The ProdigyAlways Outnumbered, Never Outgunned

Label:XL Recordings – XLCD 183.
CD, Album
Style:Breakbeat, Electro, Big Beat


Bass [Stab Creation]Matt Robertson
VocalsJ. Lewis*, Maxim
3Memphis Bells
Written-ByN. McLellan*
4Get Up Get Off
Co-producerDave Pemberton
Vocals, Lyrics ByJ. Lewis*, Shahin Badar, Twista
Backing VocalsHannah Robinson
BassL. Howlett*
GuitarScott Donaldson
Vocals, Lyrics ByJ. Lewis*
Written-ByJ. Webb*
6Wake Up Call
FluteJim Hunt
Vocals [Additional]Hannah Robinson, Louise Boone
Vocals, Lyrics ByKool Keith
7Action Radar
GuitarL. Howlett*, Mike Horner
Vocals [Additional]Louise Boone
Vocals, Lyrics ByPaul 'Dirtcandy' Jackson
8Medusa's Path
Written-ByN. McLellan*
GuitarMatt Robertson
Programmed By [Beats]L. Howlett*
Vocals [Additional]Louise Boone
Written-ByR. Van Leeuven*
10You'll Be Under My Wheels
GuitarJim Davies, L. Howlett*
VocalsKool Keith
Written-ByN. McLellan*
11The Way It Is
Producer [Recreation Work]Matt Robertson, Rinse*
Vocals [Additional]Louise Boone, Neil McLellan
Written-ByR. Temperton*
12Shoot Down
BassN. Gallagher*
Bass, GuitarL. Howlett*
GuitarMike Horner
Producer [Additional]Jan 'Stan' Kybert*
VocalsLiam Gallagher

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, version 1): IFPI RZ14
  • Mould SID Code (Variant 1, version 2): IFPI RZ21
  • Mould SID Code (Variant 1, version 3): IFPI RZ17
  • 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 134)

View All
Title (Format)LabelCat#CountryYear
Always Outnumbered, Never Outgunned (3×12", Album, Trifold Sleeve)XL RecordingsXLLP 183UK2004
Recently Edited
Always Outnumbered, Never Outgunned (CD, Album)XL Recordings5178032000Australia2004
Always Outnumbered, Never Outgunned (CD, Album, Enhanced)Maverick47990-2US2004
Always Outnumbered, Never Outgunned (CD, Album, Limited Edition)Sony Music RecordsSRCP 373Japan2004
Recently Edited
Always Outnumbered, Never Outgunned (CD, Album)Universal3001985Italy2004



  • Psychofrakulator's avatar
    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!
    • IMissTheOldMusic's avatar
      Edited one year ago
      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.
      • earthstink's avatar
        banging, nasty slithery masterpiece. ahead of its time. bye !
        • SeeDoubleYou's avatar
          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.
          • Simon_Dragnes's avatar
            Edited 4 years ago
            Spitfire - A bit boring after the release of the 05 mix on the single. 6/10
            Girls - One of their very best songs after 2000. Still sounds totally fresh. Very 80's electro. 10/10
            Memphis Bells - Sounds a bit like a b-side, like Molotov Bitch. They scrabbed better tracks. 6/10
            Get Up Get Off - This song had so much potential, but the choice of beats, make the track fall to the ground. Nice samples and synths though. 5/10
            Hotride - A fine groovy track, 70's/Tarantino's Death Proof style. Still would love to hear it with a break beat. 6/10
            Wake Up Call - Starts out promising, but like Get Up Get Off, falls a bit to the ground, when the beats joins in. Definitly deserved a more danceable beat. It has it's moments. 6/10
            Action Radar - A punk inspired track, just done electro. Slightly annoying track 4/10
            Medusa's Path - I really like this arabian electro tune. It's quite dark and has a scary vibe. 8/10
            Phoenix - Most people really hates this track. Yes, it does not sound very much like The Prodigy, but it has insane sound effects. I always wondered why they called this track Phoenix, when it's basicly a Liam H remix of Shocking Blue's ''Love buzz''. They should just named it that, Love Buzz (Prodigy Remix) 8/10
            You'll Be Under My Wheels - One of the worst songs ever made by the Prodigy. It does have a couple of nice effects though, but not worth much. 2/10
            The Way It Is - After the release of the Live Remix of this track, it very much sounds like a demo. After returning to the album version after 15 years, it's kinda nice to hear the scrabbed down album version. It is definitly not as kicking as the Live Remix, but a nice chill track. A bit of Jilted vibe. 7/10
            Shoot Down - Have no clue why this version ended up on the album. Trigger was the better track, and a couple of demos between Trigger and Shoot Down has appeared. I would have though that the track ''The Gun'' (from Peermusic vol 2) with the Gun Reprise breakdown, would have been a much better choice. 4/10.

            It's not a Prodigy album, but an experimental Liam Howlett album. For a Prodigy album I give it 4/10. For a Liam H album, I give it a 8/10.
            • curtisstephen's avatar
              I’m not a die hard fan but this is my favourite Prodigy album. I realise I’m in the minority. You like what you like I guess. Give it a listen and see if you like it too
              • gizmonix's avatar
                Edited 4 years 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.
                • Lukaas18's avatar
                  Edited 4 years 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.
                  • BigBeat25's avatar
                    Edited one year ago
                    The Prodigy's previous LP "The Fat of the Land" was so successful (and diabolically effective) that it dragged its members around the world for three years to play Firestarter, Smack My Bitch Up, Breathe and the likes. It is a landmark of electronic music and will forever be.
                    Washed and exhausted, the band witnessed the departure of Leeroy Thornhill and officially went on for a break. For their next prouction, expectations were high, and rightly so.

                    For the recording of this album, Howlett returned back to his roots with the use of the Propellerhead Reason program installed on his Macintosh laptop, all while being in his cramped bedroom.
                    To avoid being too lonely, he asked a bunch of renowned guests to collaborate with him on almost every song. "Medusa's Path" is the only track to rely entirely on keyboards and samples from the trippy Iranian "Elahaye Naz" insturmental.

                    Too bad the sounds kicking around 1:50 are too discordant and loud, making me stop stomping my feet from disappointment.
                    "Spitfire" is loud too but you instantly recognize the Prodigy vibes. Decent, but 5 minutes seems a bit too much in my opinion, 3 or 4 minutes would've been enough.
                    "Girls" got delicious vintage funk and electro vibes, while "Hotride" has a more punk spirit. However, both feature catchy female vocals and arguably the best ones of this album. For the male ones, my favorite are Liam Gallagher's in "Shoot Down".

                    About the lesser known tunes completing this album, I find them really good for the most part. I especially enjoy the "Need For Speed" atmosphere of "You'll Be Under My Wheels". However, I slightly prefer the version available on the second CD of their "1990-2005" singles compilation.
                    "Wake Up Call" brings back the "Spitfire" energy, yet I prefer the former's rhythm. Plus you can't beat Kool Keith's vocals.
                    "Action Radar" is my second favorite after "You'll Be Under My Wheels". The vocals and guitars remind me of britpop productions, and they blend just fine with Howlett's choices of arrangements in this particular choon.

                    Arguably the most unusual Prodigy LP album to date, and certainly the one that creates the most debate.

                    For a more exhaustive review, I stumbled on an article on the website describing the album's recording process, and it is a real treat to read. Here's the link :
                    • yacooob_'s avatar
                      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


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