DJ Shadow Album: “Endtroducing... (Deluxe Edition) [PA] [Slipcase]”

This record has been immortalized in the past few years as the crate-diggers and backpackers bible. Every single year, with another list marking the best of the past 10 years, 50 years, and maybe even millenium, Endtroducing has become a musical canon. Whether this allegation is factually true, it has become a canon for an entire generation of people who bought turntables instead of guitars. And rightly so: This disc is THE essential record for sound collages. The rampant sampling of the eighties reached the nineties with such cynicism that with the release of this record changed an entire generation's idea of what a song is supposed to be like. For the youth of today, the music they listen to is inevitably tinged with the influences of this record. DJ Shadow had taken sampling to a point where only keyboards could replicate the intricacy in which he used records.

That being said, Endtroducing stands the test of time, firmly implanting itself in popular cultures lexicon of important records. Endtroducing has far exceeded even the largest expectations: perfect production and album arrangement greeted by overwhelmingly positive reviews and an ever-growing fan base. Some people consider the record an emotional masterpiece, others an aural marthon, and some even think of it as turntablism at its finest. Quite frankly, it is truly the first musically post-modern piece of music in the recording art industry. While certainly neither the first to sample nor investing in a large amount of samples, the direction, focus, and articulation of a generation can be surmised within the record. It is the death and rebirth of the recording industry all at once. Josh Davis captured it perfectly: funk becomes ominous, break-beats become convulsive, instruments are used sparingly, and scratching becomes welcomed. It is a record that cannot be overlooked and cannot be forgotten. Now commemorated in this deluxe edition, we finall get to look at Shadow from the lens by which he viewed the parts that made up his record: antiques destined to die unless someone revives them.

The second disk of redos and remixes is like butter on toast. It may not be the most essential thing to have yet it grants further insight into the scope and variety this record can/would represent. From the decidedly dancable overhaul of "Organ Donor" to Cut Chemist's mayhem of "Number Song," the variety of perspectives and directions the album could have taken is immediately apparent. It is the kaleidascope from which to view the world of Endtroducing, granting variety and intrigue to the many pieces that make up this grand collective.

Coupled with a live performance at the end of the disc, Endtroducing is finally given the proper platform which it deserves. For fans who have all the vinyl, it can be a redux and a compilation by which to listen to some of the most defining music of the decade. For the unassuming viewer, this record is immediately accessible and mandatory. You're cutting yourself short by missing out on this Deluxe Edition.

From the opening sample of "Building Steam With a Grain of Salt" where a voice is heard saying "Producing..." you know you are listening to an outstanding piece of work. In order to better understand this, you have to position yourself at the time this album came out.

You have to realize Trip Hop was already in full fledge: Massive Attack and Portishead had already come out with their own thing, but DJ Shadow came with a different proposal in 1996 when he produced 'Endtroducing...'. Through the magic of samples, he blended in a way many have tried to copy, yet no one yet matched, genres such as rock, soul, funk, ambient, and jazz, into a final product that transcends time. If you need further proof of that, think how long it's been since this album came out (1996) as you are reading this, sit back, listen to it and be amazed, as so many have been amazed to this day.

After listening to 'Endtroducing...' almost daily for three weeks now, turning back and thinking of acts such as Fatboy Slim almost feels awkward, considering his sample-based 'Better Living Through Chemistry' came out almost a full year after Shadow's debut. Granted that everyone has a place in music, DJ Shadow's genius with sampling work simply is above and beyond, making this not only his breakthrough, but also one of the best albums ever.

Other favorite tracks: "Changeling", "Untitled" and the grandieuse "Mutual Slump". If you want to take a dip into an evolved form of his work, check out his side project, U.N.K.L.E., in particular 'Psyence Fiction'.

(This is Part One of a Two-Part Review.)

In November 1996, I was reeling from a summer in hell. After leaving a corporate-affiliated job and trying to figure out heads or tails about my future, I stumbled upon becoming an actor until I was able to start to make ends meet again.

On the closing night of a play I was in, I killed time in a Pasadena record store and stumbled upon a motherlode of music that would not only help cure me of post-play depression but would also help to make a painless transition into my current ( and more sober) state today. They were two used albums by trombonist Julian Priester & Mose Allison and the CD debut of DJ Shadow known as "Endtroducing".

Listening ot this album at 3:00 the next morning (after all the end-of-play festivities and well-wishings), I knew that the investment was a good one.

Mo' Wax, though being a great label, really has not put out many notable long-players that really stand the test of time. This has stood up very well five years later. In fact, this really is one of the very best albums that not only helps to maintain the constantly struggling vinyl culture but shows turntablism as a true art.

"Endtroducing" also stands alone as being one of the most emotional albums of this genre. There are so many textures and surprises spread throughout this masterwork, that you realize that this is more than just a white b-boy with amazing skills, but a modern day artist who knows about what makes a good groove connect with the listener. The man's use of samples, breakbeats and scratchings tell an awful lot about the history of music and it's 'revolutionary' transtions & expressions.

From the Steve Reich-influenced "Building Steam With A Grain Of Salt", to the excellent fusion piece "Changeling" to the atmospheric & beat-heavy "Midnight In A Perfect World", Shadow has mastered music that will not only haunt you for years to come but show how much an artist was able to stretch way beyond the then (1996) limitations of commercial hip-hop, smooth jazz and flashy techno-noodling.

Five years later, "Endotroducing" still remains in my collection, still creating that inner-magic and making time stand still. This could have been an emotional journey and introspection into the rights & wrongs of that cursed year. Instead, it makes me surer of the future and proud to still appreciate in the soul-deep that great music truly can create.

And that would only come full circle, five years later, with Shadow, Mo' Wax and David Axelrod.

(This piece is continued with the Mo' Wax David Axelrod CD review.)

Rating: A+

While many bands and artists strive for utter perfection, fitting into the mainstream, or just plain and simple making one song on an album that becomes a chart topper that helps sell millions of copies of an album, DJ Shadow takes the laid back path letting his albums build steam like a grain of salt, and pick up followers along the way, as each album invites even the most astray and wary listener to delve into the magic and pure bliss that his audial landscapes permeate. By all means and shapes, this is one of the greatest albums released in the 90's, if not all time, due not only to the fact that Shadow basically took sampling, made it a science, showed everyone what they could really do with this artform, and then let his work speak for itself, the work of a true artist. From the beginning of the album, to its bittersweet conclusion, we are granted a brief trip through the imagination and mini-movies that Josh Davis has commited to record, as each track stands on its own two feet and each song blends together so well that you would think this was his fifth or forth album, just because of the overall production and clarity that each track permeates. The deluxe edition only strengthens this already A+ album, with a great introduction from the upcoming 33 1/3 book coming out in August which is dedicated to this highly regarded and fantastic album. In addition Shadow comments on each track on the second disc giving us brief insight into te demoes, and preproduction attempts at the earlier versions of the songs on the album. This is Shadows best album in my honest opinion, although truly you have to get all of his masterpieces to truly appreciate his ever evolving style of music, whether The Private Press, PreEmptive Strike, Endtroducing, or Unkle is concerned, all are classics in their own right. Listen to this album in the depths of your darkest room and let your imagination wander, I dare you to say that this is not a classic album in the truest sense, those that don't know about Shadow will never know what they are missing out on; too bad for them.

This album already has it's place in the annals of electronic music. DJ Shadow knows his stuff, and it showed IMMEDIATLEY with the original release of this debut album.

With the deluxe addition, there's a new disc of remixes and B-sides and demos. For any real Shadow fans, it's a must have. There's a fine remix of Bulding Steam With A Grain Of Salt, the song many consider to be the best from Endtroducing. There's also a great Gift of Gab remix of Midnight In A Perfect World, with some nice lyric poetry. And at the end of the disc is a twelve minute mini set of Shadow live, which is hot as hell.

If you've never heard of the Shadow, do yourself a favor and pick up this deluxe edition - it's oh so worth it.

Producing. . .