激しくクールに、緻密に、大胆に、あらゆる音とリズムがk使役の領域でモンタージュされた、サンプリングの魔術師=DJシャドウの処女作にして、アブストラクト/ブレイクビーツのバイブル的名盤の発売20周年記念盤が3CDで登場!
新ライナーノーツ、未発表写真。CD2には別ミックスや、デモ、ライブ音源などを収録。CD3には別アーティストによる『Entroducing』収録曲のRemixを収録。

発売・販売元 提供資料 （2016/09/27）

Rolling Stone (5/13/99, p.80) - Included in Rolling Stone's "Essential Recordings of the 90's." Rolling Stone (1/23/97, pp.62-63) - 4 Stars (out of 5) - "...The DJ built songs out of layer upon layer of sampled instruments and other sound fragments, most of which he processed, looped and re-arranged far beyond recognition....funky rhythms that never sound like they've been cut and pasted together..." Spin (p.134) - "[T]his remains a stone classic, channeling Afrika Bambaataa's genre-splicing, DJ-booth mysticism into a fully realized studio epic..." Spin (9/99, p.126) - Ranked #15 in Spin Magazine's "90 Greatest Albums of the '90s." Spin (1/97, p.59) - Ranked #12 on Spin's list of the "20 Best Albums of '96." Spin (1/97, p.81) - 9 (out of 10) - "...layers slinky break-beats with sampled sounds--anything from church bells to War Of The Worlds and, egad, Tears For Fears....a cosmic-chamber feel complete with choruses of fallen angels, plucked harps, Mellotron, and cello..." Spin (p.102) - "One of the best hip-hop, yes hip-hop - records ever made." Entertainment Weekly (11/29/96, p.92) - "...Unfolding lik a surreal film soundtrack on which jazz, classical, and jungle fragments are artfully blended with turntable tricks and dialogue snippets, ENDTRODUCING... takes hip-hop into the next dimension." - Rating: A- Q (12/99, p.90) - Included in Q Magazine's "90 Best Albums Of The 1990s." Q (11/96, p.120) - 4 Stars (out of 5) - "...Shadow's brief is to develop a totally sample-based idiom, weaving a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat..." Uncut (p.121) - 4 stars out of 5 - "It's an elegy from a vinyl mausoleum, a sonic fiction assembled by a keen-eared archaeologist." Alternative Press (4/97, p.70) - 5 (out of 5) - "...an undeniable hip-hop masterpiece....DJ Shadow remembers that sampling is an art form." Magnet (p.88) - "An instrumental album entirely composed of samples and influenced by both prog rock and Public Enemy was, at the time, revolutionary....Still unmatched in its carefree invention." JazzTimes (4/97, p.65) - "Some consider...ENDTRODUCING... a broadcast from hip-hop's near future. But that notion ignores how much this disc reaffirms the music's creative roots....ENDTRODUCING is pretty damn good, with Shadow demonstrating an unerring ear for motif and texture, touching on everything from dub to funk to groove-jazz..." Option (1-2/97, p.73) - "...Shadow makes records the way Robert Rauschenberg made his combines: from scraps, pop artifacts, the things other people throw away....While some of his tracks float serenely on a cloud of jazzy phrasing and ambient textures, Shadow always lands on his beat..." Melody Maker (12/21-28/96, pp.66-67) - Ranked #2 on Melody Maker's list of 1996's "Albums Of The Year." Melody Maker (9/14/96, p.49) - Bloody Essential - "...it flips hip hop inside out all over again like a reversible glove, and again, and again, and each time it's sudden and new. 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." Rap Pages (12/96, p.33) - "...Innovative arrangements and structures of sound are present here, reflecting a mind that is constantly summoning collage forms..." Village Voice (2/25/97) - Ranked #4 in the Village Voice's 1996 Pazz & Jop Critics' Poll. Mojo (Publisher) (p.65) - Ranked #18 in Mojo's "100 Modern Classics" -- "[The album] returned hip hop's focus from the MC to the music." Mojo (Publisher) (p.120) - 4 stars out of 5 - "A decade on, DJ Shadow's affirmatory essay on record collecting as a creative endeavour has lost none of its grandeur." NME (Magazine) (12/21-28/96, pp.66-67) - Ranked #5 in NME's 1996 critics' poll.

Rovi

As a suburban California kid, DJ Shadow tended to treat hip-hop as a musical innovation, not as an explicit social protest, which goes a long way toward explaining why his debut album, Endtroducing....., sounded like nothing else at the time of its release. Using hip-hop, not only its rhythms but its cut-and-paste techniques, as a foundation, Shadow created a deep, endlessly intriguing world on Endtroducing....., one where there are no musical genres, only shifting sonic textures and styles. Shadow created the entire album from samples, almost all pulled from obscure, forgotten vinyl, and the effect is that of a hazy, half-familiar dream -- parts of the record sound familiar, yet it's clear that it only suggests music you've heard before, and that the multi-layered samples and genres create something new. And that's one of the keys to the success of Endtroducing.....: it's innovative, but it builds on a solid historical foundation, giving it a rich, multifaceted sound. It's not only a major breakthrough for hip-hop and electronica, but for pop music. ~ Stephen Thomas Erlewine

Rovi