. (The copyright in this sound recording is owned by EMI Records Ltd). Licensed courtesy of EMI Commercial Markets.
Track 3.2 published by Vintertainment Publishing Co (Pisces Music Ltd). (P) 1983 Vintertainment Record Co. (Licensed courtesy of Vintertainment).
Track 3.3 published by MCA Music. (P) 1996 Virgin Records Ltd. Licensed courtesy of Virgin Records Ltd.
Track 3.4 published by Promuse Inc/Duke Bootee Music/BMI/UK: Warner Chappell Music Ltd. (P)1985 Arista Records Inc. (Licensed courtesy of BMG Special Marketing Europe/Arista Records Inc/BMG Entertainment International UK & Ireland).
Track 4.1 publishing: Copyright Control. (P) 1990 Warp Records Limited. (Licensed courtesy of Warp Records Limited).
Track 4.2 published by E.G. Music/Zoo-Warner Chappell Music. (P) 1988 KLF Communications. (Licensed courtesy of KLF Communications Ltd).
Track 4.3 publishing: Copyright Control. (P) 1988 Sonic Groove Records (N.Y.C.). (Licensed courtesy of Sonic Groove Records).
Track 4.4 publishing: Copyright Control. (P) 1988 Sonic Groove Records (N.Y.C.). (Licensed courtesy of Sonic Groove Records).
Track 4.5 publishing: Copyright Control. (P) 1988 Sonic Groove Records (N.Y.C.). (Licensed courtesy of Sonic Groove Records).
Track 4.6 published by Strictly Confidential. (P) 1990 Play It Again Sam. Licensed courtesy of Play It Again Sam Records and Nothing Records Limited.
Track 4.7 published by Hancock Music Company (BMI)/More Cut Music (BMI)/Bridge Of Sighs (BMI). (P) 1980 Sony Music Entertainment. (Licensed courtesy of Sony Music Entertainment Inc).
Track 4.8 published by Street Tuff Tunes. (P) 1992 Tuff City Records. (Licensed courtesy of Tuff City Records).
Track 4.9 published by Chrysalis Music. (P) 1997 Propellerheads. Licensed courtesy of Wall Of Sound/Dreamworks Records (under license from Universal Music Special Markets Inc). taken from the album 'Decksanddrumsandrockandroll'.
Track 4.10 published by Polygram Music Publishing Ltd/Island Music Ltd. (P) 1986 Def Jam Recordings. Licensed from Polygram Licensing Division. Available on the Def Jam album 'Licensed To Ill' (5273512).
Track 5.1 published by Stephen Philip Jones/Warner Chappell Music/Rotten Music Ltd. (P) 1992 Virgin Records Ltd. Licensed courtesy of Virgin Records Ltd/Warner Special Products.
Track 5.2 published by Polygram Music Publishing Ltd/K.P.M. Music Ltd. (P) 1996 Skint Records. (Licensed courtesy of Skint Records).
Track 5.3 published by Year Zero Music Ltd/Bucks Music Ltd. (P) 1997 Next Century Records c/o Bucks Music Ltd. (Licensed courtesy of Bucks Music Ltd).
Track 6.1 published by D Street Music (BMI)/Chu Teh Music (BMI). (P) 1985 Celluloid Inc. Licensed courtesy of Lendway.
Track 6.2 publishing: Copyright Control. (P) 1984 Big East Entertainment. Licensed courtesy of Sidewalk Music Inc.
Track 6.3 published by EMI Music/Complete Music/Sony Music. For USA: EMI Music Publishing Ltd c/o EMI Blackwood Music Inc/Complete Music Ltd PRS. Administered in USA by Incomplete Music Inc. c/o Lip Services BMI. (P) 1997 Creation Records Limited/Reprise Records Inc. Contains dialogue from "Vanishing Point" used courtesy of the Cleavon J Little Living Trust (Actor), Guillermo Cain (Writer), Richard Sarafian (Director), 20th Century Fox Productions and Norman Spencer (producer). Licensed courtesy of Creation Records Ltd/Sony Music Entertainment/Warner Special Products (Produced under licence from Warner Bros Records Inc). Taken from the Creation album "Vanishing Point".
Track 6.4 published by Polygram Music Publishing Ltd/Island Music Ltd. (P) 1986 Def Jam Recordings. Licensed from Polygram Licensing Division. Available on the Def Jam album 'Licensed To Ill' (5273512).
Track 6.5 published by Warner Chappell Music Ltd. (P) 1973 Polygram Records Inc (NY). Licensed from Polygram Licensing Division.
Track 6.6 published by Published by Bucks Music Ltd/Island Music Ltd. (P) 1987 Def Jam Recordings. Licensed from Polygram Licensing Division. Available on the Def Jam album 'Yo! Bum Rush The Show' (5273572).
Track 6.7 published by Intersong Music Ltd. (P) 1974 Polygram Records Inc. Licensed from Polygram Licensing Division.
Track 6.8 published by Hit And Hold Music Inc (ASCAP). (P) 1993 Warlock Records Inc. (Licensed courtesy of Warlock Records Inc).
Track 7.1 published by Island Music Ltd. (P) 1987 Def Jam Recordings. Licensed courtesy of Polygram Licensing Division. Available on the Def Jam album 'Bigger And Deffer' (5273532).
Track 7.2 published by Zomba/GLG (ASCAP)/Bridgeport/Polygram/Island (BMI). (P) 1989 Tommy Boy Music. Incorporates a sample of 'Let's Play House'. Digital Underground appears courtesy of Tommy Boy Music.
Track 7.3 published by T-Boy Music (ASCAP)/T-Girl Music (BMI). (P) 1989 Tommy Boy Music. Uptown appears courtesy of Tommy Boy Music.
Track 7.4 published by Just Isn't Music. (P) 1997 Ninja Tune. (Licensed courtesy of Ninja Tune).
Track 8.1 written for Blapps! Published by Just Isn't Music. (P) 1995 Ninja Tune. (Licensed courtesy of Ninja Tune).
Track 8.2 published by UK: IQ Music Ltd/USA: Regent Music. (P) 1983 Sugar Hill Records Inc. Licensed courtesy of Castle Music Ltd/Rhino Entertainment Company.
Track 8.3 publishing: Copyright Control. (P) 1988 Reservoir Records. (Licensed courtesy of Reservoir Records).
Track 8.4 published by Mute Song Ltd. (P) 1988 Mute Records Limited. Licensed courtesy of Mute Records Ltd. Taken from the Mute album 'RSW 1987-1995'.
Track 8.5 published by Windswept Pacific Songs BMI/UK: Kassner, Edward Music Co Ltd. (P) 1971 WEA International Inc. Licensed courtesy of Warner Special Products (Produced under licence from Atlantic Recording Corp).
Track 8.6 published by Jimpire Music/BMI/UK: Minder Music Ltd. (P) 1972 BMG Entertainment. Licensed courtesy of BKG Special Marketing Europe/RCA Records Inc/BMG Entertainment International UK & Ireland Ltd.

The inspirations: Double Dee And Steinski, Coldcut, Big Apple Productions, Flash On The Wheels Of Steel, DJ Cheese, Cash Money, Cutmaster Swift, Mixmaster MIke, Scratch Piklz and the Artists on this record.

Extra thanx goes out to: John Lydon, Jimmy Cauty, Bill Drummond, Mary Anne Hobbs, Martin James, Kathy (Beggars), R To The R.

This compilation ℗ & © XL-Recordings Ltd 1999. XL-Recordings, 17-19 Alma Rd, London SW18 1AA.
Tel. 0181 870 7511 Fax. 0181 871 4178

E-mail: xl@xl-recordings.com XL Website: www.xl-recordings.com Prodigy Website: www.prodigy.co.uk
Midi Management / Mike Champion Fax: +44 (0)1279 759 069.

Made in England.

Barcode and Other Identifiers

  • Barcode (Text): 6 34904 01282 3
  • Barcode (String): 634904012823
  • Matrix / Runout: D3333 XLCD 128 [Nimbus logo]
  • Mastering SID Code: IFPI L123
  • Mould SID Code (Variant 1): ifpi 2303
  • Mould SID Code (Variant 2): ifpi 2317
  • Mould SID Code (Variant 3): ifpi 2311
  • Mould SID Code (Variant 4): ifpi 2337
  • Mould SID Code (Variant 5): IFPI 2887

Other Versions (5 of 76) View All

Cat# Artist Title (Format) Label Cat# Country Year
XLCD 128, 900.1999.20 Prodigy* The Dirtchamber Sessions Volume One(CD, Mixed) XL Recordings, Pias Benelux XLCD 128, 900.1999.20 Benelux 1999 Sell This Version
KV004 Prodigy* The Dirtchamber Sessions Volume One(CD, P/Mixed, Unofficial) Not On Label (The Prodigy) KV004 Russia 1999 Sell This Version
XLCD 128 Prodigy* The Dirtchamber Sessions Volume One(CD, Mixed, RE) Soyuz Music, XL Recordings XLCD 128 Russia 2005 Sell This Version
XLCD 128 Prodigy* The Dirtchamber Sessions Volume One(CD, Comp, Mixed, Promo, Dig) XL Recordings, Beggars Banquet US XLCD 128 USA & Canada 1999 Sell This Version
none The Prodigy 100% Hits More Then The Prodigy Volume 4(Cass, Mixed, Unofficial) Music Records (4) none Russia 1999 Sell This Version

Recommendations

Reviews Show All 30 Reviews

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AlexYYY

AlexYYY

March 13, 2017
anyone can id the beat on poison? been looking for ages. the one that starts playing before been caught stealing
DOCTOR_DIATRIBE23

DOCTOR_DIATRIBE23

December 14, 2016
Is this a studio mix or DJ mix....??? I.e. Was this produced in the studio with over dubs and sampes OR was this actually mixed on two turntables..? It seems too tight a mix for a turntable mix.... But I agree with everyone else..Great track selection and very well thought out!.. ;)
kamenov

kamenov

July 11, 2016
Imagine this pressed on vinyl, now that would be somethin'.
RanzaOne

RanzaOne

May 7, 2016

Picture Liam in the mix, throwing records over his shoulders in a rapid fire machine gun fashion and you're there. Quick cuts, great flow and a superb selection of tracks from the Sex Pistols to Brixton's Hijack, this is all about the breaks. A tight mix of classic and obscure tracks. If you take your beats seriously or just getting into diggin', you can't go wrong with this mix. Top Notch.
michto56

michto56

March 25, 2016
Where is the volume 2 ? ? ? ? ?
srcosmo

srcosmo

September 9, 2015
Say what you will about The Prodigy — I think they went off the rails after "Jilted" — but this mix session is a b-boy's dream. Liam Howlett has selected the best breaks, basslines and chorus from a few dozen classic tracks and blended them up here for your listening pleasure.

If you're looking for "Fat of the Land" style big-beat electronica, you won't find it here. What you will find is a gold mine of Howlett's influences from the '70s to the '90s, stuff that goes much deeper than "Firestarter".

Back when this album was released, I was a middle schooler with pretty narrow tastes living in rural Canada. "Dirtchamber" introduced me to a world of old school hip-hop, funk and electro music that I had no idea existed. Where else would I have come across Kool Keith and the Ultramagnetic MCs? Or Uptown's east-coast classic "Dope on Plastic", or the ridiculously hard Tim Dog/Krs-One crossover "I Get Wrecked"? And I wouldn't have been caught dead listening to Barry White prior to Howlett's clever segue out of the Beastie Boys.

It doesn't hurt that the mixing is flawless, and for the most part everything flows quite well. Choruses are joined by funky breaks, and new tracks are introduced with judicious use of looping, scratches and effects. Even the Sex Pistols and Jane's Addiction fit in, somehow.

Give this mix a listen: it expanded my horizons and maybe it'll do the same for you.
kamikaze_deadboy

kamikaze_deadboy

April 29, 2015
edited over 3 years ago
I neglected adding this to my collection for years until i picked it up a bargain shop a few year back- and its brilliant! to it is a kind of secondary version of Breezeblock set (some stuff where omitted, such as the genius mixing of Dynamix's give the DJ a break with the Beatles) Liam splices some of the best known hip hop, breaks, punk rock, bigbeat, some early british electronica, funk and a ton of other stuff to boot. from this record i discovered one of some of my most loved tracks which i love to DJ which is Babe Ruth's The Mexican and more recently, The Funky Nassau.

ideal for long journeys and just general listening. I honestly hope he will one do a volume 2, as i imagined his music taste has matured far further afield and he has new outlook. until then, there's always those radio rips of his classic rave days.. 10/10!
kiplargely

kiplargely

December 15, 2010
edited over 7 years ago

First picked this up on cassette a few months after it came out and have just stumbled upon another copy on CD. It has always been in my list of top Mixtapes, along with Freddy Fresh's B Boys Stance. An excellent showcase of tracks that influenced Liam when he was "cuttin' up breaks and makin' no mistakes", in traditional Hip Hop style..... no rules what can and can't be put together-if the breaks and beats are hard and funky and make you go crazy, then they're in. If somebody else picks up on that and feels the same vibe for the duration of the mix, then the DJ/ Producer has achieved even more.

Myself, and many others have been captivated by this mix of Punk, Funk, Hip Hop, Electro, Rock, Breakcore, House, Techno, Breakbeats, Prog Rock. Especially nice to hear tracks such as DST's Home of Hip Hop and Jane's Addiction's Been Caught Stealing on the same Mixtape.

Furthermore, it was nice to be introduced to tracks that I'd not heard before. Although I was already a fan of early hip hop, electro, classic funk and rock breaks, breakbeat, Frankie Bones etc, there were still tracks that had slipped me by that appeared on this sensational mix (Extra value there)!!!

A well executed mix that must have taken a very long time to organise and a lot of patience to carry out.
northregent

northregent

September 10, 2010
not a fan of this at all. liam obviously has a fetish for other genres. too much hiphop and funk and not enough techno/big beat on this comp.
barticle

barticle

March 3, 2005
edited over 13 years ago
Obviously 'Radio Babylon' is by MBM but the bassline was copied by the Future Sound of London on 'Papua New Guinea' (and they took some of the vocals from 'Dawn Of The Iconoclast' by Dead Can Dance too).

Actually, thinking of Liam Howlett's influences again and listening to the full version of 'Radio Babylon', it sounds like The Prodigy used the fuzzy bassline sound for 'Break & Enter' and the dry breakbeat loop for 'Charly'!