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 ShadowThere are a lot of music startups that don't have anything to do with anyone's love for music. It has to do with them having a glorious IPO and then retiring to the Bahamas somewhere. It's important to keep that in mind.
DJ ShadowI 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, thatโs what 'The Outsider' was about in general: forget everything, Iโm just gonna follow my own music, and make the music I want to make.
DJ ShadowIncidentally, the very, very first review that James Lavelle and I saw of Endtroducing was very negative! It was in The Wire, and the context of the review was that, you know, Mo'Wax was so far behind Ninja Tune. Heheheh. And people wonder why there was this sense of a feud between labels! We just kind of looked at each other and we were like, 'Oh, well, let the floodgates open!' But, not to be facile, that was literally the last bad review I ever saw for that album.
DJ ShadowI feel like you're being coy if you don't do something and celebrate the 20th or 25th anniversary in some way. Just as I've never, ever had any kind of embargo on playing songs from Endtroducing, no matter how much I wanted people to like my new stuff - I've never, ever stopped playing Endtroducing, for that reason as well. It's a give and take - it's a balance. If there's one theme, I guess, to this entire discussion, then it's that.
DJ Shadow