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Always Outnumbered, Never Outgunned


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Audio CD, September 14, 2004
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Amazon's The Prodigy Store

Music

Image of album by The Prodigy

Photos

Image of The Prodigy

Videos

Invaders Must Die

Biography

The claustrophobic confines of a west London attic hideaway. Walls, covered in heavyweight purple curtains seem to bring the dimly lit room's parameters collapsing in as a huge computer screen’s wallpaper radiates the green glow of long hot summer. Its pastoral image of feudal tranquility is the room’s only window on the world. Look closer and there's a twist in this ... Read more in Amazon's The Prodigy Store

Visit Amazon's The Prodigy Store
for 63 albums, 19 photos, videos, and 1 full streaming song.

Product Details

  • Audio CD (September 14, 2004)
  • Number of Discs: 1
  • Label: Maverick
  • ASIN: B0002M5T16
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (131 customer reviews)
  • Amazon Best Sellers Rank: #195,281 in Music (See Top 100 in Music)

1. Spitfire
2. Girls
3. Memphis Bells
4. Get Up Get Off
5. Hot Ride
6. Wake Up Call
7. Action Radar
8. Medusa's Path
9. Phoenix
10. You'll Be Under My Wheels
11. The Way It Is
12. Shootdown
13. More Girls

Editorial Reviews

Product Description

This is an album of raw energy where the beats are the stars, and the voices just samples in Liam's sonic armoury. The guests whose vocals have undergone Howlett's subverted cut up techniques include Liam Gallagher, Juliette Lewis, Kool Keith, Princess Superstar, Ping Pong Bitches, Twista, Shahin Bada (better known as the spine tingling chanteuse from 'Smack My Bitch Up') and unknown lo-fi singer songwriter Paul Jackson from Dirt Candy.

Amazon.com

Masters of reinvention, rave stalwarts Prodigy have undergone another remarkable facelift for their fourth album, Always Outnumbered, Never Outgunned. For band leader Liam Howlett, this mutation was less about ambitious experimentation and more the result of crucial damage control: the band's disastrous 2002 comeback campaign, spearheaded by "Baby's Got a Temper" found the band stagnant and on the verge of self-parody. Howlett's response was to scrap the sessions, hunker down with a laptop and hammer out an album that held spontaneity as a virtue. And while the old touchstones--the propulsive breakbeats of old-skool hip-hop, the brooding menace of punk-rock and acid-house--are all here sporting a fresh chrome gleam, they're joined by new influences: everything from crunk hip-hop to Aphex Twin's "Windowlicker" bubbles beneath the surface of "Girls." Maxim and Keith Flint are absent, replaced by a bizarre roll call of stars--Liam Gallagher, Juliette Lewis, Twista--and obscurities…anyone remember the Ping Pong Bitches? Not that it matters: this is Howlett's album, and whether he's rewiring Shocking Blue's "Love Buzz" as Middle Eastern-tinged acid techno on "Phoenix" or clashing with Kool Keith on "Wake Up Call," he sounds back on top of his game. --Louis Pattison

Customer Reviews

"Music for the Jilted Generation" is a milestone in techno music. "The Fat of the Land" is not a bad album.
From the abyss
Someone here before made a good point about the previous 3 albums having catchy tracks, while this CD isn't very catchy at all.
P. Dizzle
I mean, this sounds like a track that could have come out on Garbage's 2.0) ANyways, buy this album, it's that good!
Damian Gunn

Most Helpful Customer Reviews

20 of 23 people found the following review helpful By Justin T. Schmidt on February 21, 2006
Format: Audio CD
Mainly because lots of people want "Fat of the Land". People need to realize that getting another "Fat of the Land" would be just that. The same album, same songs...it would basically just be like every other rock album out there, same guitars, same vocals, same of everything. Yeah this isn't a "rock" album, but others could argue that it stands twice as high on the hill then any of the other mainstream crap that comes outta the record label poopshoot nowdays. This album does exactly what Liam Howllet said it would do. It goes back to the roots of the Prodigy, bringing back the big and loud beats that "Music for the Jilted Generation" brought us. It goes back to a lot of the instrumental and sprinkled vocals we used to get from them. It doesn't have Keith Flint or Maxim, but then again THEY weren't "The Prodigy". They brought the added intensity to the live shows and in "Fat of the Land" the demented vocals that we all know. Keith and Maxim are fun to listen to of course, but it seemed to be more about them and not a lot about what the music was really doing. It's time we got to hear some new blood on a Prodigy album for once. This release is gonna catch a lot of debree from the Keith and Maxim fans, but they're still in the group. They were originally the dancers of the group, not the vocalists. But this album gets back to what Liam did best, pounding the crap out of your ears and making you scream for more raw eletronic mayhem. And he succeeds in everyway. I can't wait for the new albums that will be produced sooner or later. The Prodigy still has balls to kick the (...) outta you.
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8 of 9 people found the following review helpful By Damian Gunn on April 4, 2006
Format: Audio CD
Starting off strong with the indian beats that make anything cool, 'Spitfire' is a brilliant single and an excelent way to sell this album. It sounds like a track that could have been on 'Fat of the Land' and since that is their BEST album it only makes sense that any likeness to it would sell a record. But it doesn't end there. Another favorite is 'Memphis Bells' which uses the 'bells' perfectly to create a masterpiece gone arry. The guest stars are a perfect choice, from Juliette Lewis on 'Hot Ride' and Twista (my personal favorite) spitting fury on 'Get Up Get Off'. The ode to Michael Jacksons 'Thriller' is apparent on 'The Way it Is' but Prodigy manages to make something new and different out of it, not just recycling it but acually reimagining it. 'Phoenix' is another standout track that takes advantage of the indian vibe and 'Action Radar's "a little action is all i need" will get the mood right (and is it just me or does she sound like Shirley Manson? I mean, this sounds like a track that could have come out on Garbage's 2.0) ANyways, buy this album, it's that good!
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6 of 7 people found the following review helpful By Philip on January 5, 2006
Format: Audio CD
I think people underrate this cd a lot. I've been listening to Prodigy for about a year (mainly The Fat Of The Land and Experience) and I finally stumbled upon this CD. I'm definitely more of a fan of The Fat Of The Land and hardly listen to his other stuff, but once this came around I had another to add to my list of favorite CDs. It's all a little more repetetive than The Fat Of The Land but the style and feel is all still there, which is what I enjoy most about this CD. It is different, but still has the same feel of what I'd call his greatest album, The Fat Of The Land.

I give it 4 stars because it takes a few listens to really get into it and because comparatively, it'd be hard to match that of The Fat Of The Land. So if you enjoyed that, you will enjoy this.
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3 of 3 people found the following review helpful By Andrew Ellington VINE VOICE on July 2, 2010
Format: Audio CD
I'm a huge fan of Prodigy. I just love that whole techno rave industrial vibe, and while I'm no aficionado, I must say that I soak it up willingly. That said, this offering left me rather cold. It seems somewhat lazy at times, a little uneven, awkward even and even when it hits it lacks the consistency of some of their precious efforts. They layer a few tracks with originality (even if the songs don't fully follow through with their initial punch) but overall the album comes off feeling incomplete.

The album opens with the energetic `Spitfire', a song that packs a wallop musically (that beat is instantly infectious) but never really goes anywhere. That is an issue I have with the bulk of this album. It packs an initial punch but then fades into redundancy and wasted potential. `Medusas Path' is another one. Musically, it is one of my favorite beats on the album, but the three-minute time span almost feels doubled by the time it is over. It just doesn't go anywhere. In a rave setting, this would be ideal, but listening to this over your stereo it comes off lacking. `Phoenix' is slightly better (thanks to the vocals, which are distinct of not a tad underwhelming in retrospect) but it lacks a memorable factor I was craving. `Memphis Beat' has some interesting layers of musicality woven into it, I just wish they had pushed it a little further.

`Get Up Get Off' benefits from liquid fire vocals by Twista, but it comes off feeling very dated.

I kind of found the whole `Thriller' rip off feel of `The Way It' to be a tad overly cheesy and unsuccessful. They should have really `owned' it if they were going to go this route. Instead it feels a tad too timid and unexpressive. `Wake Up Call' is just obnoxious with no real pay off. It's messy.
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