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 ShadowMy main thing is constantly looking forward and trying to make music that I couldn't have made at any other time.
DJ ShadowI remember when the big shift happened in 1996-97, when suddenly it dawned on the music community: 'We should license our music to commercials and sell out for all intents and purposes. It doesn't really matter.'
DJ Shadow