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<title>Endtroducing.....</title>

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Endtroducing.....

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</style><table class="infobox vevent haudio"><tbody><tr><th colspan="2" class="infobox-above summary album" style="font-style: italic; color: inherit; background-color: lightsteelblue; font-size: 125%;">Endtroducing.....</th></tr><tr><td colspan="2" class="infobox-image"></td></tr><tr><th colspan="2" class="infobox-header description" style="color: #202122;background-color: lightsteelblue"><a href="Album" title="Album">Studio album</a> by <div class="contributor" style="display:inline"><a href="DJ_Shadow" title="DJ Shadow">DJ Shadow</a></div></th></tr><tr><th scope="row" class="infobox-label">Released</th><td class="infobox-data published">September 16, 1996 (1996-09-16)</td></tr><tr><th scope="row" class="infobox-label">Recorded</th><td class="infobox-data plainlist">1994–1996</td></tr><tr><th scope="row" class="infobox-label">Studio</th><td class="infobox-data plainlist">The Glue Factory (San Francisco)</td></tr><tr><th scope="row" class="infobox-label"><a href="Music_genre" title="Music genre">Genre</a></th><td class="infobox-data category hlist">

<ul><li><a href="Instrumental_hip_hop" class="mw-redirect" title="Instrumental hip hop">Instrumental hip hop</a></li>

<li><a href="Plunderphonics" title="Plunderphonics">plunderphonics</a></li>

<li><a href="Sampledelia" title="Sampledelia">sampledelia</a></li></ul>

</td></tr><tr><th scope="row" class="infobox-label">Length</th><td class="infobox-data">63:23</td></tr><tr><th scope="row" class="infobox-label"><a href="Record_label" title="Record label">Label</a></th><td class="infobox-data hlist"><a href="Mo'_Wax" title="Mo' Wax">Mo' Wax</a></td></tr><tr><th scope="row" class="infobox-label"><a href="Record_producer" title="Record producer">Producer</a></th><td class="infobox-data hlist">DJ Shadow</td></tr><tr><th colspan="2" class="infobox-header description" style="color: #202122;background-color: lightsteelblue"><a href="DJ_Shadow" title="DJ Shadow">DJ Shadow</a> chronology</th></tr><tr><td colspan="2" class="infobox-full-data">

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<td style="width: 33%; text-align: center; vertical-align: top; padding: .2em .1em">Endtroducing..... (1996)

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<td style="width: 33%; text-align: center; vertical-align: top; padding: .2em 0 .2em .1em"><a href="Preemptive_Strike_(album)" title="Preemptive Strike (album)">Preemptive Strike</a> (1998)

</td></tr></tbody></table></td></tr><tr><td colspan="2" class="infobox-below"></td></tr><tr><th colspan="2" class="infobox-header" style="background: lightsteelblue;color:inherit;"><a href="Single_(music)" title="Single (music)">Singles</a> from Endtroducing..... </th></tr><tr><td colspan="2" class="infobox-full-data"><div style="text-align:left">

<ol><li>"<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight in a Perfect World</a>" Released: September 2, 1996</li>

<li>"<a href="Stem_(DJ_Shadow_song)" title="Stem (DJ Shadow song)">Stem</a>" Released: October 28, 1996</li>

<li>"What Does Your Soul Look Like (Part 1)" Released: January 12, 1998</li>

<li>"The Number Song" / "Painkiller" Released: February 23, 1998</li></ol>

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Endtroducing..... is the debut <a href="Studio_album" class="mw-redirect" title="Studio album">studio album</a> by American music producer <a href="DJ_Shadow" title="DJ Shadow">DJ Shadow</a>, released on September 16, 1996, by <a href="Mo'_Wax" title="Mo' Wax">Mo' Wax</a>. It is an <a href="Instrumental_hip_hop" class="mw-redirect" title="Instrumental hip hop">instrumental hip hop</a> work composed almost entirely of <a href="Sampling_(music)" title="Sampling (music)">samples</a> from vinyl records. DJ Shadow produced Endtroducing over two years, using an <a href="Akai_MPC" title="Akai MPC">Akai MPC60</a> <a href="Sampler_(musical_instrument)" title="Sampler (musical instrument)">sampler</a> and little other equipment. He edited and layered samples to create new tracks of varying moods and tempos.

In the United Kingdom, where DJ Shadow had already established himself as a rising act, Endtroducing received praise from music journalists at the time of its release, and reached the top 20 of the <a href="UK_Albums_Chart" title="UK Albums Chart">UK Albums Chart</a>. It was <a href="Music_recording_certification" title="Music recording certification">certified</a> gold by the <a href="British_Phonographic_Industry" title="British Phonographic Industry">British Phonographic Industry</a>. Mo' Wax issued four singles from the album, including the chart hits "<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight in a Perfect World</a>" and "<a href="Stem_(DJ_Shadow_song)" title="Stem (DJ Shadow song)">Stem</a>". It took considerably longer for Endtroducing to find success in the United States. After promoting the album and returning to his hometown of <a href="Davis%2C_California" title="Davis, California">Davis</a>, California, DJ Shadow devoted his time to creating new music. During this period, interest in Endtroducing began to build among the American music press, and it peaked at number 37 on the US <a href="Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> <a href="Top_Heatseekers" class="mw-redirect" title="Top Heatseekers">Heatseekers Albums</a> chart.

Endtroducing was ranked highly on various lists of the best albums of 1996, and has been acclaimed by critics as one of the greatest albums of the 1990s. It is considered a landmark recording in instrumental hip hop, with DJ Shadow's sampling techniques and arrangements leaving a lasting influence. In 2020, <a href="Rolling_Stone" title="Rolling Stone">Rolling Stone</a> magazine ranked Endtroducing 329th on <a href="Rolling_Stone's_500_Greatest_Albums_of_All_Time" title="Rolling Stone's 500 Greatest Albums of All Time">its list of the 500 greatest albums of all time</a>.

<div class="mw-heading mw-heading2"><h2 id="Background">Background</h2></div>

As a high school student, DJ Shadow experimented with creating music from <a href="Sampling_(music)" title="Sampling (music)">samples</a> using a <a href="Multitrack_recording" title="Multitrack recording">four-track</a> recorder,<a href="#cite_note-1">[1]</a> inspired by sample-based music such as <a href="It_Takes_a_Nation_of_Millions_to_Hold_Us_Back" title="It Takes a Nation of Millions to Hold Us Back">It Takes a Nation of Millions to Hold Us Back</a> (1988) by the <a href="Hip_hop_music" class="mw-redirect" title="Hip hop music">hip hop</a> group <a href="Public_Enemy" title="Public Enemy">Public Enemy</a>.<a href="#cite_note-Rule-2">[2]</a> He began his music career in 1989 as a disc jockey for the <a href="University_of_California%2C_Davis" title="University of California, Davis">University of California, Davis</a> campus radio station <a href="KDVS" title="KDVS">KDVS</a>.<a href="#cite_note-3">[3]</a> His KDVS work impressed <a href="Artists_and_repertoire" title="Artists and repertoire">A&R</a> representative Dave "Funken" Klein, who signed him to the <a href="Hollywood_Records#Hollywood_Basic" title="Hollywood Records">Hollywood Basic</a> label to produce music and remixes.<a href="#cite_note-Rule-2">[2]</a> DJ Shadow's output for Hollywood Basic, including the 1993 single "<a href="Entropy_/_Send_Them" title="Entropy / Send Them">Entropy</a>" and his work with the <a href="SoleSides" title="SoleSides">SoleSides</a> crew, brought him to the attention of English musician <a href="James_Lavelle" title="James Lavelle">James Lavelle</a>, who signed DJ Shadow to his <a href="Mo'_Wax" title="Mo' Wax">Mo' Wax</a> label.<a href="#cite_note-FOOTNOTETaylor2004[httpsarchiveorgdetailsatoxofalternativ00taylpage87_87]-4">[4]</a>

DJ Shadow's first two singles for Mo' Wax, "In/Flux" (1993) and "Lost and Found (S.F.L.)" (1994), utilized samples from "used-bin" vinyl records, blending elements of hip hop, <a href="Funk" title="Funk">funk</a>, <a href="Soul_music" title="Soul music">soul</a>, <a href="Jazz" title="Jazz">jazz</a>, <a href="Rock_music" title="Rock music">rock</a>, and <a href="Ambient_music" title="Ambient music">ambient</a> music.<a href="#cite_note-Cooper-5">[5]</a> The singles were acclaimed by the British music press, and soon DJ Shadow and other Mo' Wax artists came to be viewed as leading practitioners of a nascent genre that the press termed "<a href="Trip_hop" title="Trip hop">trip hop</a>"<a href="#cite_note-FOOTNOTEWilder200566-6">[6]</a><a href="#cite_note-7">[7]</a> – a name coined by <a href="Mixmag" title="Mixmag">Mixmag</a> journalist Andy Pemberton in June 1994 to describe "In/Flux" and similar tracks being played in London clubs.<a href="#cite_note-8">[8]</a><a href="#cite_note-9">[9]</a> In the summer of 1994, DJ Shadow started producing his first album.<a href="#cite_note-Mlynar-10">[10]</a> He completed around half of the record, but Mo' Wax opted to instead issue the finished music as a single – "What Does Your Soul Look Like" – the following year.<a href="#cite_note-Mlynar-10">[10]</a><a href="#cite_note-FOOTNOTEWilder200599-11">[11]</a> As a result, DJ Shadow began work on his debut album anew.<a href="#cite_note-Mlynar-10">[10]</a> He was intent on capturing the same feel of his three Mo' Wax singles, and chose the title Endtroducing..... for the album as "it signified the fourth and final chapter in a series of pieces that I was doing for Mo' Wax with a certain sound, a certain tone, a certain atmosphere."<a href="#cite_note-12">[12]</a>

<div class="mw-heading mw-heading2"><h2 id="Production">Production</h2></div>

DJ Shadow began production on Endtroducing in 1994 in his California apartment, before moving to the Glue Factory, the San Francisco home studio of his colleague <a href="Dan_the_Automator" title="Dan the Automator">Dan the Automator</a>.<a href="#cite_note-13">[13]</a> Shadow strove to create an entirely sample-based album.<a href="#cite_note-Rule-2">[2]</a> His setup was minimal, with only three main pieces of equipment: an <a href="Akai_MPC" title="Akai MPC">Akai MPC60</a> <a href="Sampler_(musical_instrument)" title="Sampler (musical instrument)">sampler</a>, a <a href="Technics_SL-1200" title="Technics SL-1200">Technics SL-1200</a> <a href="Turntables" class="mw-redirect" title="Turntables">turntable</a> and an <a href="ADAT" title="ADAT">Alesis ADAT</a> tape recorder.<a href="#cite_note-Rule-2">[2]</a> He used the MPC60 for almost all composition.<a href="#cite_note-Taylor-14">[14]</a> DJ Shadow bought it in 1992 at the suggestion of <a href="DJ_Stretch_Armstrong" title="DJ Stretch Armstrong">DJ Stretch Armstrong</a>, who recommended it as a more advanced alternative to the "industry standard" sampler at the time, the <a href="E-mu_SP-1200" title="E-mu SP-1200">E-mu SP-1200</a>; according to DJ Shadow, the SP-1200 "had been around for like four years, the sound was well established, and it had some real audio limitations in terms of the <a href="Bit_rate" title="Bit rate">bit rate</a> and stuff".<a href="#cite_note-Taylor-14">[14]</a>

DJ Shadow sampled vinyl albums and singles accumulated from his trips to Rare Records, a record shop in his native <a href="Sacramento%2C_California" title="Sacramento, California">Sacramento</a>, where he spent several hours each day searching for music.<a href="#cite_note-Grundy-15">[15]</a> His routine is depicted in the 2001 documentary film <a href="Scratch_(2001_film)" title="Scratch (2001 film)">Scratch</a>.<a href="#cite_note-16">[16]</a> The Endtroducing album cover is a photograph taken at Rare Records by <a href="B%2B_(photographer)" title="B+ (photographer)">B Plus</a>, showing producer <a href="Blackalicious" title="Blackalicious">Chief Xcel</a> and rapper <a href="Lyrics_Born" title="Lyrics Born">Lyrics Born</a> (the latter wearing a wig), who like DJ Shadow were members of the SoleSides collective.<a href="#cite_note-Grundy-15">[15]</a><a href="#cite_note-Palladev-17">[17]</a><a href="#cite_note-FOOTNOTEKatz2012194-18">[18]</a> ABB Records founder Beni B (wearing a baseball cap) is also seen in the full version of the photograph, which appears in the album's liner notes.<a href="#cite_note-Palladev-17">[17]</a>

Endtroducing samples music of various genres, including jazz, funk, and <a href="Psychedelic_music" title="Psychedelic music">psychedelia</a>, as well as films and interviews.<a href="#cite_note-Raz-19">[19]</a> DJ Shadow <a href="Programming_(music)" title="Programming (music)">programmed</a>, <a href="Chopping_(sampling_technique)" title="Chopping (sampling technique)">chopped</a>, and layered samples to create tracks.<a href="#cite_note-20">[20]</a> He opted to sample more obscure selections, making it a rule to avoid sampling popular material.<a href="#cite_note-Rule-2">[2]</a> Though he also used samples of prominent artists such as <a href="Bj%C3%B6rk" title="Björk">Björk</a> and <a href="Metallica" title="Metallica">Metallica</a>,<a href="#cite_note-Sullivan-21">[21]</a> DJ Shadow said that "if I use something obvious, it's usually only to break my own rules."<a href="#cite_note-Rule-2">[2]</a> Minor vocal contributions were provided by Lyrics Born and another SoleSides member, rapper <a href="Gift_of_Gab_(rapper)" title="Gift of Gab (rapper)">Gift of Gab</a>,<a href="#cite_note-22">[22]</a> as well as DJ Shadow's then-girlfriend Lisa Haugen.<a href="#cite_note-Hirway-23">[23]</a> He finished recording Endtroducing in early 1996.<a href="#cite_note-Mlynar-10">[10]</a>

<div class="mw-heading mw-heading2"><h2 id="Composition">Composition</h2></div>

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DJ Shadow describes his albums as "really varied", and said of Endtroducing: "I feel like 'Organ Donor' sounds nothing like 'The Number Song' which sounds nothing like '<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight</a>' and on and on."<a href="#cite_note-25">[25]</a> He said he was often depressed during the production of the album and that his "feelings of self-doubt and self-esteem come through in the music."<a href="#cite_note-26">[26]</a><a href="#cite_note-FOOTNOTEWilder200586-27">[27]</a>

Endtroducing is opened by "Best Foot Forward", a <a href="Sound_collage" title="Sound collage">sound collage</a> of record <a href="Scratching" title="Scratching">scratches</a> and hip hop vocal samples.<a href="#cite_note-O'Neil-24">[24]</a> "Building Steam with a Grain of Salt" is built around a <a href="Loop_(music)" title="Loop (music)">looped</a> piano line sampled from Jeremy Storch's "I Feel a New Shadow",<a href="#cite_note-FOOTNOTEKatz2012196–198-28">[28]</a> with various other musical elements entering throughout the track, including samples of an interview with drummer George Marsh,<a href="#cite_note-FOOTNOTEKatz2012196–198-28">[28]</a> a women's choir, bass <a href="Fill_(music)" title="Fill (music)">fills</a>, electronically altered drum kicks, and funk guitar.<a href="#cite_note-Raz-19">[19]</a><a href="#cite_note-Fisher-29">[29]</a> "The Number Song" uses multiple drum <a href="Break_(music)" title="Break (music)">breaks</a> and vocal samples of count-offs.<a href="#cite_note-30">[30]</a> "Changeling" deviates from the previous uptempo tracks, incorporating <a href="New-age_music" title="New-age music">new-age</a> sounds and gradually building toward a "sublimely spacey" <a href="Coda_(music)" title="Coda (music)">coda</a>.<a href="#cite_note-O'Neil-24">[24]</a><a href="#cite_note-Michel-31">[31]</a> It segues into the first of three "transmission" interludes placed throughout the album, each featuring a sample from the 1987 <a href="John_Carpenter" title="John Carpenter">John Carpenter</a> film <a href="Prince_of_Darkness_(film)" title="Prince of Darkness (film)">Prince of Darkness</a>.<a href="#cite_note-32">[32]</a> "What Does Your Soul Look Like (Part 4)" layers wordless chants over a looped bass groove, creating what <a href="Paste_(magazine)" title="Paste (magazine)">Paste</a>'s Mark Richardson describes as an "uneasy" <a href="Techno" title="Techno">techno</a> soundscape.<a href="#cite_note-Richardson-33">[33]</a> Track six is an untitled interlude featuring a man reciting a monologue about a woman and her sisters over a funk backing.<a href="#cite_note-FOOTNOTEChristgau1998[httpsbooksgooglecombooksidEdN8VLiEZtcCpgPA428_428]-34">[34]</a>

The two-part "Stem/Long Stem" begins the second half of Endtroducing. John Bush of <a href="AllMusic" title="AllMusic">AllMusic</a> called the track a "<a href="Suite_(music)" title="Suite (music)">suite</a> of often melancholy music, a piece that consistently refuses to be pigeonholed into any musical style."<a href="#cite_note-35">[35]</a> The first half, "<a href="Stem_(DJ_Shadow_song)" title="Stem (DJ Shadow song)">Stem</a>", sets strings against a recurring sequence of erratic drum beats, before giving way to the more ethereal "Long Stem",<a href="#cite_note-O'Neil-24">[24]</a> followed by "Transmission 2". "Mutual Slump" features "dreamy" female spoken vocals and prominent samples of Björk's "<a href="Possibly_Maybe" title="Possibly Maybe">Possibly Maybe</a>".<a href="#cite_note-Hirway-23">[23]</a><a href="#cite_note-36">[36]</a> The sparse "Organ Donor" juxtaposes an organ solo and a drum break.<a href="#cite_note-O'Neil-24">[24]</a> "Why Hip Hop Sucks in '96" is a brief interlude featuring a repeating <a href="G-funk" title="G-funk">G-funk</a>-esque beat, over which a voice shouts "It's the money".<a href="#cite_note-O'Neil-24">[24]</a><a href="#cite_note-Vaziri-37">[37]</a> DJ Shadow composed the track to express his dissatisfaction with the state of commercial hip hop music in the mid-1990s.<a href="#cite_note-Vaziri-37">[37]</a>

"<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight in a Perfect World</a>" mixes a soulful vocal line with a slow drum beat.<a href="#cite_note-O'Neil-24">[24]</a><a href="#cite_note-38">[38]</a> It samples the bassline from <a href="Pekka_Pohjola" title="Pekka Pohjola">Pekka Pohjola</a>'s "The Madness Subsides",<a href="#cite_note-39">[39]</a> as well as elements of <a href="David_Axelrod_(musician)" title="David Axelrod (musician)">David Axelrod</a>'s piano composition "The Human Abstract".<a href="#cite_note-40">[40]</a><a href="#cite_note-41">[41]</a> "Napalm Brain/Scatter Brain" progresses slowly, starting with a bassline and a drum loop, then gradually increasing in tempo as additional instrumentation enters the mix.<a href="#cite_note-O'Neil-24">[24]</a> The track eventually reaches its climax and deconstructs itself, leaving a single string sample playing by its conclusion.<a href="#cite_note-Fisher-29">[29]</a> Endtroducing ends "on an up note" with "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)", which is anchored by warm saxophone and keyboard hooks.<a href="#cite_note-Richardson-33">[33]</a> A third and final "transmission" closes the album with the spoken words "It is happening again", sampled from the <a href="David_Lynch" title="David Lynch">David Lynch</a> television series <a href="Twin_Peaks" title="Twin Peaks">Twin Peaks</a>.<a href="#cite_note-42">[42]</a>

<div class="mw-heading mw-heading2"><h2 id="Release">Release</h2></div>

Endtroducing was released by Mo' Wax on September 16, 1996, in the United Kingdom.<a href="#cite_note-EndtrospectiveNotes-43">[43]</a><a href="#cite_note-Mendelsohn-44">[44]</a> In the United States, it was issued by Mo' Wax and <a href="FFRR_Records" title="FFRR Records">FFRR Records</a> on November 19, 1996.<a href="#cite_note-EndtrospectiveNotes-43">[43]</a><a href="#cite_note-Mendelsohn-44">[44]</a> DJ Shadow promoted the album through various interviews and press appearances.<a href="#cite_note-FOOTNOTEWilder200596-45">[45]</a> The record spent three weeks on the <a href="UK_Albums_Chart" title="UK Albums Chart">UK Albums Chart</a>, peaking at number 17,<a href="#cite_note-UK-46">[46]</a><a href="#cite_note-OCC-47">[47]</a> and was <a href="Music_recording_certification" title="Music recording certification">certified</a> gold by the <a href="British_Phonographic_Industry" title="British Phonographic Industry">British Phonographic Industry</a> in 1998.<a href="#cite_note-BPI-48">[48]</a> It also charted at number 75 in the Netherlands.<a href="#cite_note-NLD-49">[49]</a> "Midnight in a Perfect World" was previously issued as the album's first single on September 2, 1996,<a href="#cite_note-50">[50]</a> and it was later released to American <a href="Campus_radio" title="Campus radio">college</a> and <a href="Modern_rock" title="Modern rock">modern rock</a> radio stations in January 1997.<a href="#cite_note-51">[51]</a> It peaked at number 54 on the <a href="UK_Singles_Chart" class="mw-redirect" title="UK Singles Chart">UK Singles Chart</a>,<a href="#cite_note-OCC-47">[47]</a> while its <a href="Music_video" title="Music video">music video</a>, directed by B Plus, received much airplay on <a href="MTV" title="MTV">MTV</a>'s <a href="Electronic_music" title="Electronic music">electronic music</a> program <a href="Amp_(TV_series)" title="Amp (TV series)">Amp</a>.<a href="#cite_note-Sullivan-21">[21]</a> "Stem" was released as the album's second single on October 28, 1996,<a href="#cite_note-52">[52]</a> reaching number 74 in the UK and number 14 in Ireland.<a href="#cite_note-OCC-47">[47]</a><a href="#cite_note-53">[53]</a> "What Does Your Soul Look Like (Part 1)" followed on January 12, 1998,<a href="#cite_note-54">[54]</a> charting at number 54 in the UK.<a href="#cite_note-OCC-47">[47]</a> A fourth and final single – a <a href="A-side_and_B-side#Double_A-side" title="A-side and B-side">double A-side</a> release featuring producer <a href="Cut_Chemist" title="Cut Chemist">Cut Chemist</a>'s remix of "The Number Song" and DJ Shadow's remix of the <a href="Synth-pop" title="Synth-pop">synth-pop</a> band <a href="Depeche_Mode" title="Depeche Mode">Depeche Mode</a>'s "<a href="Only_When_I_Lose_Myself" title="Only When I Lose Myself">Painkiller</a>" – was issued on February 23, 1998.<a href="#cite_note-55">[55]</a>

Describing the time spent promoting Endtroducing as "some weird rollercoaster ride", DJ Shadow was dismayed by the lack of reaction upon returning to his hometown of <a href="Davis%2C_California" title="Davis, California">Davis</a>, compared to the attention he had received within the British music scene.<a href="#cite_note-FOOTNOTEWilder200596-45">[45]</a> He felt he had been manipulated by the press and his record label and "went from being angry to being depressed" over the perceived lack of control he had over his life.<a href="#cite_note-FOOTNOTEWilder200596-45">[45]</a> DJ Shadow found himself compelled to produce new tracks such as "High Noon" as outlets for expressing his turbulent feelings at the time.<a href="#cite_note-56">[56]</a> Following this period, interest in his work grew in the US; newspapers ran stories on Endtroducing and DJ Shadow received several phone calls a day, enough to convince him to hire a manager.<a href="#cite_note-FOOTNOTEWilder200596-45">[45]</a> Endtroducing eventually entered the <a href="Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> <a href="Top_Heatseekers" class="mw-redirect" title="Top Heatseekers">Heatseekers Albums</a> chart and peaked at number 37 on the listing in April 1997.<a href="#cite_note-Heatseekers-57">[57]</a>

<div class="mw-heading mw-heading2"><h2 id="Critical_reception">Critical reception</h2></div>

<table class="wikitable floatright" style="width:24.2em;font-size:88%;text-align:center;margin:0.5em 0 0.5em 1em;padding:0;border-spacing:0"><caption style="font-size:115%">Professional ratings</caption><tbody><tr><th scope="col" colspan="2" style="text-align:center;color:#202122;background:#d1dbdf;font-size:100%">Review scores</th></tr><tr><th scope="col">Source</th><th scope="col">Rating</th></tr><tr><td style="text-align:center;vertical-align:middle"><a href="AllMusic" title="AllMusic">AllMusic</a></td><td style="text-align:center;vertical-align:middle"><a href="#cite_note-Erlewine-58">[58]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Alternative_Press_(magazine)" title="Alternative Press (magazine)">Alternative Press</a></td><td style="text-align:center;vertical-align:middle">5/5<a href="#cite_note-AlternativePress-59">[59]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Christgau's_Consumer_Guide%3A_Albums_of_the_'90s" title="Christgau's Consumer Guide: Albums of the '90s">Christgau's Consumer Guide</a></td><td style="text-align:center;vertical-align:middle">A+<a href="#cite_note-FOOTNOTEChristgau2000[httpsarchiveorgdetailschristgausconsum00chri_0page83_83]-60">[60]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Entertainment_Weekly" title="Entertainment Weekly">Entertainment Weekly</a></td><td style="text-align:center;vertical-align:middle">A−<a href="#cite_note-Wiederhorn-61">[61]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="The_Guardian" title="The Guardian">The Guardian</a></td><td style="text-align:center;vertical-align:middle"><a href="#cite_note-Bennun-62">[62]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="NME" title="NME">NME</a></td><td style="text-align:center;vertical-align:middle">8/10<a href="#cite_note-Williams-63">[63]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a></td><td style="text-align:center;vertical-align:middle">10/10<a href="#cite_note-64">[64]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Rolling_Stone" title="Rolling Stone">Rolling Stone</a></td><td style="text-align:center;vertical-align:middle"><a href="#cite_note-Fine-65">[65]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="The_Rolling_Stone_Album_Guide" title="The Rolling Stone Album Guide">The Rolling Stone Album Guide</a></td><td style="text-align:center;vertical-align:middle"><a href="#cite_note-FOOTNOTESheffield2004[httpsarchiveorgdetailsnewrollingstonea00bracpage247_247–248]-66">[66]</a></td></tr><tr><td style="text-align:center;vertical-align:middle"><a href="Spin_(magazine)" title="Spin (magazine)">Spin</a></td><td style="text-align:center;vertical-align:middle">9/10<a href="#cite_note-Michel-31">[31]</a></td></tr></tbody></table>

Endtroducing received critical acclaim.<a href="#cite_note-Cooper-5">[5]</a> <a href="Alternative_Press_(magazine)" title="Alternative Press (magazine)">Alternative Press</a> praised the album as "an undeniable hip-hop masterpiece" showing "DJ Shadow remembers that sampling is an art form",<a href="#cite_note-AlternativePress-59">[59]</a> while <a href="Q_(magazine)" title="Q (magazine)">Q</a> reviewer Martin Aston described it as "a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat".<a href="#cite_note-67">[67]</a> <a href="David_Bennun" title="David Bennun">David Bennun</a> from <a href="The_Guardian" title="The Guardian">The Guardian</a> said the record was "not only one of the most daring and original albums of recent times, but also one of the loveliest",<a href="#cite_note-Bennun-62">[62]</a> and in <a href="Melody_Maker" title="Melody Maker">Melody Maker</a>, he wrote: "I am, I confess, totally confounded by it. I hear a lot of good records, but very few impossible ones... You need this record. You are incomplete without it."<a href="#cite_note-68">[68]</a> <a href="Robert_Christgau" title="Robert Christgau">Robert Christgau</a> commented in <a href="Playboy" title="Playboy">Playboy</a> that Endtroducing consists of "not so much songs as compositions",<a href="#cite_note-69">[69]</a> and also claimed that while listeners unfamiliar with the album's style of music would not find its tracks as powerful, "they are so rich and eclectic, and spun out with such a sense of flow, that this album establishes the kind of convincing aural reality other British techno experimenters only fantasize about."<a href="#cite_note-70">[70]</a> Author and rock critic <a href="Greil_Marcus" title="Greil Marcus">Greil Marcus</a> penned a glowing review of the album in <a href="Artforum" title="Artforum">Artforum</a>, where he called it "absolutely modern – which is to say ambient-dreamy and techno-abstract" and "quite brilliant throughout".<a href="#cite_note-71">[71]</a>

<a href="Entertainment_Weekly" title="Entertainment Weekly">Entertainment Weekly</a> critic Jon Wiederhorn likened Endtroducing to "a surreal film soundtrack on which jazz, <a href="Classical_music" title="Classical music">classical</a>, and <a href="Jungle_music" title="Jungle music">jungle</a> fragments are artfully blended with turntable tricks and dialogue snippets" and said that it "takes hip-hop into the next dimension."<a href="#cite_note-Wiederhorn-61">[61]</a> Tony Green of <a href="JazzTimes" title="JazzTimes">JazzTimes</a> commended DJ Shadow's "unerring ear for motif and texture",<a href="#cite_note-72">[72]</a> and Simon Williams of <a href="NME" title="NME">NME</a> called him "both slyly knowing and brilliantly naive, fusing the dramatic and the deranged to his own sweet end."<a href="#cite_note-Williams-63">[63]</a> <a href="Spin_(magazine)" title="Spin (magazine)">Spin</a>'s <a href="Sia_Michel" title="Sia Michel">Sia Michel</a> said that the album "practically folds you into its symphonic fantasia, the coming-of-age story of a 24-year-old bunk-bed dreamer."<a href="#cite_note-Michel-31">[31]</a> <a href="Rolling_Stone" title="Rolling Stone">Rolling Stone</a> journalist Jason Fine found that while Endtroducing occasionally lapses into less interesting "moody atmospherics", "even in the record's mellowest moments, Shadow's allegiance to the hard beats of hip-hop saves him".<a href="#cite_note-Fine-65">[65]</a>

Endtroducing appeared in numerous publications' lists of the best albums of 1996. The album topped year-end lists by <a href="Muzik" title="Muzik">Muzik</a> and <a href="OOR" class="mw-redirect" title="OOR">OOR</a>,<a href="#cite_note-73">[73]</a><a href="#cite_note-74">[74]</a> and placed second in Melody Maker's.<a href="#cite_note-75">[75]</a> It was voted fourth place in <a href="The_Village_Voice" title="The Village Voice">The Village Voice</a>'s <a href="Pazz_%26_Jop" title="Pazz & Jop">Pazz & Jop</a> critics' poll for 1996.<a href="#cite_note-76">[76]</a> Robert Christgau, the poll's creator, named Endtroducing the best album of the year.<a href="#cite_note-77">[77]</a> The album also ranked in the top ten of year-end lists by <a href="The_Face_(magazine)" title="The Face (magazine)">The Face</a>,<a href="#cite_note-78">[78]</a> the <a href="Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a>,<a href="#cite_note-79">[79]</a> <a href="Mojo_(magazine)" title="Mojo (magazine)">Mojo</a>,<a href="#cite_note-80">[80]</a> NME,<a href="#cite_note-81">[81]</a> and <a href="Vox_(magazine)" title="Vox (magazine)">Vox</a>.<a href="#cite_note-82">[82]</a>

<div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2></div>

Endtroducing has appeared in critics' lists of the greatest albums. Publications such as <a href="Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a>,<a href="#cite_note-83">[83]</a> Q,<a href="#cite_note-84">[84]</a> Rolling Stone,<a href="#cite_note-FOOTNOTE"100_Best_Albums_of_the_'90s"2010282–297-85">[85]</a> <a href="Slant_Magazine" title="Slant Magazine">Slant Magazine</a>,<a href="#cite_note-86">[86]</a> and Spin<a href="#cite_note-Dolan-87">[87]</a> have placed it on their lists of best albums of the 1990s. Robert Christgau named it among his 10 favorite albums from the decade.<a href="#cite_note-88">[88]</a> <a href="NPR" title="NPR">NPR</a> listed Endtroducing as one of the 300 most important American records of the 20th century,<a href="#cite_note-89">[89]</a> and <a href="Time_(magazine)" title="Time (magazine)">Time</a> selected the record as one of the "All-Time 100 Albums" in 2006.<a href="#cite_note-90">[90]</a> It was also included in the book <a href="1001_Albums_You_Must_Hear_Before_You_Die" title="1001 Albums You Must Hear Before You Die">1001 Albums You Must Hear Before You Die</a>.<a href="#cite_note-FOOTNOTEReece2006779-91">[91]</a> In 2020, Rolling Stone ranked Endtroducing number 329 on <a href="Rolling_Stone's_500_Greatest_Albums_of_All_Time" title="Rolling Stone's 500 Greatest Albums of All Time">its list of the 500 greatest albums of all time</a>.<a href="#cite_note-92">[92]</a>

<a href="Guinness_World_Records" title="Guinness World Records">Guinness World Records</a> cited Endtroducing as the first album created entirely from samples.<a href="#cite_note-93">[93]</a> AllMusic editor <a href="Stephen_Thomas_Erlewine" title="Stephen Thomas Erlewine">Stephen Thomas Erlewine</a> called it "not only a major breakthrough for hip-hop and <a href="Electronica" title="Electronica">electronica</a>, but for <a href="Pop_music" title="Pop music">pop music</a>."<a href="#cite_note-Erlewine-58">[58]</a> It was a driving force in the development of <a href="Instrumental_hip_hop" class="mw-redirect" title="Instrumental hip hop">instrumental hip hop</a> music, inspiring numerous DJs and producers to create sample-based works.<a href="#cite_note-94">[94]</a> Tim Stelloh of <a href="PopMatters" title="PopMatters">PopMatters</a> cited it as the "benchmark" for the genre.<a href="#cite_note-95">[95]</a> <a href="Will_Hermes" title="Will Hermes">Will Hermes</a> called Endtroducing "trip-hop's crowning achievement" in Spin,<a href="#cite_note-96">[96]</a> and Jeff Weiss of the Los Angeles Times wrote that it defined American trip hop.<a href="#cite_note-97">[97]</a> Music journalist Trey Zenker described it as a "<a href="Plunderphonics" title="Plunderphonics">plunderphonics</a> masterpiece" in an essay for <a href="Tidal_(service)" title="Tidal (service)">Tidal</a>,<a href="#cite_note-98">[98]</a> while Turk Dietrich of the American <a href="Experimental_music" title="Experimental music">experimental music</a> duo <a href="Belong_(band)" title="Belong (band)">Belong</a> said that it was a nearly unrivaled masterwork of <a href="Sampledelia" title="Sampledelia">sampledelia</a>.<a href="#cite_note-99">[99]</a> Endtroducing inspired the British rock band <a href="Radiohead" title="Radiohead">Radiohead</a> to edit and loop drums on their 1997 album <a href="OK_Computer" title="OK Computer">OK Computer</a>.<a href="#cite_note-100">[100]</a> Several artists sampled on Endtroducing, including David Axelrod and British rock band <a href="Nirvana_(British_band)" title="Nirvana (British band)">Nirvana</a>, praised the album.<a href="#cite_note-101">[101]</a><a href="#cite_note-102">[102]</a> DJ Shadow expressed surprise at the album's stature: "After the record, I'd always bump into these world-class producers who'd say, 'Yeah, Endtroducing – what a great piece of production.' I just did it on one sampler in a tiny little studio."<a href="#cite_note-Dolan-87">[87]</a>

Andy Battaglia of <a href="The_A.V._Club" title="The A.V. Club">The A.V. Club</a> suggested that the influence of Endtroducing may have had a negative effect on the album itself, saying that it "has been partially diluted by the symphonic beat-collage culture it helped spawn."<a href="#cite_note-103">[103]</a> The acclaim set high expectations for future releases by DJ Shadow,<a href="#cite_note-104">[104]</a> and he expressed his dissatisfaction with being expected to "repeat Endtroducing over and over again".<a href="#cite_note-105">[105]</a> Nonetheless, DJ Shadow clarified that he views the album in a positive light: "People always seem to suggest that there's this pressure, and that Endtroducing is some kind of <a href="Albatross_(metaphor)" title="Albatross (metaphor)">albatross</a>, and I've just honestly never felt that way. I think that I have a healthy enough respect for the lineage of the music and how rare it is that you can connect with an audience. If that will always be 'the record' then so be it, that's cool."<a href="#cite_note-106">[106]</a> By April 26, 2005, Endtroducing had sold more than 290,000 copies in the US alone.<a href="#cite_note-Billboard-107">[107]</a>

<div class="mw-heading mw-heading3"><h3 id="Reissues">Reissues</h3></div>

A deluxe edition of Endtroducing was released on June 6, 2005.<a href="#cite_note-O'Neil-24">[24]</a> It includes a second disc, Excessive Ephemera, comprising alternate takes, demos, <a href="A-side_and_B-side" title="A-side and B-side">B-sides</a>, remixes, and a live track, as well as new sleeve photographs and notes about the making of the album.<a href="#cite_note-Billboard-107">[107]</a><a href="#cite_note-108">[108]</a><a href="#cite_note-109">[109]</a> A second deluxe edition commemorating the album's 20th anniversary, the Endtrospective edition, was released on October 28, 2016, featuring Excessive Ephemera, the <a href="Remix_album" title="Remix album">remix album</a> Endtroducing... Re-Emagined, and additional sleeve photographs and notes.<a href="#cite_note-110">[110]</a><a href="#cite_note-111">[111]</a> A 25th-anniversary reissue was released on September 24, 2021. The reissue was <a href="Half-speed_mastering" title="Half-speed mastering">remastered at half speed</a> at <a href="Abbey_Road_Studios" title="Abbey Road Studios">Abbey Road Studios</a> from DJ Shadow's original <a href="Digital_Audio_Tape" title="Digital Audio Tape">DAT</a> recording.<a href="#cite_note-112">[112]</a>

<div class="mw-heading mw-heading2"><h2 id="Track_listing">Track listing</h2></div>

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</style><div class="track-listing"><table class="tracklist"><caption>Endtroducing..... track listing</caption><tbody><tr><th class="tracklist-number-header" scope="col"><abbr title="Number">No.</abbr></th><th scope="col" style="width:60%">Title</th><th scope="col" style="width:40%">Writer(s)</th><th class="tracklist-length-header" scope="col">Length</th></tr><tr><th id="track1" scope="row">1.</th><td>"Best Foot Forward"</td><td><a href="DJ_Shadow" title="DJ Shadow">Josh Davis</a></td><td class="tracklist-length">0:49</td></tr><tr><th id="track2" scope="row">2.</th><td>"Building Steam with a Grain of Salt"</td><td><div class="hlist"><ul><li>Davis</li><li>Jeremy Storch</li></ul></div></td><td class="tracklist-length">6:40</td></tr><tr><th id="track3" scope="row">3.</th><td>"The Number Song"</td><td>Davis</td><td class="tracklist-length">4:40</td></tr><tr><th id="track4" scope="row">4.</th><td>"Changeling" / "Transmission 1"</td><td><div class="hlist"><ul><li>Davis</li><li><a href="Peter_Baumann" title="Peter Baumann">Peter Baumann</a></li><li><a href="Christopher_Franke" title="Christopher Franke">Christopher Franke</a></li><li><a href="Edgar_Froese" title="Edgar Froese">Edgar Froese</a></li></ul></div></td><td class="tracklist-length">7:51</td></tr><tr><th id="track5" scope="row">5.</th><td>"What Does Your Soul Look Like (Part 4)"</td><td><div class="hlist"><ul><li>Davis</li><li>Ray Smith</li></ul></div></td><td class="tracklist-length">5:08</td></tr><tr><th id="track6" scope="row">6.</th><td>Untitled</td><td>Davis</td><td class="tracklist-length">0:24</td></tr><tr><th id="track7" scope="row">7.</th><td>"<a href="Stem_(DJ_Shadow_song)" title="Stem (DJ Shadow song)">Stem/Long Stem</a>" / "Transmission 2"</td><td><div class="hlist"><ul><li>Davis</li><li><a href="Patrick_Campbell-Lyons" title="Patrick Campbell-Lyons">Patrick Campbell-Lyons</a></li><li>Alex Spyropoulos</li></ul></div></td><td class="tracklist-length">9:21</td></tr><tr><th id="track8" scope="row">8.</th><td>"Mutual Slump"</td><td><div class="hlist"><ul><li>Davis</li><li><a href="Bj%C3%B6rk" title="Björk">Björk Guðmundsdóttir</a></li><li><a href="Marius_de_Vries" title="Marius de Vries">Marius de Vries</a></li><li><a href="Nellee_Hooper" title="Nellee Hooper">Paul Hooper</a></li></ul></div></td><td class="tracklist-length">4:02</td></tr><tr><th id="track9" scope="row">9.</th><td>"Organ Donor"</td><td>Davis</td><td class="tracklist-length">1:57</td></tr><tr><th id="track10" scope="row">10.</th><td>"Why Hip Hop Sucks in '96"</td><td>Davis</td><td class="tracklist-length">0:43</td></tr><tr><th id="track11" scope="row">11.</th><td>"<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight in a Perfect World</a>"</td><td><div class="hlist"><ul><li>Davis</li><li>Baraka</li><li><a href="Pekka_Pohjola" title="Pekka Pohjola">Pekka Pohjola</a></li></ul></div></td><td class="tracklist-length">4:57</td></tr><tr><th id="track12" scope="row">12.</th><td>"Napalm Brain/Scatter Brain"</td><td>Davis</td><td class="tracklist-length">9:23</td></tr><tr><th id="track13" scope="row">13.</th><td>"What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)" / "Transmission 3"</td><td><div class="hlist"><ul><li>Davis</li><li><a href="Jimmy_Heath" title="Jimmy Heath">Jimmy Heath</a></li><li><a href="Shawn_Phillips" title="Shawn Phillips">Shawn Phillips</a></li></ul></div></td><td class="tracklist-length">7:28</td></tr><tr class="tracklist-total-length"><th colspan="3" scope="row">Total length:</th><td>63:23</td></tr></tbody></table></div>

Samples credited in liner notes<a href="#cite_note-EndtrospectiveNotes-43">[43]</a>

<ul><li>"Building Steam with a Grain of Salt" contains samples of "I Feel a New Shadow", written and performed by Jeremy Storch.</li>

<li>"The Number Song" contains samples of "<a href="Orion_(Metallica_song)" title="Orion (Metallica song)">Orion</a>", performed by <a href="Metallica" title="Metallica">Metallica</a>.</li>

<li>"Changeling" / "Transmission 1" contains samples of "Invisible Limits", written by <a href="Peter_Baumann" title="Peter Baumann">Peter Baumann</a>, <a href="Christopher_Franke" title="Christopher Franke">Christopher Franke</a>, and <a href="Edgar_Froese" title="Edgar Froese">Edgar Froese</a> and performed by <a href="Tangerine_Dream" title="Tangerine Dream">Tangerine Dream</a>.</li>

<li>"What Does Your Soul Look Like (Part 4)" contains samples of "The Vision", written by Ray Smith and performed by Flying Island.</li>

<li>"Stem/Long Stem" / "Transmission 2" contains samples of "Love Suite", written by <a href="Patrick_Campbell-Lyons" title="Patrick Campbell-Lyons">Patrick Campbell-Lyons</a> and Alex Spyropoulos and performed by <a href="Nirvana_(British_band)" title="Nirvana (British band)">Nirvana</a>.</li>

<li>"Mutual Slump" contains samples of "<a href="Possibly_Maybe" title="Possibly Maybe">Possibly Maybe</a>", written by <a href="Bj%C3%B6rk" title="Björk">Björk Guðmundsdóttir</a>, <a href="Marius_de_Vries" title="Marius de Vries">Marius de Vries</a>, and <a href="Nellee_Hooper" title="Nellee Hooper">Paul Hooper</a> and performed by <a href="Bj%C3%B6rk" title="Björk">Björk</a>.</li>

<li>"Midnight in a Perfect World" contains samples of "Sower of Seeds", written and performed by Baraka; and "The Madness Subsides", written and performed by <a href="Pekka_Pohjola" title="Pekka Pohjola">Pekka Pohjola</a>.</li>

<li>"What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)" / "Transmission 3" contains samples of "The Voice of the Saxophone", written by <a href="Jimmy_Heath" title="Jimmy Heath">Jimmy Heath</a> and performed by the <a href="Heath_Brothers" title="Heath Brothers">Heath Brothers</a>; and "All Our Love", written and performed by <a href="Shawn_Phillips" title="Shawn Phillips">Shawn Phillips</a>.</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Personnel">Personnel</h2></div>

Credits are adapted from the album's liner notes.<a href="#cite_note-113">[113]</a>

Production

<ul><li>DJ Shadow – <a href="Record_producer" title="Record producer">production</a>, <a href="Audio_engineer" title="Audio engineer">engineering</a>, <a href="Audio_mixing_(recorded_music)" title="Audio mixing (recorded music)">mixing</a></li>

<li><a href="Dan_the_Automator" title="Dan the Automator">Dan the Automator</a> – engineering (assistant)</li></ul>

Design

<ul><li><a href="B%2B_(photographer)" title="B+ (photographer)">B Plus</a> – photography</li>

<li>Barney Bankhead – photography</li>

<li>Will Bankhead – photography, sleeve design</li>

<li><a href="Ben_Drury" title="Ben Drury">Ben Drury</a> – sleeve design</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Charts">Charts</h2></div>

<caption>Weekly chart performance for Endtroducing.....

</caption>

<th scope="col">Chart (1996–2019)

</th>

<th scope="col">Peak position

</th></tr>

<tr>

<th scope="row">Belgian Mid Price Albums (<a href="Ultratop" title="Ultratop">Ultratop</a> Flanders)<a href="#cite_note-114">[114]</a>

</th>

<td>29

</td></tr>

<tr>

<th scope="row">Dutch Albums (<a href="Dutch_Album_Top_100" title="Dutch Album Top 100">Album Top 100</a>)<a href="#cite_note-NLD-49">[49]</a>

</th>

<td align="center">75

</td></tr>

<tr>

<th scope="row"><a href="European_Top_100_Albums" title="European Top 100 Albums">European Top 100 Albums</a> (<a href="Music_%26_Media" title="Music & Media">Music & Media</a>)<a href="#cite_note-115">[115]</a>

</th>

<td>54

</td></tr>

<tr>

<th scope="row"><a href="Scottish_Singles_and_Albums_Charts" title="Scottish Singles and Albums Charts">Scottish Albums</a> (<a href="Official_Charts_Company" title="Official Charts Company">OCC</a>)<a href="#cite_note-ac_Scotland_-116">[116]</a>

</th>

<td align="center">27

</td></tr>

<tr>

<th scope="row"><a href="UK_Albums_Chart" title="UK Albums Chart">UK Albums</a> (<a href="Official_Charts_Company" title="Official Charts Company">OCC</a>)<a href="#cite_note-UK-46">[46]</a>

</th>

<td align="center">17

</td></tr>

<tr>

<th scope="row"><a href="UK_Dance_Singles_and_Albums_Charts" title="UK Dance Singles and Albums Charts">UK Dance Albums</a> (<a href="Official_Charts_Company" title="Official Charts Company">OCC</a>)<a href="#cite_note-117">[117]</a>

</th>

<td>1

</td></tr>

<tr>

<th scope="row"><a href="UK_Independent_Singles_and_Albums_Charts" title="UK Independent Singles and Albums Charts">UK Independent Albums</a> (<a href="Official_Charts_Company" title="Official Charts Company">OCC</a>)<a href="#cite_note-118">[118]</a>

</th>

<td>3

</td></tr>

<tr>

<th scope="row"><a href="UK_R%26B_Chart" class="mw-redirect" title="UK R&B Chart">UK R&B Albums</a> (<a href="Official_Charts_Company" title="Official Charts Company">OCC</a>)<a href="#cite_note-ac_UKR&B_-119">[119]</a>

</th>

<td align="center">6

</td></tr>

<tr>

<th scope="row">US <a href="Top_Heatseekers" class="mw-redirect" title="Top Heatseekers">Heatseekers Albums</a> (<a href="Billboard_(magazine)" title="Billboard (magazine)">Billboard</a>)<a href="#cite_note-Heatseekers-57">[57]</a>

</th>

<td align="center">37

</td></tr></tbody></table>

<div class="mw-heading mw-heading2"><h2 id="Certifications">Certifications</h2></div>

<caption>Certifications for Endtroducing.....

</caption>

<th scope="col">Region

</th>

<th scope="col">Certification</th>

<th scope="col" data-sort-type="number"><a href="List_of_music_recording_certifications" title="List of music recording certifications">Certified units</a>/sales

</th></tr>

<tr>

<th scope="row">Canada (<a href="Music_Canada" title="Music Canada">Music Canada</a>)<a href="#cite_note-CanadaDJ_ShadowEndtroducingalbumCertRef-120">[120]</a>

</th>

<td>Gold

</td>

<td>50,000^

</td></tr>

<tr>

<th scope="row">United Kingdom (<a href="British_Phonographic_Industry" title="British Phonographic Industry">BPI</a>)<a href="#cite_note-BPI-48">[48]</a>

</th>

<td>Platinum

</td>

<td>300,000‡

</td></tr>

^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.

</td></tr></tbody></table>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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<li id="cite_note-Billboard-107">^ <a href="#cite_ref-Billboard_107-0">a</a> <a href="#cite_ref-Billboard_107-1">b</a> <cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://www.billboard.com/articles/news/63135/dj-shadow-expands-endtroducing">"DJ Shadow Expands 'Endtroducing'"</a>. Billboard. New York. April 26, 2005. Retrieved March 10, 2013.</cite>

</li>

<li id="cite_note-108"><a href="#cite_ref-108">^</a> <cite id="CITEREFErlewine" class="citation web cs1">Erlewine, Stephen Thomas. <a rel="nofollow" class="external text" href="https://www.allmusic.com/album/release/endtroducing-deluxe-edition-mr0001255458">"Endtroducing..... [Deluxe Edition] – DJ Shadow"</a>. AllMusic. Retrieved May 30, 2021.</cite>

</li>

<li id="cite_note-109"><a href="#cite_ref-109">^</a> <cite id="CITEREFMacdonald2005" class="citation magazine cs1">Macdonald, Cameron (July 17, 2005). <a rel="nofollow" class="external text" href="https://xlr8r.com/reviews/endtroducing-deluxe-edition/">"DJ Shadow: Endtroducing – Deluxe Edition"</a>. XLR8R. San Francisco. Retrieved May 30, 2021.</cite>

</li>

<li id="cite_note-110"><a href="#cite_ref-110">^</a> <cite class="citation pressrelease cs1"><a rel="nofollow" class="external text" href="https://www.prnewswire.com/news-releases/dj-shadow-announces-endtroducing-20th-anniversary-endtrospective-edition-300329312.html">"DJ Shadow Announces Endtroducing 20th Anniversary Endtrospective Edition"</a> (Press release). <a href="PR_Newswire" title="PR Newswire">PR Newswire</a>. September 16, 2016. Retrieved May 30, 2021.</cite>

</li>

<li id="cite_note-111"><a href="#cite_ref-111">^</a> <cite id="CITEREFPearce2016" class="citation web cs1">Pearce, Sheldon (September 16, 2016). <a rel="nofollow" class="external text" href="https://pitchfork.com/news/68259-dj-shadow-announces-20th-anniversary-endtroducing-reissue-shares-clams-casino-remix-of-stem-long-stem-listen/">"DJ Shadow Announces 20th Anniversary Endtroducing... Reissue, Shares Clams Casino Remix of 'Stem / Long Stem': Listen"</a>. Pitchfork. Retrieved October 16, 2016.</cite>

</li>

<li id="cite_note-112"><a href="#cite_ref-112">^</a> <cite id="CITEREFLavin2021" class="citation magazine cs1">Lavin, Will (September 4, 2021). <a rel="nofollow" class="external text" href="https://www.nme.com/news/music/dj-shadow-announces-25th-anniversary-reissue-of-endtroducing-3037146">"DJ Shadow announces 25th anniversary reissue of 'Endtroducing'"</a>. NME. London. Retrieved October 5, 2021.</cite>

</li>

<li id="cite_note-113"><a href="#cite_ref-113">^</a> <cite class="citation AV-media-notes cs1">Endtroducing... (liner notes). DJ Shadow. <a href="Mo'_Wax" title="Mo' Wax">Mo' Wax</a>. 1996. MW059CD.</cite><code class="cs1-code">{{cite AV media notes}}</code>: CS1 maint: others in cite AV media (notes) (link)

</li>

<li id="cite_note-114"><a href="#cite_ref-114">^</a> <cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://www.ultratop.be/nl/mid-price/2016/20160910">"Mid Price"</a> (in Dutch). Hung Medien. September 10, 2016. Retrieved July 18, 2021.</cite>

</li>

<li id="cite_note-115"><a href="#cite_ref-115">^</a> <cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://worldradiohistory.com/UK/Music-and-Media/90s/1996/MM-1996-10-05.pdf">"European Top 100 Albums"</a> (PDF). <a href="Music_%26_Media" title="Music & Media">Music & Media</a>. Vol. 13, no. 40. London. October 5, 1996. p. 17. Retrieved May 30, 2021.</cite>

</li>

<li id="cite_note-ac_Scotland_-116"><a href="#cite_ref-ac_Scotland_116-0">^</a> <a rel="nofollow" class="external text" href="https://www.officialcharts.com/charts/scottish-albums-chart/19960922/40/">"Official Scottish Albums Chart Top 100"</a>. <a href="Official_Charts_Company" title="Official Charts Company">Official Charts Company</a>. Retrieved May 30, 2021.

</li>

<li id="cite_note-117"><a href="#cite_ref-117">^</a> <cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://worldradiohistory.com/UK/Music-Week/1996/Music-Week-1996-09-28.pdf">"Dance Albums"</a> (PDF). Music Week. London. September 28, 1996. p. 33. Retrieved May 29, 2021.</cite>

</li>

<li id="cite_note-118"><a href="#cite_ref-118">^</a> <cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://worldradiohistory.com/UK/Music-Week/1996/Music-Week-1996-10-05.pdf">"Independent Albums"</a> (PDF). Music Week. London. October 5, 1996. p. 24. Retrieved May 29, 2021.</cite>

</li>

<li id="cite_note-ac_UKR&B_-119"><a href="#cite_ref-ac_UKR&B_119-0">^</a> <a rel="nofollow" class="external text" href="https://www.officialcharts.com/charts/r-and-b-albums-chart/20190621/115/">"Official R&B Albums Chart Top 40"</a>. <a href="Official_Charts_Company" title="Official Charts Company">Official Charts Company</a>. Retrieved June 2, 2021.

</li>

<li id="cite_note-CanadaDJ_ShadowEndtroducingalbumCertRef-120"><a href="#cite_ref-CanadaDJ_ShadowEndtroducingalbumCertRef_120-0">^</a> <cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://musiccanada.com/gold-platinum/?_gp_search=Endtroducing%20DJ+Shadow">"Canadian album certifications – DJ Shadow – Endtroducing"</a>. <a href="Music_Canada" title="Music Canada">Music Canada</a>. Retrieved March 27, 2013.</cite>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2></div>

/* start https://en.wikipedia.org/ */

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<ul><li><cite id="CITEREF"100_Best_Albums_of_the_'90s"2010" class="citation book cs1"><a rel="nofollow" class="external text" href="https://www.rollingstone.com/music/music-lists/100-best-albums-of-the-90s-152425/dj-shadow-endtroducing-3-152892/">"100 Best Albums of the '90s"</a>. The '90s: The Inside Stories from the Decade That Rocked. <a href="HarperCollins" title="HarperCollins">Harper Design</a>. 2010. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-06-177920-6</bdi>. <a rel="nofollow" class="external text" href="https://archive.today/20130630061750/http://www.rollingstone.com/music/lists/100-best-albums-of-the-nineties-20110427/dj-shadow-endtroducing-20110516">Archived</a> from the original on June 30, 2013. Retrieved March 20, 2013.</cite></li>

<li><cite id="CITEREFChristgau1998" class="citation book cs1"><a href="Robert_Christgau" title="Robert Christgau">Christgau, Robert</a> (1998). "Art-Rock You Can Dance To: DJ Shadow". Grown Up All Wrong: 75 Great Rock and Pop Artists from Vaudeville to Techno. <a href="Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-674-44318-7</bdi>.</cite></li>

<li><cite id="CITEREFChristgau2000" class="citation book cs1">Christgau, Robert (2000). "DJ Shadow: Endtroducing... DJ Shadow". <a href="Christgau's_Consumer_Guide%3A_Albums_of_the_'90s" title="Christgau's Consumer Guide: Albums of the '90s">Christgau's Consumer Guide: Albums of the '90s</a>. <a href="St._Martin's_Press" title="St. Martin's Press">St. Martin's Griffin</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-312-24560-2</bdi>.</cite></li>

<li><cite id="CITEREFKatz2012" class="citation book cs1">Katz, Mark (2012). Groove Music: The Art and Culture of the Hip-Hop DJ. <a href="Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-533111-0</bdi>.</cite></li>

<li><cite id="CITEREFReece2006" class="citation book cs1">Reece, Craig (2006). "DJ Shadow: Endtroducing...". In Dimery, Robert (ed.). <a href="1001_Albums_You_Must_Hear_Before_You_Die" title="1001 Albums You Must Hear Before You Die">1001 Albums You Must Hear Before You Die</a>. <a href="Rizzoli_Libri" title="Rizzoli Libri">Universe Publishing</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7893-1371-3</bdi>.</cite></li>

<li><cite id="CITEREFSheffield2004" class="citation book cs1"><a href="Rob_Sheffield" title="Rob Sheffield">Sheffield, Rob</a> (2004). "DJ Shadow". In <a href="Nathan_Brackett" title="Nathan Brackett">Brackett, Nathan</a>; <a href="Christian_Hoard" title="Christian Hoard">Hoard, Christian</a> (eds.). <a href="The_Rolling_Stone_Album_Guide" title="The Rolling Stone Album Guide">The New Rolling Stone Album Guide</a> (4th ed.). <a href="Simon_%26_Schuster" title="Simon & Schuster">Simon & Schuster</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-7432-0169-8</bdi>.</cite></li>

<li><cite id="CITEREFTaylor2004" class="citation book cs1">Taylor, Steve (2004). "DJ Shadow". The A to X of Alternative Music. <a href="Continuum_International_Publishing_Group" title="Continuum International Publishing Group">Continuum International Publishing Group</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8264-7396-2</bdi>.</cite></li>

<li><cite id="CITEREFWilder2005" class="citation book cs1">Wilder, Eliot (2005). Endtroducing... <a href="33%E2%85%93" title="33⅓">33⅓</a>. <a href="Bloomsbury_Publishing" title="Bloomsbury Publishing">Bloomsbury Publishing</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-8264-1682-7</bdi>.</cite></li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><cite id="CITEREFRaz2012" class="citation web cs1"><a href="Guy_Raz" title="Guy Raz">Raz, Guy</a> (November 17, 2012). <a rel="nofollow" class="external text" href="https://www.npr.org/2012/11/17/165145271/dj-shadow-on-sampling-as-a-collage-of-mistakes">"DJ Shadow On Sampling As A 'Collage Of Mistakes'"</a>. <a href="NPR" title="NPR">NPR</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130514102427/http://www.npr.org/2012/11/17/165145271/dj-shadow-on-sampling-as-a-collage-of-mistakes">Archived</a> from the original on May 14, 2013. Retrieved March 16, 2013.</cite></li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li><a rel="nofollow" class="external text" href="https://www.discogs.com/master/15313">Endtroducing.....</a> at <a href="Discogs" title="Discogs">Discogs</a> (list of releases)</li>

<li><a rel="nofollow" class="external text" href="https://musicbrainz.org/release-group/4b2186f5-ff00-3227-ae11-783ba93e1089">Endtroducing.....</a> at <a href="MusicBrainz" title="MusicBrainz">MusicBrainz</a> (list of releases)</li></ul>

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</style><div id="DJ_Shadow124" class="fn" style="font-size:114%;margin:0 4em"><a href="DJ_Shadow" title="DJ Shadow">DJ Shadow</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="DJ_Shadow_discography" title="DJ Shadow discography">Discography</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Studio albums</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="The_Private_Press" title="The Private Press">The Private Press</a></li>

<li><a href="The_Outsider_(DJ_Shadow_album)" title="The Outsider (DJ Shadow album)">The Outsider</a></li>

<li><a href="The_Less_You_Know%2C_the_Better" title="The Less You Know, the Better">The Less You Know, the Better</a></li>

<li><a href="The_Mountain_Will_Fall" title="The Mountain Will Fall">The Mountain Will Fall</a></li>

<li><a href="Our_Pathetic_Age" title="Our Pathetic Age">Our Pathetic Age</a></li>

<li><a href="Action_Adventure_(album)" title="Action Adventure (album)">Action Adventure</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Live albums</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Brainfreeze_(album)" title="Brainfreeze (album)">Brainfreeze</a></li>

<li><a href="Camel_Bobsled_Race" title="Camel Bobsled Race">Camel Bobsled Race</a></li>

<li><a href="Product_Placement_(album)" title="Product Placement (album)">Product Placement</a></li>

<li><a href="The_Hard_Sell_(Encore)" title="The Hard Sell (Encore)">The Hard Sell (Encore)</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Remix albums</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="The_Private_Repress" title="The Private Repress">The Private Repress</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Compilations</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Preemptive_Strike_(album)" title="Preemptive Strike (album)">Preemptive Strike</a></li>

<li><a href="Excessive_Ephemera" class="mw-redirect" title="Excessive Ephemera">Excessive Ephemera</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">EPs</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Entropy_/_Send_Them" title="Entropy / Send Them">Entropy / Send Them</a></li>

<li><a href="The_Liquid_Amber_EP" title="The Liquid Amber EP">The Liquid Amber EP</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Singles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li>"<a href="Midnight_in_a_Perfect_World" title="Midnight in a Perfect World">Midnight in a Perfect World</a>"</li>

<li>"<a href="Funky_Skunk" title="Funky Skunk">Funky Skunk</a>"</li>

<li>"<a href="Enuff_(song)" class="mw-redirect" title="Enuff (song)">Enuff</a>"</li>

<li>"<a href="Nobody_Speak" title="Nobody Speak">Nobody Speak</a>"</li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Unkle" title="Unkle">Unkle</a></li>

<li><a href="Cut_Chemist" title="Cut Chemist">Cut Chemist</a></li>

<li><a href="Bombay_the_Hard_Way%3A_Guns%2C_Cars_and_Sitars" title="Bombay the Hard Way: Guns, Cars and Sitars">Bombay the Hard Way: Guns, Cars and Sitars</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox authority-control" aria-label="Navbox441" style="padding:3px"><table class="nowraplinks hlist navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Authority control databases </th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://musicbrainz.org/release-group/4b2186f5-ff00-3227-ae11-783ba93e1089">MusicBrainz release group</a></li></ul></div></td></tr></tbody></table></div>

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