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Flashback: The Prodigy – Always Outnumbered, Never Outgunned

After a seven-year wait during which their leader Liam Howlett had ditched a whole album’s worth of material, disowned their disastrous 2002 self-parodying comeback single, “Baby Got A Temper,” and relieved Keith Flint and Maxim of their duties, The Prodigy were always going to struggle to live up to the ground-breaking success of 1997’s US & UK number one, The Fat Of The Land.

So it was no surprise when their fourth studio album, Always Outnumbered, Never Outgunned, belly-flopped on its release in 2004, peaking at No.62 in the States and selling barely a fraction of its predecessor in their homeland of the UK. However, time has been kind, and eight years on, it’s clear that this album should never have been consigned to the bargain bins so quickly.

A solo album in all but name, Always Outnumbered… may have lost some of the thrill factor that Maxim & Flint provided, but by exploring everything from Bollywood-tinged R&B (“Phoenix”) to gothic Gary Numan-inspired synth-punk (“Action Radar”), Howlett proved that there was more to The Prodigy than their cartoonish child-scaring frontmen.

There’s still plenty of full-throttle mayhem. “Get Up Get Off” showcases Twista’s rapid-fire delivery against a backdrop of punishing breakbeats and speaker-destroying bass wobbles, Juliette Lewis’ snarling punk vocals provide the perfect foil for the blistering fusion of clattering hip-hop beats and stinging guitar riffs displayed on the suitably-titled opener “Spitfire,” and “Memphis Bells” pre-dates the dubstep explosion with its spacious rhythms, industrial synths and Princess Superstar’s suggestive tones.

But the ventures into newer and less abrasive territory are just as convincing. “The Way It Is” somehow manages to breathe new life into Michael Jackson’s often-sampled “Thriller” with its energetic robotic hip-hop makeover. Lead single “Girls” is a surprisingly slinky slice of glitchy electro made even all the more seductive by The Ping Pong Bitches’ sultry cooing vocals, while “Medusa’s Path” is worthy of gracing the big screen with its swirling cinematic strings and Middle Eastern chants.

Even so, this album is by no means a masterpiece. The lyrics are utterly generic nonsense, the techno-rock of “Wake Up Call” sounds like a leftover from their early raver days, and the less said about Liam Gallagher’s tone-deaf contribution to closer “Shoot Down” the better.

But whilst Always Outgunned, Never Outnumbered wasn’t The Prodigy album that people wanted, it’s perhaps the album that The Prodigy, at that moment in time, had no option but to make.

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About the Author


Jon O'Brien's love of music began as a six-year-old after becoming bizarrely transfixed with the 80s poodle rock of Heart, Europe and Def Leppard. Switching his attention to pop icon Michael Jackson, he then became addicted to the UK Top 40, becoming a rather pointless walking Wikipedia of chart positions in the process. Driving his poor neighbors up the wall while learning to play the drums as a teen, he toyed with the idea of becoming a musician, but in studying Journalism at the University of Central Lancashire, he realized heÕd rather write about music than perform it. Since then, he's written thousands of reviews and biographies on everything from bubblegum pop to death metal, but electronica remains his main passion, with everything from Aphex Twin to Zero 7 in his spare room-consuming record collection. Jon resides in northwest England near Liverpool.

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Posted in: Electronic Music


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