If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?
DJ Shadow
If I wanted to contribute to ...
Quotes from the same author
I've been on a major label for 14 years. I've always wanted as many people as possible to hear my music, and it definitely made sense for the majority of my career to be on a major label, on a distribution level, to be in people's faces and be out there, and have access to major labels' incredible machine, even though they have not understood or haven't been invested in what I was doing.
DJ Shadow
I've said this a lot lately, too: if, 20 or 30 years down the road, when everything's said and done, I was never able to achieve that level of zeitgeist again, then so be it. I know how rare it is for anybody to do that. But I also feel like, OK, we're getting on to 25 years of putting out records: that's also kind of rare air for anybody who makes music. And I think you just end up kind of grateful for every opportunity that comes along.
DJ Shadow
The story I always recite - and have had to recite so many times over the years to different lawyers and different people within Universal - is that the business end of Mo'Wax was basically, like, 'Give us the big ones samples first, and we'll see how we get on.' And I gave them the six or seven that were, to me, the ones that were the scariest, and the biggest use. It wasn't about the big names, necessarily - although that played into it a bit, with people like Bjork and Metallica.
DJ Shadow
As far as the mechanics of how the music was made, there's no denying: Endtroducing was extremely simple. That's not to denigrate it - that doesn't mean I'm knocking it or I'm saying my new stuff is better, or anything like that: it just means, I literally had, what, 12.5 seconds of stereo sampling at my disposal, and some turntable overdubs... The nature of the beast back then was probably about 50% looping and 50% chopping, and that was what you could do with samples.
DJ Shadow
I was sort of like a kid in a candy store, realizing it was fun making beats without the perceived burden that every track I did had to be a some progressive sample masterpiece. It was nice to blow off steam and work on those songs. For me, that’s what 'The Outsider' was about in general: forget everything, I’m just gonna follow my own music, and make the music I want to make.
DJ Shadow
