Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  Expert Witness
Books:
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Writings:
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Playboy
  Blender
  Rolling Stone
  Billboard
  Video Reviews
  Pazz & Jop
  Recyclables
  Newsprint
  Lists
  Miscellany
Bibliography
NPR
Web Site:
  Home
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
  Archive
Venues:
  Noisey
CG Search:
Google Search:
Twitter:

Consumer Guide Album

Girl Talk: All Day [Illegal Art download, 2010]
Less fun than Feed the Animals because the sample pool is less obvious, but deeper, if stolen party music can be deep, which in his shallow way is what Greg Gillis believes. With the predictable scad-and-a-half of exceptions on an album that claims 373 sources, the strategy is to provide verbal content via the most unpoetic strains of hop-hop--marginal Dirty South club records, say Project Pat's "Twerk" or Young Berg's "Sexy Can," of which most fans from outside that world were unaware--and beats/grooves/IDs via canonical rock: U2 and the Ramones, Iggy's "Lust for Life" and Miley's "Party in the U.S.A." Of course, since these won't necessarily provoke enough partying in the U.S.A., there are also actual beats a level below, drums and that sort of thing. Multifarious posteriors notwithstanding, the lyrics are less raunchy than on Feed the Animals--rated R, not X. As a result, Gillis's vision becomes less orgiastic and more humanistic. Track 10 features Springsteen and Nirvana, track 11 Ice Cube's "It Was a Good Day," and the finale goes out on the daily double Gillis could have conceived the entire record around: the tough-guy sentimentality of UGK's gangsta threnody "One Day" over the mods-versus-rockers universalism of John Lennon's late-hippie hymn "Imagine." Suffused with hope that someday we'll join him and the world will live as one, Gillis dares Yoko Ono to tell him otherwise. A