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DJ Shadow's Josh Davis is widely credited as a key figure in developing the experimental instrumental hip-hop style associated with the London-based Mo' Wax label. His early singles for the label, including "In/Flux" and "Lost and Found (S.F.L.)," were all-over-the-map mini-masterpieces combining elements of funk, rock, hip-hop, ambient, jazz, soul, and used-bin incidentalia. Although he'd already done a scattering of original and production work (during 1991-1992 for Hollywood Records) by the time Mo' Wax's James Lavelle contacted him about releasing "In/Flux" on the fledgling imprint, it wasn't until his association with Mo' Wax that his sound began to mature and cohere. Mo'Wax released a longer work in 1995 -- the 40-minute single in four movements, "What Does Your Soul Look Like," which topped the British indie charts -- and Davis went on to co-write, remix, and produce tracks for labelmates DJ Krush and Doctor Octagon plus the Mo' trip-hop supergroup U.N.K.L.E. Josh Davis grew up in Hayward, CA, a predominantly lower-middle-class suburb of San Francisco. The odd White suburban hip-hop fan in the hard rock-dominated early '80s, Davis gravitated toward the turntable/mixer setup of the hip-hop DJ over the guitars, bass, and drums of his peers. He worked his way through hip-hop's early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic, and Public Enemy; groups which prominently featured DJs in their ranks. Davis had already been fiddling around with making beats and breaks on a four-track while he was in high school, but it was his move to the NorCal cow-town of Davis to attend university that led to the establishment of his own Solesides label as an outlet for his original tracks. Hooking up with Davis' few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Reconstructed From the Ground Up mix tapes in 1991 and pressed his 17-minute hip-hop symphony "Entropy" in 1993. His tracks spre |
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His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo' Wax. Shadow's first full-length, Endtroducing..., was released in late 1996 to immense critical acclaim in Britain and America. Preemptive Strike, a compilation of early singles, followed in early 1998. Later that year, Shadow produced tracks for the debut album by U.N.K.L.E., a long-time Mo' Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. His next project came in 1999, with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002. |
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thanks? |
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holy shit, nearly a decade since endtroducing came out... |
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private press was pretty disappointing :( |
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aye |
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I loved the video for 6 days directed by WKW. Are the other songs on Private Press as good as this song? |
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yeah,i'm having ...endtroducing atm on my radioshow and the last trak is on it's way to finish. damn,i'm very glad that we all have the chance to listen to someone like shadow. his live dvd "in tune and on time" is out now !!! |
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I really didnt like that song... so imo yes, they are as good/better. but I guess if you want that style... then I dunno. none of the others are that upbeat. |
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i have that video on another cd...an ep or something, the video is quite nice and so is that song, but overal it doesn't come anywhere close to entroducing imo. |
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i'm lovin all the private press,tho i had to listen to it a few times to dig in fully. smtn that i don't like is the private repress,the japanese edition of PP. |
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reason why i admire shadow is cos of the way he did endtroducing and preemptitive strike. just pure sampling and nothing more...one technics turntable and an MPC 2000 sampler. |
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Check out "Giving up the Ghost", "Blood on the Motorway", and "You Can't Go Home Again." I felt those songs with Six Days were the best on the album. |
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