There was two proposed titles for this second album that never got used. They were Music For The Cool Young Juvenile and Music For Joyriders.

MUSIC FOR THE JILTED GENERATION
With Jilted Generation, I basically just wanted to forget about all the formulas of the dance music. In the dance you've got lots of different categories: jungle, techno, whatever. And each category has their rules, as it were, like you should use certain sounds, you shouldn't use guitars, you shouldn't use slow beats, all this crap. I just threw that out the window. I thought, "No, I really don't care about whether people slag this record off or not. I'm just gonna write something how I want to say it. " And that's what I did. And that's basically what came out.

For me there's still tracks there I wasn't happy with. I wasn't happy to put the more techno tracks on there like "Full Throttle" and "One Love" and stuff like that. It took quite a long time to produce the album. And I felt that it was sort of an end to something we were doing before and the start of something new. It wasn't just a whole new album with all new direction. It was important to still have some tracks that the old Prodigy fans could relate to still, you know? So with tracks like "Their Law" which were a bit more extreme and "Poison" and stuff like that, it was kind of like a new direction and "Voodoo People" and stuff like that. It was like forget about all the rules of dance music and here's something new that sort of captures something along with the rock side as well, just bringing that through a bit. We didn't want to change into a rock band. I think about the same time as we left the rave scene, we started to play like festivals and college dates and stuff, just stuff with other bands, guitar bands. And just being around that environment just inspired me to harden up the sound. It was the environment I was in.
-Liam Howlett

What is actually the Narcotic Suite?
You may not know what Liam thought of when he was writing them. Here is a quote from him: ”All of those tracks came from images in my head. For 3 Kilos, I pictured a load of laid back people lying around in a smoky room; Skylined had an uplifting, rush feel to it; and Claustrophobic Sting was a paranoid, depths-of-hell track, probably the most forbidding music I’ve ever written.”