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Private Press Import

4.1 out of 5 stars 74 customer reviews

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58th Annual GRAMMY Awards
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Product Details

  • Audio CD (June 4 2002)
  • Number of Discs: 1
  • Format: Import
  • Label: Mca
  • ASIN: B000067AT9
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.1 out of 5 stars 74 customer reviews
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1. (Letter From Home)
2. Fixed Income
3. Un Autre Introduction
4. Walkie Talkie
5. Giving Up The Ghost
6. Six Days
7. Mongrel Meets His Maker
8. Mongrel Meets His Maker
9. Right Thing/GDMFSOB (Clean Instrumental Version)
10. Monosylabik
11. Mashin' On The Motorway
12. Blood On The Motorway
13. You Can't Go Home Again
14. (Letter From Home)

Product Description


Countless copycats have landed on the bandwagon since Josh Davis's debut, Endtroducing..., wreaked havoc in the dance and hip-hop world. But Davis, a.k.a. DJ Shadow, kept on top of his game with various collaborations--Blackalicious, U.N.K.L.E., Cut Chemist--and superlative 12-inches like "High Noon" and "Pre-Emptive Strike."

Now, a full six years later, he's back with a follow-up that is every bit as impressive as his debut, albeit in a different way. Once again, the producer has pushed his sampler to the limits, but this time he's brought with it a deeper, hungrier, more bad-ass spirit that's rarely found in modern dance music. There's a fabulous '80s vibe throughout (principally on tracks like "Monosylabik" and "You Can't Go Home Again"), along with the expected forays into b-boy culture (check the growling, massive "Treach Battle Break" and the funky-ass "Mashin' on the Motorway"). While it's identifiably Shadow, it ain't Endtroducing...Part 2. It is, however, a worthy and imaginative follow-up, with humor, wisdom, and musical understanding aplenty. --Paul Sullivan

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Customer Reviews

Top Customer Reviews

Format: Audio CD
For his second real album (I think of Preemptive Strike as a compilation rather than a cohesive unit), DJ Shadow delves even deeper into his fascination with eerie samples and odd voices. The Private Press is not quite as brilliant as his debut, but DJ Shadow still knows how to put together a gorgeous, torpid patchwork of sound that is instantly identifiable as his own.
The first song on the album, "Fixed Income," is classic DJ Shadow. He takes the march of a drum beat and marries it to some mysterious acoustic guitar samples (including something that may have come from a Spaghetti Western) and an ominous bass. Throw in a voice here and there and you've got the direct descendant of Endtroducing's "Midnight in a Perfect World." Wicked and addictive.
Skipping ahead, "Giving Up the Ghost" is a tough name for a song to live up to, but Shadow delivers in spades. Disenchantment, disillusion, doubt, regret -- all conveyed by one sample in a loop that makes up the first sixty seconds. I find that this song gets stuck in my head when I get in that kind of a mood. Extremely evocative and more than a little sad.
This is followed by the shimmering torpor of "Six Days," and the fast-paced but downright creepy "Mongrel...Meets His Maker." A single meandering guitar ties the song together, augmented by a flute, a piano, and a ringing telephone(!) Along the same lines, "Blood on the Motorway" brings to mind the morbid transcendentalism of "What Does Your Soul Look Like, part 2," but with some decidedly 80s-ish samples used to achieve the effect. That three-second silence speaks volumes, like the transition from life to death or ignorance to knowledge. Hypnotizing and profound without being maudlin or heavy-handed.
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Format: Audio CD
DJ Shadow is perhaps the most innovative musician of the latest decade, at least of those, who received relatively noticable attention. With his debut, "Endtroducing", he created a whole new genre of instrumental hip-hop music entirely made of samples. His rare talent and attention to details ensured that even now "Endtroducing" stands as a template for such music, and nobody succeeded in getting anywhere close to it. Following such a success often proves impossible for artists. Did Shadow manage to do it?
On "Private Press" Shadow leaves that specific retro-feel of "Endtroducing" behind him, and goes for a modern sound. It results into more variety to tracks, and even addition of a vocal part in a couple of them. He strays further away from hip-hop and funky rhythms of his debut, successfully adding a touch of rock, and electronica beats. DJ Shadow tries to create an aural adventure, a sonic movie of sorts, and I'd say the results are fairly good. Spoken samples add to the "adventure feel".
But on the down side of this variety, this record doesn't sound as consistent as the debut, because not all the ideas really work. To me, personally, the addition of a singer is a very questionable novelty (it's what killed the creativity in Chemical Brothers). While Shadow manages to pull it with taste, the tracks "Walkie Talkie" and "Six Days" are not equal to the rest of the album. And somehow they spoil the flow of the musical adventure. Other than this relatively small gripe, the album is very good. It's great to see Shadow is still as creative and perfectionistic musician, as he proved he was in 1996. I'm looking forward to hearing more from him in future.
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Format: Audio CD
Always interesting and good at garnering attention, DJ Shadow has been one of the more entertaining DJs now working. Most people have studied Entroducing and the UNKLE record he did with James Lavelle. Too much juicy action is always expected from DJ Shadow. He's diverse and all over the place on this one. It's not much of a moshpit record but may be a hell of a smoochpit record telling by the sounds of tracks like "Six Days." This is the most sample heavy record this year and it must have cost a lot to clear some of these bites. "Walkie Talkie" is a big funk track. It's the first cool track on this album. DJ Shadow is from the Bay Area and one thinks of how he got together his original and eclectic style. After UNKLE was so successful, he left Mo' Wax. He worked on this record at the end of 2000 and finished it a year later. "Mashin' On The Motorway" is pretty cool track that sounds more like jazz. It's a complicated affair. Samples come back and forth. It's a good listen. More satisfying eventually than many of these mix albums. It's always a good sign of the West Coast representing. There is pain in life and there is joy. The pleasure principle tells us to flee one and embrace the other. But the Zen Buddhist in me thinks this is impossible. In times like these maybe the teachings of Bruce Lee seem valid. DJ Shadow is the sampler of the millennium. I give that to him. No problem!
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Format: Audio CD
The irrepressible beat master and mixing wizard shines on his latest outing. If this album falls short compared to some of his previous efforts, Shadow makes up for it with originality.
THE PRIVATE PRESS would be %100 groove-friendly if it weren't for one little complaint: I feel he overuses sampled speech. I suppose this practice lends the proceedings more personality, but with repeated listens, I get tired of hearing the same vocal interjections. The music would flow more smoothly without %80 of it (and it's the FLOW I'm usually after when it comes to this kind of music).
I also didn't appreciate hearing the sample of the "El Condor Pasa" intro from one of the biggest albums of all time, BRIDGE OVER TROUBLED WATER by Simon and Garfunkel on "You Can't Go Home Again." However, I'm more used to it now and it is an intriguing mix none the less.
I know, these are pretty picky complaints. By far, this music is totally tripped out and extremely groove-worthy. Kudos to the Shadow.
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