Prodigy

Always Outnumbered, Never Outgunned
(Maverick)

As Lollapalooza was dying in 1997, English electronic frat boys Prodigy were a temporary sensation benefiting from the Future Now! world that was becoming trendy and viable. Instead of picking up the torch and running with it, like Radiohead, Prodigy copied the ideas of many, making none of them its own.

The group's hit single, "Smack My Bitch Up," became famous mostly because of the controversy spelled out in the title. Claims that the phrase was an English expression of excitement did little to deter critics of the band, such as dance music fans and women who had been hospitalized by abusive partners.

A second single, "Firestarter," pushed the group to further momentary fame because of the colorful presence of Keith Flint. You'd know him if you saw him: He's a cross between Johnny Rotten and the evil Gremlin in "Gremlins."



Flint is nowhere to be found on Always Outnumbered, Never Outgunned, but Juliette Lewis is here. Lewis is still best known for her acting career and not her musical abilities. Also here is Liam Gallagher of Oasis, like the Prodigy another Englishman who was making much better music 10 years ago. Another special guest is the rhythm of Michael Jackson’s song "Thriller", recast here as "The Way It Is" and lacking all of the melody and character of the original. On a 13-song album, the only interesting, original moment is a 10-second splash of keyboards in the middle of the 12th song, "Shoot Down".

Dance music doesn’t need to be generic or faceless. Just look at – oh, and listen to – Bjork, or Felix Da Housecat, or Le Tigre. Prodigy aren't dull and uninspiring because it's a bunch of white men; they're just dull and uninspired.

Dolly Parton

Live and Well
(Sugar Hill)

Despite many wonderful songs and a position as an inspiration to many women and men in music, a discussion of Dolly Parton often leads straight to a discussion of her appearance. Unlike many women who downplay their sexuality in the music-making process, Parton has always spent plenty of time making sure that the audience knows exactly what she looks like.

The simultaneous release of a live album and DVD, both called "Live and Well," make this clear. The last few years have found her retreating from the pop-based country-music scene and returning to an acoustic-based bluegrass world where songs are more important than image. As talented at marketing as she can be at songwriting, this time Parton has figured out how to get it both ways.



The album, recorded at her Dollywood theme park with an uncredited group of backing musicians, is more like a one-person show on Broadway (or in Branson) than a regular concert. Or, perhaps, more like a political campaign. She tells stories and jokes that have been recycled on countless talk shows and Bob Hope specials. She talks about poor relatives living out in the country and salutes the drag queens who "look more like me than I do."

Ultimately, it doesn't quite add up. Her voice remains a natural wonder, but her songs lack the depth and hard-earned wisdom of Loretta Lynn's. Unless you need a new recording of "9 to 5" to play at an office party, get the DVD if you're still a big fan. Otherwise, she has plenty of older recordings more worthy of recommendation.