The Prodigy ‎– Always Outnumbered, Never Outgunned

XL Recordings ‎– XLCD 183
CD, Album

Tracklist Hide Credits

1 Spitfire
Bass [Stab Creation] – Matt RobertsonVocals – J. Lewis*, Maxim
2 Girls
Vocals – The Magnificent Ping Pong Bitches*Written-By – F. Cooke*, Hubert Barclay Eaves III*, J. Martinez (2), James Williams*
3 Memphis Bells
Vocals – Princess SuperstarWritten-By – N. McLellan*
4 Get Up Get Off
Co-producer – Dave PembertonVocals, Lyrics By – J. Lewis*, Shahin Badar, Twista
5 Hotride
Backing Vocals – Hannah RobinsonBass – L. Howlett*Guitar – Scott DonaldsonVocals, Lyrics By – J. Lewis*Written-By – J. Webb*
6 Wake Up Call
Flute – Jim HuntVocals [Additional] – Hannah Robinson, Louise BooneVocals, Lyrics By – Kool Keith
7 Action Radar
Guitar – L. Howlett*, Mike HornerVocals [Additional] – Louise BooneVocals, Lyrics By – Paul 'Dirtcandy' Jackson
8 Medusa's Path
Written-By – N. McLellan*
9 Phoenix
Guitar – Matt RobertsonProgrammed By [Beats] – L. Howlett*Vocals [Additional] – Louise BooneWritten-By – R. Van Leeuven*
10 You'll Be Under My Wheels
Guitar – Jim Davies, L. Howlett*Vocals – Kool KeithWritten-By – N. McLellan*
11 The Way It Is
Producer [Recreation Work] – Matt Robertson, Rinse*Vocals [Additional] – Louise Boone, Neil McLellanWritten-By – R. Temperton*
12 Shoot Down
Bass – N. Gallagher*Bass, Guitar – L. Howlett*Guitar – Mike HornerProducer [Additional] – Jan 'Stan' Kybert*Vocals – Liam GallagherWritten-By – G. Stephens*, J. Carter*, L. Gallagher*, N. McLellan*

Companies, etc.



Published by EMI Virgin Music Ltd.
Pre-production at the Mews Recording Studios.
Mixed at Whitfield Street Studios.
Mastered at The Lodge, New York City.
J. Lewis published by Rebel Rouser Music (BMI).
Kool Keith published by Keith's Reverend Tom Music / Bycycle Music / Notting Hill Music.
Paul 'Dirtcandy' Jackson is published by Leaf Songs Ltd.
℗ 2004 XL Recordings Ltd. © 2004 XL Recordings Ltd.
The copyright in this sound recording is owned by XL Recordings Ltd.

Track 2: "Girls" contains elements from "Style Of The Street" performed by Broken Glass, licenced courtesy of Abyss Music Ltd., written by J. Martinez / F. Cooke, published by Abyss Music Ltd, and elements from "You're The One For Me" written by Hubert Barclay Eaves III / James Williams, published by Zella Music (BMI) and Blue Image Music (PRO) (and as administrator for Diesel Music (BMI)), both divisions of Unidisc Music Inc. Used by permission. All rights reserved.

Track 4: Dave Pemberton from Strongroom. Twista appears courtesy of the Atlantic Recording Corporation.

Track 5: "Hot Ride" contains elements from "Up Up And Away" written and composed by Jim Webb. Published by EMI Sosaha Music Inc / Jonathan Three Music Co. Used by permission. All rights reserved.

Track 8: "Medusa's Path" contains elements from "Elahaye Naz" composed by Rooholah Khaleghi and performed by Gholamhossein Banan, the copyright in the composition and sound recording of which is owned by Iran Seda Art and Cultural Company. Used by permission. All rights reserved. This title includes a sample from "Plastic Dreams (Hohner Retro Mix)" performed by Jaydee. Licenced courtesy of Antler-Subway Records, division EMI Music BV. Written by Robin Albers, published by TBM Publishing / EMI Music Publishing Holland BV. Used by permission. All rights reserved.

Track 9: "Phoenix" contains elements from "Love Buzz" performed by Shocking Blue, licenced courtesy of Red Bullet Productions B.V., written by Robert Van Leeuwen and published by Nada Music BV. Used by permission. All rights reserved.

Track 11: "The Way It Is" based upon "Thriller" written by Rod Temperton and published by Rodsongs / Almo Music Corp (ASCAP). Used by permission. All rights reserved.
Sample recreated at Rinse Productions.

Track 12: "Shoot Down" contains elements from "My World Fell Down", performed by Sagittarius under licence from Sony Music. Written by John Carter / Geoff Stephens. Published by Carter-Lewis Music Pub. Co. Ltd. Used by permission. All rights reserved. Liam Gallagher appears courtesy of Sony Music Entertainment (UK) Ltd.

There are two different editions of this album with different artworks - white/cream (standard) and black (limited edition).

Barcode and Other Identifiers

  • Barcode (Text): 6 34904 01832 0
  • Barcode (String): 634904018320
  • Matrix / Runout (Variant 1): || CD || XLCD183 || 04283-9271||
  • Mastering SID Code (Variant 1): IFPI LU31
  • Mould SID Code (Variant 1): IFPI RZ14
  • Matrix / Runout (Variant 2): || CD || XLCD183 || 04303-9441||
  • Mastering SID Code (Variant 2): IFPI LU31
  • Mould SID Code (Variant 2 Version 1): IFPI R721
  • Mould SID Code (Variant 2 Version 2): IFPI RZ14
  • Mould SID Code (Variant 2 Version 3): IFPI RZ17

Other Versions (5 of 113) View All

Cat# Artist Title (Format) Label Cat# Country Year
XLCD 183. The Prodigy Always Outnumbered, Never Outgunned(CD, Album, Unofficial) XL Recordings (2) XLCD 183. Russia 2004 Sell This Version
HN208CDX The Prodigy Always Outnumbered, Never Outgunned(CD, Album, Enh, Ltd, Sli) High Note Records HN208CDX Taiwan 2004 Sell This Version
EKPC-1153, 7243 866947 4 4, XLCD 183. The Prodigy Always Outnumbered, Never Outgunned(Cass, Album) EMI (Korea), EMI (Korea), XL Recordings EKPC-1153, 7243 866947 4 4, XLCD 183. South Korea 2004 Sell This Version
MR 818-2, XLCD 183. Prodigy* Always Outnumbered, Never Outgunned(CD, Album) Moon Records (2), XL Recordings, Містерія Звука Україна, Містерія Звука Україна, Драйв, Драйв MR 818-2, XLCD 183. Ukraine 2004 Sell This Version
none The Prodigy Always Outnumbered, Never Outgunned(CDr, Album, Promo) XL Recordings none UK 2004 Sell This Version


Reviews Show All 23 Reviews

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December 2, 2018
edited 17 days ago

I know I'm in the minority, but I like this album more than Fat of the Land. I never liked Fat of the Land. This felt like a return to Experience and Jilted, just not as good as either of those (which is to be expected as those are perfect albums). It could be tighter, could be better, and does sound a bit like it was composed with only soft synths on a computer instead of using analog gear as they are known to sound; but I enjoy the tracks and appreciate the lack of vocals on this one. It's pleasant, just not great and not the caliber of what we expect from Liam.

In a way, this album was needed to cleanse the pallet and bring The Prodigy into the next phase of their career more solidly. I'm very glad they eventually released Invaders Must Die!, as that's a great great album and, so far, the high watermark of Electro Punk Band form of The Prodigy.


September 28, 2018
edited 10 days ago

This has to be a bit of a weak album in my opinion, although I did like a few tracks including the first three.


February 25, 2018
edited 9 months ago

In terms of electronic music, this CD is excellent. However, in Prodigy standards, it does not reach the GOAT "The Fat Of The Land".

The beats & hip-hop tempos are still here, and that the most important when you hear the Braintree trio.

Moreover, as a diehard big beat lover, I can't mark 5 stars to this because there's a bit too much cringey moments for me.
The most uncomfortable is that horrible noise starting at the middle of "Medusa's Path". If it wouldn't have been present, it would be the best track out there.
Other than that, I don't like this original version of "You'll Be Under My Wheels". There's a better one added on the second CD of their "1990-2005" singles compilation (an ABSOLUTE MUST-HAVE !!).
At last, I think "Spitfire" should have been 1 or 2 minutes shorter, or shoulh have purposed a variety of beats.

The rest of the CD is very enjoyable, especially "Girls", "Hotride" and "Shoot Down". That's mainly for this reason that "AONO" should be owned, even if I will obviously be less played than "Music For The Jilted Generation".

In order to finish, the rest of their discography (including "The Day Is My Enemy") is highly recommended.


January 21, 2018
All the artwork released for this era is amazing, I love the concept and design as well as the music - my favourite album of theirs


September 19, 2017

Spitfire - Boring after the release of the 05 mix
Girls - The only song that sounds like The Prodigy
Memphis Bells - Sounds like a b-side, like Molotov Bitch
Get Up Get Off - Weak beats on a what could have been a great track
Hotride - Okay track, but not very Prodigy
Wake Up Call - Starts out promising, but ruined by a weak beat
Action Radar - Annoying track
Medusa's Path - I like this one
Phoenix - I like this aswell, but not very Prodigy
You'll Be Under My Wheels - One of the worst songs ever made
The Way It Is - Sucks after he put out the Live Remix, which is amazing!
Shoot Down - I still have not forgiven Liam for trashing Trigger for this BS.


September 14, 2010
L. Howlett took a 7 year hiatus just to make an average album. anybody who honestly thinks this is some amazing 5 star album has to be some crazy Prodigy fan who lives and dies by them.


December 21, 2006
edited over 12 years ago
What bothers me is that most tracks are based on awesome samples/riffs/beats and then just get really repetitive. The tracks from Exp. and MftJG slapped you in the face every minute with a different sample, melody, or whatnot. Those tracks were alive! Every album has a different style, maybe you can call it evolving but in between the Breathe single and FotL I kinda had the feeling Liam was heading this way, musically.
Tracks on AONO get you amped the first 30 secs, then it gets boring fast, some tracks are plain annoying (the samples in Action Radar are awful). Nevertheless the majority of the tracks are nice and some tracks are great even (Spitfire, Medusa's Path, The Way It). Though why his whiny girlfriend's vocals have to be in every friggin song is beyond me. I have to agree it certainly is Liam's worst album, but imo. most reactions posted here are over the top.


December 2, 2006
edited over 12 years ago
Can't say anything that hasn't already been said, but what surprises me is the level of narrow-mindedness in those bashing the record. Why would you expect your favorite artist to put out multiple albums of material that sound like the last several? Granted, this latest record is leaps and bounds different in terms of production. As far as the sonic quality that Howlett is known for, you are out of your MIND if you feel it is not on this album. 1990s Rave/breakbeat is long but dead. Times have moved more towards this new "electroclash" sort of sound and so be it. I have enjoyed every Prodigy LP for what its worth. They have forever placed their stamp on the scene and we all know this. This record is merely one end of the Prodigy spectrum (so to speak). Appreciate the change in the direction.


October 29, 2006
edited over 12 years ago
All the people who ever complained about techno being repetitive have a point with this album. I've listened it through only twice and the problem with the sequencing is, basically, that you have the same loop played eight times instead of the adequate four. Those loops, however, are quite good, but still cannot properly carry a full-fledged song. The previous Prodigy material was nowhere near as laggy as this, so something must have happened. The thrift market, where I got this record from also had "Experience" in their shelves, which is partly the reason why I regret not leaving this record there.


September 30, 2006
edited over 12 years ago
The whole album has a main problem, Liam caught up a great sound or riff and basically lay down as a track. So it's soo repetitive, can't go nowhere. They neither could be called tracks nor just demos... they're layers or sometimes just a riff, but there are one or two enjoyable compare to the others like spitfire, girls and hotride with rubbish lyrics.