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 106) 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 18 Reviews

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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 10 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 10 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 11 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 11 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.


December 18, 2005
edited over 11 years ago
The music in this album is not made by the Prodigy that I used to love, instead it sounds like a mixture of Papa Roach, DJ Shadow, Adam Freeland and White Stripes, really bad blended... You can notice that the music is simply lacking any innovation.

Liam Howlett, and many will disagree with this affirmation IS NOT The Prodigy. AONO is purely a product of Howlett's personal musical appreciation. What if Metallica changes the band members, all but James Hetfield, and then works on a new album? What if the same thing happens with Radiohead / Thom Yorke, or Coldplay / Chris Martin ? Disaster is the answer.

Shortly after the fat of the land, the official Prodigy's website stated that "THE Prodigy" (the old prodigy of course) was dead and that, if you wanted info about that band, the one that made Voodoo People, Charly, Jericho and No Good, you had to go somewhere else.

This example of unjustified iconoclasty really left me thinking about the fate of the New and "Overhauled" Prodigy. "Baby's got a temper" really gave me a relief to think that their next album could be good. But many years after this is the result...

I find totally disrespectful the exclusion of baby's got a temper and the other songs product of the original Progigy members collaboration. Those would have been the highlights of the album, but I guess It's easier to dump some colleagues than to pay musical royalties.

As you may have guessed, this record would never be part of my collection.


October 14, 2005
edited over 12 years ago

Now, one year away from its initial release date, AONO still polarizes as much as it did in 2004. I must admit that, despite my initial disappointment about it, it slowly grew on me, and although many of the tracks just seem to consist of two or three loops, there is some cool vibe about them.

So this may not be the best album by The Prodigy, but it's by far not as bad as most people try to talk it. Well, except for the last track, maybe...

October 14, 2005
edited over 12 years ago
Apparently this is what came out of Mr Howlett's adventure with software only productions.

It seems to show in places too. Early Prodg. stuff was cool, FOTL was a benchmark IMHO, (cannot pick a fav from that album). This (AONO) doesn't even pretend to be a sequel, as it were. It sounds much less raw, and whilst I really like it, there have been few times I have listened to it from start to finish. "You'll Be Under My Wheels", Hotride" and "The Way It" are tops, the sound is very nice but not a Fat beater.


October 13, 2005
edited over 12 years ago

I believe this album is quite great!
The Prodigy actually follows the path of modern dancemusic on that peticular time
If we listen to Experience (their first album), you could hear some kind of rave.
(begin 90's -> Rave)
Their 2nd album, Music For The Jilted Generation was more towards techno and breaks.
(mid 90's -> Techno)
Fat Of The Land is purely based on clubmusic, what was popular in the late 90's
(late 90's -> Club)
Now Always Outnumbered, Never Outgunned, it's samles are directed towards electro and rock. The samples that are recently used in lots of releases. Electro, electro-pop, etc...
So you could actually say, The Prodigy is a commercial band. But their samples are more underground.