Gregg Gillis needs no introduction. But I need something to write about, so I’ll give him one anyway. Gillis is the undisputed king of the mash-up. He’s taken this 21st Century form of artistic combination to levels never seen before. He has inspired an entire wave of DJs who do their best to emulate him, but never get it quite right. I’ve noticed that most mashupers stick with two songs, and limit themselves even further by using the vocals from one track, and the instruments from the other. Gillis doesn’t play by these rules. I counted up to four different tracks playing at the same time at different points on this record, and I easily could have missed more.
All Day is hard to wrap your head around at points. It’s exactly 71 minutes in length, and flows beautifully from start to finish. It’s meant to be listened to in full, and the track breaks just serve as a way to navigate this Frankenstein of a record. Gillis uses 372 different samples over the album—according to my best friend, Wikipedia—so if a song has made any noise on the charts over the past 50 or so years, you can find it on this record.
What’s great about All Day, and most Girl Talk albums actually, is their ability to make you see music in a new light. There’s plenty on All Day that I would never listen to otherwise. I think I counted three Lady Gaga samples, along with two Ke$ha appearances. While I don’t really listen to those two under normal circumstances, Gillis makes them awesome.
Ultimately, All Day is rewarding to listen to. When a song you know comes on—which is bound to happen quite a few times—a great feeling washes over you right away. Even better, though, is when a song that you love is mashed with something ridiculous. Let’s just say, indie rock songs sound hilarious when paired with misogynistic radio-rap.