| Endtroducing..... | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | September 16, 1996 (1996-09-16) | |||
| Recorded | 1994–1996 | |||
| Studio | The Glue Factory (San Francisco) | |||
| Genre | ||||
| Length | 63:23 | |||
| Label | Mo' Wax | |||
| Producer | DJ Shadow | |||
| DJ Shadow chronology | ||||
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| Singles from Endtroducing..... | ||||
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Endtroducing..... is the debutstudio album by American music producerDJ Shadow, released on September 16, 1996, byMo' Wax. It is aninstrumental hip hop work composed almost entirely ofsamples from vinyl records. DJ Shadow producedEndtroducing over two years, using anAkai MPC60sampler and little other equipment. He edited and layered samples to create new tracks of varying moods and tempos.
In the United Kingdom, where DJ Shadow had already established himself as a rising act,Endtroducing received praise from music journalists at the time of its release, and reached the top 20 of theUK Albums Chart. It wascertified gold by theBritish Phonographic Industry. Mo' Wax issued four singles from the album, including the chart hits "Midnight in a Perfect World" and "Stem". It took considerably longer forEndtroducing to find success in the United States. After promoting the album and returning to his hometown ofDavis, California, DJ Shadow devoted his time to creating new music. During this period, interest inEndtroducing began to build among the American music press, and it peaked at number 37 on the USBillboardHeatseekers Albums chart.
Endtroducing was ranked highly on various lists of the best albums of 1996, and has been acclaimed by critics as one of the greatest albums of the 1990s. It is considered a landmark recording in instrumental hip hop, with DJ Shadow's sampling techniques and arrangements leaving a lasting influence. In 2020,Rolling Stone magazine rankedEndtroducing 329th onits list of the 500 greatest albums of all time.
As a high school student, DJ Shadow experimented with creating music fromsamples using afour-track recorder,[1] inspired by sample-based music such asIt Takes a Nation of Millions to Hold Us Back (1988) by thehip hop groupPublic Enemy.[2] He began his music career in 1989 as a disc jockey for theUniversity of California, Davis campus radio stationKDVS.[3] His KDVS work impressedA&R representative Dave "Funken" Klein, who signed him to theHollywood Basic label to produce music and remixes.[2] DJ Shadow's output for Hollywood Basic, including the 1993 single "Entropy" and his work with theSoleSides crew, brought him to the attention of English musicianJames Lavelle, who signed DJ Shadow to hisMo' Wax label.[4]
DJ Shadow's first two singles for Mo' Wax, "In/Flux" (1993) and "Lost and Found (S.F.L.)" (1994), utilized samples from "used-bin" vinyl records, blending elements of hip hop,funk,soul,jazz,rock, andambient music.[5] The singles were acclaimed by the British music press, and soon DJ Shadow and other Mo' Wax artists came to be viewed as leading practitioners of a nascent genre that the press termed "trip hop"[6][7] – a name coined byMixmag journalist Andy Pemberton in June 1994 to describe "In/Flux" and similar tracks being played in London clubs.[8][9] In the summer of 1994, DJ Shadow started producing his first album.[10] He completed around half of the record, but Mo' Wax opted to instead issue the finished music as a single – "What Does Your Soul Look Like" – the following year.[10][11] As a result, DJ Shadow began work on his debut album anew.[10] He was intent on capturing the same feel of his three Mo' Wax singles, and chose the titleEndtroducing..... for the album as "it signified the fourth and final chapter in a series of pieces that I was doing for Mo' Wax with a certain sound, a certain tone, a certain atmosphere."[12]
DJ Shadow began production onEndtroducing in 1994 in his California apartment, before moving to the Glue Factory, the San Francisco home studio of his colleagueDan the Automator.[13] Shadow strove to create an entirely sample-based album.[2] His setup was minimal, with only three main pieces of equipment: anAkai MPC60sampler, aTechnics SL-1200turntable and anAlesis ADAT tape recorder.[2] He used the MPC60 for almost all composition.[14] DJ Shadow bought it in 1992 at the suggestion ofDJ Stretch Armstrong, who recommended it as a more advanced alternative to the "industry standard" sampler at the time, theE-mu SP-1200; according to DJ Shadow, the SP-1200 "had been around for like four years, the sound was well established, and it had some real audio limitations in terms of thebit rate and stuff".[14]
DJ Shadow sampled vinyl albums and singles accumulated from his trips to Rare Records, a record shop in his nativeSacramento, where he spent several hours each day searching for music.[15] His routine is depicted in the 2001 documentary filmScratch.[16] TheEndtroducing album cover is a photograph taken at Rare Records byB Plus, showing producerChief Xcel and rapperLyrics Born (the latter wearing a wig), who like DJ Shadow were members of the SoleSides collective.[15][17][18] ABB Records founder Beni B (wearing a baseball cap) is also seen in the full version of the photograph, which appears in the album's liner notes.[17]
Endtroducing samples music of various genres, including jazz, funk, andpsychedelia, as well as films and interviews.[19] DJ Shadowprogrammed,chopped, and layered samples to create tracks.[20] He opted to sample more obscure selections, making it a rule to avoid sampling popular material.[2] Though he also used samples of prominent artists such asBjörk andMetallica,[21] DJ Shadow said that "if I use something obvious, it's usually only to break my own rules."[2] Minor vocal contributions were provided by Lyrics Born and another SoleSides member, rapperGift of Gab,[22] as well as DJ Shadow's then-girlfriend Lisa Haugen.[23] He finished recordingEndtroducing in early 1996.[10]
DJ Shadow describes his albums as "really varied", and said ofEndtroducing: "I feel like 'Organ Donor' sounds nothing like 'The Number Song' which sounds nothing like 'Midnight' and on and on."[25] He said he was often depressed during the production of the album and that his "feelings of self-doubt and self-esteem come through in the music."[26][27]
Endtroducing is opened by "Best Foot Forward", asound collage of recordscratches and hip hop vocal samples.[24] "Building Steam with a Grain of Salt" is built around alooped piano line sampled from Jeremy Storch's "I Feel a New Shadow",[28] with various other musical elements entering throughout the track, including samples of an interview with drummer George Marsh,[28] a women's choir, bassfills, electronically altered drum kicks, and funk guitar.[19][29] "The Number Song" uses multiple drumbreaks and vocal samples of count-offs.[30] "Changeling" deviates from the previous uptempo tracks, incorporatingnew-age sounds and gradually building toward a "sublimely spacey"coda.[24][31] It segues into the first of three "transmission" interludes placed throughout the album, each featuring a sample from the 1987John Carpenter filmPrince of Darkness.[32] "What Does Your Soul Look Like (Part 4)" layers wordless chants over a looped bass groove, creating whatPaste's Mark Richardson describes as an "uneasy"techno soundscape.[33] Track six is an untitled interlude featuring a man reciting a monologue about a woman and her sisters over a funk backing.[34]
The two-part "Stem/Long Stem" begins the second half ofEndtroducing. John Bush ofAllMusic called the track a "suite of often melancholy music, a piece that consistently refuses to be pigeonholed into any musical style."[35] The first half, "Stem", sets strings against a recurring sequence of erratic drum beats, before giving way to the more ethereal "Long Stem",[24] followed by "Transmission 2". "Mutual Slump" features "dreamy" female spoken vocals and prominent samples of Björk's "Possibly Maybe".[23][36] The sparse "Organ Donor" juxtaposes an organ solo and a drum break.[24] "Why Hip Hop Sucks in '96" is a brief interlude featuring a repeatingG-funk-esque beat, over which a voice shouts "It's the money".[24][37] DJ Shadow composed the track to express his dissatisfaction with the state of commercial hip hop music in the mid-1990s.[37]
"Midnight in a Perfect World" mixes a soulful vocal line with a slow drum beat.[24][38] It samples the bassline fromPekka Pohjola's "The Madness Subsides",[39] as well as elements ofDavid Axelrod's piano composition "The Human Abstract".[40][41] "Napalm Brain/Scatter Brain" progresses slowly, starting with a bassline and a drum loop, then gradually increasing in tempo as additional instrumentation enters the mix.[24] The track eventually reaches its climax and deconstructs itself, leaving a single string sample playing by its conclusion.[29]Endtroducing ends "on an up note" with "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)", which is anchored by warm saxophone and keyboard hooks.[33] A third and final "transmission" closes the album with the spoken words "It is happening again", sampled from theDavid Lynch television seriesTwin Peaks.[42]
Endtroducing was released by Mo' Wax on September 16, 1996, in the United Kingdom.[43][44] In the United States, it was issued by Mo' Wax andFFRR Records on November 19, 1996.[43][44] DJ Shadow promoted the album through various interviews and press appearances.[45] The record spent three weeks on theUK Albums Chart, peaking at number 17,[46][47] and wascertified gold by theBritish Phonographic Industry in 1998.[48] It also charted at number 75 in the Netherlands.[49] "Midnight in a Perfect World" was previously issued as the album's first single on September 2, 1996,[50] and it was later released to Americancollege andmodern rock radio stations in January 1997.[51] It peaked at number 54 on theUK Singles Chart,[47] while itsmusic video, directed by B Plus, received much airplay onMTV'selectronic music programAmp.[21] "Stem" was released as the album's second single on October 28, 1996,[52] reaching number 74 in the UK and number 14 in Ireland.[47][53] "What Does Your Soul Look Like (Part 1)" followed on January 12, 1998,[54] charting at number 54 in the UK.[47] A fourth and final single – adouble A-side release featuring producerCut Chemist's remix of "The Number Song" and DJ Shadow's remix of thesynth-pop bandDepeche Mode's "Painkiller" – was issued on February 23, 1998.[55]
Describing the time spent promotingEndtroducing as "some weird rollercoaster ride", DJ Shadow was dismayed by the lack of reaction upon returning to his hometown ofDavis, compared to the attention he had received within the British music scene.[45] He felt he had been manipulated by the press and his record label and "went from being angry to being depressed" over the perceived lack of control he had over his life.[45] DJ Shadow found himself compelled to produce new tracks such as "High Noon" as outlets for expressing his turbulent feelings at the time.[56] Following this period, interest in his work grew in the US; newspapers ran stories onEndtroducing and DJ Shadow received several phone calls a day, enough to convince him to hire a manager.[45]Endtroducing eventually entered theBillboardHeatseekers Albums chart and peaked at number 37 on the listing in April 1997.[57]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |  [58] |
| Alternative Press | 5/5[59] |
| Christgau's Consumer Guide | A+[60] |
| Entertainment Weekly | A−[61] |
| The Guardian | [62] |
| NME | 8/10[63] |
| Pitchfork | 10/10[64] |
| Rolling Stone |  [65] |
| The Rolling Stone Album Guide | [66] |
| Spin | 9/10[31] |
Endtroducing received critical acclaim.[5]Alternative Press praised the album as "an undeniable hip-hop masterpiece" showing "DJ Shadow remembers that sampling is an art form",[59] whileQ reviewer Martin Aston described it as "a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat".[67]David Bennun fromThe Guardian said the record was "not only one of the most daring and original albums of recent times, but also one of the loveliest",[62] and inMelody Maker, he wrote: "I am, I confess, totally confounded by it. I hear a lot of good records, but very few impossible ones... You need this record. You are incomplete without it."[68]Robert Christgau commented inPlayboy thatEndtroducing consists of "not so much songs as compositions",[69] and also claimed that while listeners unfamiliar with the album's style of music would not find its tracks as powerful, "they are so rich and eclectic, and spun out with such a sense of flow, that this album establishes the kind of convincing aural reality other British techno experimenters only fantasize about."[70] Author and rock criticGreil Marcus penned a glowing review of the album inArtforum, where he called it "absolutely modern – which is to say ambient-dreamy and techno-abstract" and "quite brilliant throughout".[71]
Entertainment Weekly critic Jon Wiederhorn likenedEndtroducing to "a surreal film soundtrack on which jazz,classical, andjungle fragments are artfully blended with turntable tricks and dialogue snippets" and said that it "takes hip-hop into the next dimension."[61] Tony Green ofJazzTimes commended DJ Shadow's "unerring ear for motif and texture",[72] and Simon Williams ofNME called him "both slyly knowing and brilliantly naive, fusing the dramatic and the deranged to his own sweet end."[63]Spin'sSia Michel said that the album "practically folds you into its symphonic fantasia, the coming-of-age story of a 24-year-old bunk-bed dreamer."[31]Rolling Stone journalist Jason Fine found that whileEndtroducing occasionally lapses into less interesting "moody atmospherics", "even in the record's mellowest moments, Shadow's allegiance to the hard beats of hip-hop saves him".[65]
Endtroducing appeared in numerous publications' lists of the best albums of 1996. The album topped year-end lists byMuzik andOOR,[73][74] and placed second inMelody Maker's.[75] It was voted fourth place inThe Village Voice'sPazz & Jop critics' poll for 1996.[76] Robert Christgau, the poll's creator, namedEndtroducing the best album of the year.[77] The album also ranked in the top ten of year-end lists byThe Face,[78] theLos Angeles Times,[79]Mojo,[80]NME,[81] andVox.[82]
Endtroducing has appeared in critics' lists of the greatest albums. Publications such asPitchfork,[83]Q,[84]Rolling Stone,[85]Slant Magazine,[86] andSpin[87] have placed it on their lists of best albums of the 1990s. Robert Christgau named it among his 10 favorite albums from the decade.[88]NPR listedEndtroducing as one of the 300 most important American records of the 20th century,[89] andTime selected the record as one of the "All-Time 100 Albums" in 2006.[90] It was also included in the book1001 Albums You Must Hear Before You Die.[91] In 2020,Rolling Stone rankedEndtroducing number 329 onits list of the 500 greatest albums of all time.[92]
Guinness World Records citedEndtroducing as the first album created entirely from samples.[93] AllMusic editorStephen Thomas Erlewine called it "not only a major breakthrough for hip-hop andelectronica, but forpop music."[58] It was a driving force in the development ofinstrumental hip hop music, inspiring numerous DJs and producers to create sample-based works.[94] Tim Stelloh ofPopMatters cited it as the "benchmark" for the genre.[95]Will Hermes calledEndtroducing "trip-hop's crowning achievement" inSpin,[96] and Jeff Weiss of theLos Angeles Times wrote that it defined American trip hop.[97] Music journalist Trey Zenker described it as a "plunderphonics masterpiece" in an essay forTidal,[98] while Turk Dietrich of the Americanexperimental music duoBelong said that it was a nearly unrivaled masterwork ofsampledelia.[99]Endtroducing inspired the British rock bandRadiohead to edit and loop drums on their 1997 albumOK Computer.[100] Several artists sampled onEndtroducing, including David Axelrod and British rock bandNirvana, praised the album.[101][102] DJ Shadow expressed surprise at the album's stature: "After the record, I'd always bump into these world-class producers who'd say, 'Yeah,Endtroducing – what a great piece of production.' I just did it on one sampler in a tiny little studio."[87]
Andy Battaglia ofThe A.V. Club suggested that the influence ofEndtroducing may have had a negative effect on the album itself, saying that it "has been partially diluted by the symphonic beat-collage culture it helped spawn."[103] The acclaim set high expectations for future releases by DJ Shadow,[104] and he expressed his dissatisfaction with being expected to "repeatEndtroducing over and over again".[105] Nonetheless, DJ Shadow clarified that he views the album in a positive light: "People always seem to suggest that there's this pressure, and thatEndtroducing is some kind ofalbatross, and I've just honestly never felt that way. I think that I have a healthy enough respect for the lineage of the music and how rare it is that you can connect with an audience. If that will always be 'the record' then so be it, that's cool."[106] By April 26, 2005,Endtroducing had sold more than 290,000 copies in the US alone.[107]
A deluxe edition ofEndtroducing was released on June 6, 2005.[24] It includes a second disc,Excessive Ephemera, comprising alternate takes, demos,B-sides, remixes, and a live track, as well as new sleeve photographs and notes about the making of the album.[107][108][109] A second deluxe edition commemorating the album's 20th anniversary, theEndtrospective edition, was released on October 28, 2016, featuringExcessive Ephemera, theremix albumEndtroducing... Re-Emagined, and additional sleeve photographs and notes.[110][111] A 25th-anniversary reissue was released on September 24, 2021. The reissue wasremastered at half speed atAbbey Road Studios from DJ Shadow's originalDAT recording.[112]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Best Foot Forward" | Josh Davis | 0:49 |
| 2. | "Building Steam with a Grain of Salt" |
| 6:40 |
| 3. | "The Number Song" | Davis | 4:40 |
| 4. | "Changeling" / "Transmission 1" | 7:51 | |
| 5. | "What Does Your Soul Look Like (Part 4)" |
| 5:08 |
| 6. | Untitled | Davis | 0:24 |
| 7. | "Stem/Long Stem" / "Transmission 2" |
| 9:21 |
| 8. | "Mutual Slump" | 4:02 | |
| 9. | "Organ Donor" | Davis | 1:57 |
| 10. | "Why Hip Hop Sucks in '96" | Davis | 0:43 |
| 11. | "Midnight in a Perfect World" |
| 4:57 |
| 12. | "Napalm Brain/Scatter Brain" | Davis | 9:23 |
| 13. | "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)" / "Transmission 3" | 7:28 | |
| Total length: | 63:23 | ||
Samples credited in liner notes[43]
Credits are adapted from the album's liner notes.[113]
Production
Design
| Chart (1996–2019) | Peak position |
|---|---|
| Belgian Mid Price Albums (Ultratop Flanders)[114] | 29 |
| Dutch Albums (Album Top 100)[49] | 75 |
| European Top 100 Albums (Music & Media)[115] | 54 |
| Scottish Albums (OCC)[116] | 27 |
| UK Albums (OCC)[46] | 17 |
| UK Dance Albums (OCC)[117] | 1 |
| UK Independent Albums (OCC)[118] | 3 |
| UK R&B Albums (OCC)[119] | 6 |
| USHeatseekers Albums (Billboard)[57] | 37 |
| Region | Certification | Certified units/sales |
|---|---|---|
| Canada (Music Canada)[120] | Gold | 50,000^ |
| United Kingdom (BPI)[48] | Platinum | 300,000‡ |
^ Shipments figures based on certification alone. | ||
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