The Prodigy – Always Outnumbered, Never Outgunned

Mint copies of this are priceless. If you've got one, hold on to it. Absolute gold! 💛

Hopefully they do a 20th Anniversary next year of this Album & bring this out on Vinyl Record(maybe Colour Vinyl x 3) :P I got the CD but the Vinyl is to expensive & seems rare :(

The album that broke Liam Howlett.

I can imagine how proud he was, that he delivered one hell of a banger that wasn't simply FAT OF THE LAND PART 2, even going so far to discard his regular band members (although he kept them around for live shows) and replace them with guests as varied as Princess Superstar, Kool Keith, Juliette Lewis and even Noel Gallagher (who at this point had already worked with The Chemical Brothers and Goldie and therefore wasn't a stranger to the more alternative realms of dance music).

And then the fans hated it!

Now don't get me wrong. I liked the follow-up albums. They are good listens, but they often sound like The Prodigy on autopilot. No real innovation, just what you expect from The Prodigy. That's okay. Howlett and co found their style and rolled with it, but after the one-two punch of JILTED and FAT, which pushed dance music's boundaries and somehow managed to appeal to drugged up rave teens and headbanging metalheads while cracking the worldwide Top 40 pop charts without losing the band's indie cred, plus OUTNUMBERED's proof that you can sound like The Prodigy without sounding like The Prodigy, they were a bit disappointing.

Oh well, I do hope that all the disappointed fans will give this album another chance. It's almost 20 years old and still feels fresh!

I remember hearing the first singles and being completely disappointed thinking where is The Fat of the Land 2.0? Oh man was I wrong. This album was way ahead of its time, holding up way better than everything Liam Howlett has written prior and after its release. Looking at it now the abstract nature of it and the purposefully digital sound were a turning point for bedroom producers, inspiring generations to come. Everything down to the artwork is coherent and consistent, which unfortunately, never stuck with the band, who later succumbed to the fans, trying to imitate themselves. This was the band’s final LP to sound like The Prodigy - Always reinventing themselves, never repeating themselves. Alas, it came too early and was simply misunderstood by the mainstream. The triple LP itself is a work of art. What followed it was greed.

This was my first vinyl record. I could not believe vinyl could sound that perfect. Music on Vinyl never disappoints. I was lucky to buy it very cheap in those days. I think it was 2016. Cool album with weird (in a good way) mastering.

I was lucky enough to get this somewhat cheap a few years ago. Whilst a good album, it's nowhere near deserving of these prices

This album was one of few landmarks for 2000s big beat and electro, despite it being pretty bad for the most part. This distorted and hard sound from 02-04 and onward was echoed and rippled into mid-late 2000s electronic music.
After some time, I warmed up to the artwork. It's basically pop-art meets Orwell in Miami. Pretty cool.

Overall though, this album didn't age well ON TOP of its already existing hatred by many. There's really only 3 good tracks (imo Girls, Hotride, and The Way It Is).
I understand this is where the minority of fans who love this album come to congregate. Absolutely nothing wrong with that, but lets face it, this is barely a Prodigy album. I do believe if it were someone else who did it, it would have fared better. But to paraphrase what someone already said below, this album is more of a "Liam Howlett experimenting" type than a legitimate The Prodigy album. For that, it fell on deaf ears and became a blacksheep album for the group. It does have it's treats, but it's shaken around in a jar of other treats which look good but taste like crap and lost potential.

banging, nasty slithery masterpiece. ahead of its time. bye !

There was a enough space at the end of each side so I customised my copy by dubbing Baby’s Got A Temper (Instrumental) onto side A and Wind It Up (Bonus Beats) onto side B.

Always Bangin' Hardly Hangin'. The Prodigy were the pioneers in the early dance scenes but failed to make a comback with 'Babys Got A Temper' in 2002, so a perhaps frustrated Liam Howlett, who was always the core of the groups music production, changed the musical direction The Prodigy was heading on without the vocals of Maxim and Keith Flint.

The new sound (at the time) in the album "Always Outnumbered Never Outgunned" is a better and more modern clash of breakbeat/nu-skool breaks, hip hop, and dirty electro. The first track release (and No.1 on the album) set the mark for the style which The Prodigy was taking, defining its broken beat pattern and rock influence harder than any other tracks around making it a strong and unique sound which can be instantly paired with Prodigys slamming in-your-face approach.

Throughout the album it just gets better and better, with the likes of Kool Keith, Princess Superstar, Juliette Lewis, and Liam Gallagher adding to the tracks. The pace stays fast, the sound stays fresh, and the heaviness keeps coming, there's only one or two tracks that don't seem to stand out with the rest of the album, overall, a defining moment for The Prodigy, reinvented, which may put off hardcore fans, but still packing a punch.