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Day 157: Girl Talk – Feed The Animals

4 Aug

Play Your Part, Pt. 1

Of all of the pre-Lolla research records that I’m listening to, this is the least necessary.  I mean, it’s Girl Talk.  Do you really need to be all that familiar with Mr. Gillis’ work in order to enjoy one of his shows?  I think the answer to that has gotta be no.  From the concert footage that I’ve seen, Girl Talk shows are huge dance parties as opposed to sing-a-longs.

I’ll admit, I’ve been awestruck by Girl Talk’s All Day ever since I listened to it back in May.  I wanted some more, which is exactly what I got out of Feed The Animals.

It’s always annoying when I listen to an artist’s work in any order other than chronological.  I want to write things like “Girl Talk is still bringing it,” but that wouldn’t make any sense, considering that All Day came out after Feed the Animals.  I guess I’ll have to settle on something else.  Girl Talk was bringing it even way back in 2008.

Honestly, unless you don’t have a soul, there’s nothing not to enjoy about this record.  Greg Gillis has some magical ears, and an insane capability for matching up tracks that you or I would never think would work together.   With two of his records under my belt now, I’m beginning to notice a few of his recurring tricks—he opens a lot of his long, beat-heavy hip-hop sections with intense guitar blasts from various 70s cheese-rock groups.  He’ll also find a way to work in that opening beat from Rick Astley’s Never Gonna Give You Up—something that makes those who have spent too much of their lives on the internet cringe every single time.  There should also be a limit on Daft Punk samples, in my opinion—I think I counted four in this record.

I’m being nit-picky, though.  This is another amazing mashup record, and I’m definitely psyched about the Girl Talk set at Lolla.  Even if it means venturing over to the DJ stage.

Day 67: Girl Talk – All Day

6 May

Oh No

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.