Did you actually release this? Do you know what it is?
A: As most of you reading this are probably aware, there have been numerous bootlegs of my music through the years; "Global Warning" is one such example. I have often feared that true fans assume the releases are intended as some sort of tribute, as though the parties responsible are 'fans' themselves; sadly, in my experience, this has not been the case. Bootlegs are, and always has been, a for-profit venture...although in the download era, the prospects of turning around bootleg CDs and vinyl has become far less attractive to those looking to turn a quick buck.
In all honesty, I don't really mind the trading or sharing of my work (within reason and as long as I can continue to make a living) and have even found one or two of the bootlegs to be enjoyable and well-presented. Such examples are rare, however, and most of them tend to be misleading; a few, like "One Night In Bangkok," contain music that isn't even mine.
I'm not the first artist to be bootlegged, and I won't be the last. On one hand it is annoying, and on the other it's nice to be in demand. I just don't like my buying public being mislead into buying inferior product. It reflects poorly on me.
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Q: Hi, you don't do many remixes. But surprisingly you did one for Keane a few years back.
How come?
A: Hi, good question. I will try to answer it as simply and honestly as possible.
As a producer, I reserve the right to approach any project, regardless of public perception and "cool factor" (or lack thereof). The only criteria I use is: "do I have the time?" "Will it allow me to grow as an artist?" "Is the result likely to be different from my previous work?" Finally, and most importantly: "will I be able to give it my best?" If I feel that all of these criteria are met, then I may decide to accept the project. The image of the band or artists involved is utterly irrelevant to me.
I recall that at the time the Keane remix came out, many UK fans were sick to death of hearing about them, considering them "lightweight" and "not edgy enough." I guess as a result, my "cool" stock plummeted, since obviously I should have been instep with the sentiment of the day. I have always felt though, that such herd mentality can be very shortsighted, particularly where music is concerned. After all, rap was universally demonized by almost every conceivable music mind until it became profitable (funny how that works, isn't it?) And speaking of money, I'm sure some readers are wondering how I could be so cynical as to forget to mention the REAL reason I did the Keane remix: "for the money." Yes, money does occasionally enter into the decision process. But not in this case. As it turns out, I did the Keane remix for absolutely free.
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Q: Who originally recorded the "Charlene" song used in The Hard Sell? Who introduced the idea of utilizing the above tune in the set, you or Chemist?
A: Hi, as you may hear me say a lot in this Q&A session, I can't reveal sample information and the like because it leaves me vulnerable to legal issues.
As far as the song's origins and how it came to be used in the set, I had it laying around...as we spent several days playing through potential candidates for the set, we started to narrow down a theme and feel based on our feelings about music at the time. We wanted to put together a set that would alternatively make people smile and nod their head, and the next moment throw them off their balance and think "Whoa, I'm not sure if I'm down with this." In other words, we wanted to push the boundaries of good taste. The "Charlene" track seemed to perfectly encapsulate all of those sentiments. We didn't necessarily think the song itself was funny, but the act of playing it and submitting people to it amused us to no end. Brainstorming the visual accompaniment was the icing on the cake.
So, in answer to your question, it was my record, but it was both of our decision to include it...for better or for worse!
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Q: It is known that you are an avid James Brown fan and collector, and I
read an article recently which talked about you being present during an
auction or sale involving James Brown master tapes? What did you obtain, if anything?
A: Hi John, the auction you are referring to was a Christie's estate auction held in New York, July 2008. The items up for grabs mainly consisted of personal effects assembled by Brown's widow from their home. There was furniture, clothing items, photographs, instruments, and the like. All of the items were displayed on the Christie's website weeks in advance, and in fact one did not need to be present at Rockefeller Plaza in order to bid. It just so happened, however, that the Brooklyn 'Hard Sell' show was that same day, so I made arrangements to attend in person. I had determined from looking at the items on-line that most of the lots on offer were more recent acquisitions, such as clothing and furniture probably purchased within the last 20 or 30 years. Since I am most interested in Brown's prime "funk era," that being 1966 to 1977 or so, I zeroed in on those items that could be concretely determined to have emanated from that era. For example, there was a plaque dedicated to Brown from then-governor Jimmy Carter that says, "Thanks for your help with heroin addiction- 1972." Brown recorded "King Heroin" in 1972, and lived in Atlanta at the time...so it was natural that he and Carter would connect. Indeed, some weeks later, I stumbled across an actual newspaper article and photo whereby Carter presented Brown with the very same plaque I now own. In other words, I can see for myself that James Brown actually received and treasured this item...as opposed to some of the goods being offered, where it was unclear if Brown ever used them, or even truly owned them.
Getting back to your original question (at last), there were no master tapes of any kind on auction. All of James Brown's masters are safely tucked away in vaults by their owners.
And to those that are reading this, asking..."Why would somebody be this obsessed with James Brown???" My response is, "Because he is the Godfather.
"
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Q: In an interview with Remix mag a while back you stated you were no longer using the MPC to compose but were only using it as a controller for Pro Tools/Battery -- have you completely dropped the MPC as a compositional tool? If so, do you feel the switch has affected your compositional style, for better or for worse?
A: Thanks for the question. Whenever I begin work on a new project, I like to change things up so that there is a clear marker in my mind that one era has ended and another one is beginning. Sometimes it is a piece of gear that signifies the change, or sometimes a new workspace, or both. I guess the first "era" was when I used a 4-track tape recorder to make all of my beats. Then I bought an MPC 60 in 1992, which I used all the way up through 'Endtroducing.' By that point I was tired of the restraints of the 60, so I upgraded to the 3000. I used that from 'Unkle' through 'Private Press' (although on 'Private Press' I was using two 3000s connected via midi, a technique the Bomb Squad pioneered with SP-1200s on the Public Enemy records).
At the time, in 2002, I felt as though 'The Private Press' was the best record I could ever make on the MPC, and I was eager for a change. It was also important to me that I not get stagnant and start repeating things I had done in the past. So I switched it up and forced myself to "go back to school," in a sense. I felt that if I refused to rely on the MPC and learn new techniques my music would change, for better or worse, and change was what I craved most.
I can tell you that while I certainly value the things I learned while away from my trusty MP, there were also a lot of things I missed. And the MPC line has evolved quite a bit since the 3000, obviously. So I do plan on bringing some form of MPC technology back into the mix, at least on certain tracks. I don't think I could ever go back to relying on it completely, but it is simply the easiest way I have found to quickly get a groove going. Compositionally, the inherent limitations of the MPC force you to stay grounded to the feel of the track rather than tinker endlessly with plug-ins and the like, and I find that having boundaries does tend to produce faster results.
I hope that answers most of your question...and thanks again for your interest.
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Q: Shadow... I hear machine guns and bombs during Napalm/Scatter Brain; broken up by the "When the bombs activated..." sample.
Was there a certain war or conflict that motivated this song?
A: Thanks for the question; the inspiration for the song was actually a man by the name of "Motorcyle" John Hilyard. (He is the curious looking gentleman on the cover of the US "Midnight" 12-inch.) A legendary record dealer in California, Hilyard had a history in music going back to the mid '60s when he traveled from Montreal, Quebec to make the scene down in Los Angeles. There he inspired pranksters and hipsters like Kim Fowley, with his "unique" outlook and philosophies.
I met John in 1991 or 1992, on a record pilgrimage to Merced, CA, where he had established a large vinyl outlet. By then the years of hard living had taken its toll, reducing John's voice to a hysterical cackle, and his features to a twisted mask. My initial impression was the same as most, probably something akin to, "This guy is a burned-out lunatic." But over the months and years of return trips, digging in close proximity to the man, I discovered a flawed, brilliant, disturbing, gentle, music-loving soul that I found inspirational. His dedication to gathering and appreciating vinyl was on a level I had never conceived of, and I consider him a big influence. "Napalm Brain" may sound like a harsh title, but it was intended to pay tribute to the unintentional logic of an erratic mind.
Shortly after "Endtroducing" came out, he finally lost his retail space and moved all of his records into a storage unit. It was there that he died, attempting to save money by living amongst the music he valued so much. Since then, his death has served as a cautionary tale of sorts...in every life there must be balance.
Keep the record obsession within limits, lest ye end up like "Motorcycle" John Hilyard!
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Thanks for the questions!
-DJ Shadow
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