Сан саны көп, бірақ қарулы емесбіз

Always Outnumbered, Never Outgunned is the fourth studio album by English electronic music group the Prodigy. It was first released on 11 August 2004 in Japan, on 23 August 2004 in the United Kingdom by XL Recordings, and on 15 September 2004 in the United States by Maverick Records. Recorded almost entirely using Propellerhead Reason and mastered with Pro Tools, the album contrasts with the group's previous releases, and features a larger use of vocals than their previous album The Fat of the Land (1997). Keith Flint and Maxim Reality do not provide any contribution to the official record, which leaves Liam Howlett as the sole band member to do so for a first and last time in group's history. The title is a play on the name of the Walter Mosley novel Always Outnumbered, Always Outgunned. Despite achieving commercial success upon release, the album is among the band's lowest sellers. As a result, XL and Maverick dropped the group after the release of the compilation album Their Law: The Singles 1990–2005.

In 1996, the Prodigy rose to fame outside their native UK with "Firestarter", the lead single from The Fat of the Land, which was released in 1997 and topped several charts, including the Billboard 200. The band ended the tour that promoted the album, taking a break from touring and recording and writing material for their fourth studio album. To coincide with the departure of Leeroy Thornhill during the period, the band shut down their official website for over two years, with its home page replaced with a logo of the band and the text "We will be back" set against a black background, leading to rumours that the band went on hiatus. The website was relaunched prior to releasing a new single in 2002. The single released in that year, and one of the songs intended to be featured on the album was "Baby's Got a Temper". Generating controversy upon release for the lyrics by Keith Flint, which heavily focused on the misuse of the drug rohypnol, the song was met with mostly negative reviews from critics. Liam Howlett has since disowned the song. Despite its apparently low popularity, the song reached the top five of the Canadian Singles Chart and UK Singles Chart. It was intended to be released as a single from the then upcoming album. Eventually, the group went in another direction, and the plan to include the song on the album was cancelled. Because it was left a non album single, in 2008, the band's official website's discography classified it as an EP.

Pre production was done at Mews Recording Studios, while recording began in September 1998 and ended in April 2004. Unlike their predecessors, which featured contributions from the entire band, with Keith Flint only appearing on the group's third album at the time, Liam Howlett recorded the album mostly by himself in similar vein to Experience (1992), using the Propellerhead Reason program installed on his Macintosh laptop. Moet Mastered, Damian Taylor, and Emily Lazar mastered the album via Pro Tools on the same computer. Although the production process started in 1998, Howlett disliked the sound of the new album. He initially took a break in 2000, to "go out with my mates and get drunk". He returned to Essex in 2001 to resume work on the record, but after six songs were written, he hired producer Neil McLellan, moving to a house after four months and then returning to the original studio:

My studio is crammed with equipment, but I ended up feeling I was being overcome by it all—it was just too much. I used to go to bed every night thinking 'Tomorrow, I'm going to write the tune. Tomorrow is going to be the day', but nothing ever happened. Eventually Neil McLellan pointed out that we'd been in the studio for four months without having anything to show for it. [ ] Nat (his wife and All Saints member) was doing her own record so we weren't spending a lot of time together, but there were always dogs to stroke and videos to watch and gardens to walk 'round, so I didn't ever feel like I was at work—I was too laid back. [ ] Neil [McLellan] said we had to get out, get back to London. I knew I physically couldn't sit in my room any more, and for the first time in my life I listened to someone else and realised I actually needed help. It wasn't that I needed help with the writing, just that I needed help finding the right headspace to get into the right frame of mind. I wanted to write a good album—one I was happy with—but to do that I knew I'd have to jerk myself out of [the] situation I was in and start again. Howlett purchased and brought a laptop, a copy of the Reason program and selected a "Thermionic Culture Phoenix valve compressor and Culture Vulture distortion unit, a Korg Micro Keyboard, a Manley Laboratories valve EQ and a 1970s Korg MS20 analogue keyboard". He would write the songs in "his bed", and then create them using the equipment. After the recording was finished, Taylor, Mastered and Lazar mixed the album with Pro Tools, completing development on the album.

Always Outnumbered, Never Outgunned is a shift in style that differs from previous releases. Although it was recorded heavily using Propellerhead Reason, the album features contributions from various musicians. The album opens with "Spitfire", named after and a tribute to the World War II plane of the same name. The song, which features Juliette Lewis on backing vocals, was featured on the soundtrack of the 2005 horror film House of Wax. "Girls" begins with a sample from "Style of the Street" by Broken Glass. When the beats and bass enter, its structure changes from that of an industrial hip hop song to excessive distortion and noise. The vocal samples used in this track are from D. Train song "You're the One for Me". "Hotride", released on 1 November 2004 in the United Kingdom, was not eligible to enter the UK charts as the CD was released in extended play format with three additional B sides, and so did not conform to chart regulations. "Spitfire" was released on 4 April 2005 as the album's third and final single. "Memphis Bells", released on 28 June 2004, was exclusively available online as a digital download via a website promoting the album, in a limited edition of 5,000 copies. Each copy was a combination of customer chosen instrumental, rhythmic, and melodic options, of which 39,600 choices were available. Five mixes were sold in three file formats, WAV, two audio mixes in MP3, and a 5.1 DTS surround sound mix and all were free of digital rights management. The experiment was a success, with all copies being sold out in over 36 hours, despite server problems from the demand.

Always Outnumbered, Never Outgunned debuted at the top spot on the UK Albums Chart in its first week, and performed well in Australia, reaching number five on the ARIA Album Chart. However, with three singles, the album did not have any major hits worldwide. A limited edition of 5,000 copies of the album was released, sporting a black, inverted cover variant and no other extras. In Japan and the United States, the album contained a reworked version of "Girls", entitled "More Girls", which features Maxim Reality on vocals. It was promoted by a promotional double A sided 12" vinyl of "Girls" and "Memphis Bells", released in very limited numbers on 21 June 2004, as well as a tour that lasted over two years.

The album was released to mixed reviews, despite being commercially successful. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 53, based on 23 reviews. In contrast, Pitchfork, as well as Rolling Stone, Q, The Guardian, AllMusic and several other publications were more critical, stating that the album sounded like an underdeveloped recording. In February 2012, French electronic duo Justice included it in the NME list of "100 Great Albums You've Never Heard".